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UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES 1954 Miniature of Jacopo da Bologna and , Sotto !'imperio del possente prince, from Biblioteca Medicea-Laurenziana, Florence, codex Palatino 87 (Squarcialupi), folio 7•. To UNIVERSITY OF CALIFORNIA PUBLICATIONS IN MUSIC My Mother and Father EDITORS (Los Angeles): R. M. STEVENSON, H. L. CLARKE, W. T. MARROCCO

Volume 5, pp. 1- 162, plates 1-7, frontispiece

Submitted by editors May·12, 1953 Issued July 15, 1954 Price, $2.50

UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND Los ANGELES CALIFORNIA

CAMBRlDGE UNIVERSITY PRESS LONDON, ENGLAND

UNIVERSITA DEGLI S'fUDI DI MIMNO BIBLIOTECA

PROVENIENZA

Mod. 49 11.

PRINTED IN THE UNITED STATES OF AllERICA PREFACE

IT IS NOT unusual for a political historian to emerge from research in the early with a wealth of information regarding reigning personages, their private lives and documents, and their political intrigues. The musicologist, how­ ever, in search of biographical data of a famous composer, often finds the results meager, frustrating, and disappointing. Jacopo da Bologna, one of the earliest and most able of the polyphonists, is typical of the many musicians we know only through their work, and whose lives were probably too commonplace to record. As though to compensate for this lack of biographical information, over five hundred polyphonic compositions by the trecento composers are preserved in European libraries, of which approximately a third have already been transcribed and published by such scholars as Friederich Ludwig, Johannes Wolf, Hugo Riemann, Arnold Schering, Heinrich Besseler, Marius Schneider, Nino Pirrotta, Fernando Liuzzi, Federico Ghisi, Claudio Sartori, Leonard Ellinwood, A. von Konigslow, and Willi Apel. Ellinwood, for example, has given us the tran­ scriptions of the complete works of , which make available for study and· comparison 154 compositions by this greatest Italian polyphonist of the trecento. The catalog of Italian music of the early Renaissance, however, is by no means complete. Much of the :music that has been preserved from this period, which produced hundreds of compositions known as , cacce, and ballate, is yet to be transcribed. When all of this music is available in modern notation, we shall be better prepared to study and evaluate the contribution of the early Italian composers. There remains the pleasant duty of acknowledging the assistance which I have received from the following: Teresa Lodi, Directress of the Biblioteca Medicea­ Laurenziana, Florence, Italy, and Anita Mondolfo, Directress of the Biblioteca Nazionale Centrale in Florence, through whose kindness and cooperation photo­ graphic reproductions of the music manuscripts were obtained; my dear friend, Nino Pirrotta, Director of the Biblioteca Musicale di S. Cecilia, Rome, whose help­ ing hand there, as well as in checking the music transcriptions, was most gratefully accepted; Professor Scott Goldthwaite of the University of Chicago and my col­ leagues in the music department of the University of California, Los Angeles­ Henry L. Clarke, Robert U. Nelson, Waiter H. Rubsamen, Robert M. Stevenson, and John N. Vincent- for their invaluable advice in matters of form and style and their helpful criticism. For the readings and revisions of the poetic texts, I am indebted to Professor Charle~ Speroni, chairman of the Italian department of the University of California, Los Angeles, to Herbert B. Hoffieit, Professor of Classics at ·the University of California, Los Angeles, and to Ettore Li Gotti, Professor of Philology, University of Palermo, Italy. And finally, I am indebted to my wife, Audrey, for her encouragement and understanding. The successful completion of this work would perhaps not have been possible without the aid of a Fulbright research grant which enabled me to examine and study the codices firsthand. W.T.M.

[ vii] CONTENTS CHAPTER. PAGE I. J acopo da Bologna 1

II. Manuscript Sources 5 Ill. The Musical Forms 14

IV. The Music in Modern Notation 30

Appendixes A . Variations in the Musical Readings 121 B. Cross-Reference Table . 145 C. The Art of Measured Polyphony According to Maestro Jacopo da Bologna 146

Notes 157

Bibliography 161

[ ix ] PLATES TRANSCRIPTIONS PAGE PAGE Miniature of Jacopo da Bologna and madrigal, Sotto l'impe1··io del possente prince, 1. Aquila altera-Creatura gentile-l:ccel di Dio 31 from Bihlioteca Medicea-Laurenziana, Florence, codex Palatino 87 (Squa1·cialupi) , folio 7v. 2. Con gran furor . 34 Frontispiece 3. Di novo e giunto un cavalier 36 1. Marlrigal, In verde pmto, from Biblioteca Nazionale Centrale, Florence, codex Pancia- 4. Entrava Phebo . 38 tichiano 26, folio 96. 7 5. Fenice fu' 40 42 2. Madrigal, 0 c1olce app1·esso, from Bibliotheque Nationale, Paris, fonds italien 568, 6. Giunge'l bel tempo folio 9. . 8 7. I' mi son un . 45 8. In su bei fiori 47 3. Madrigal, Prima vi1·tute, from Bibliotheque Nationale, Paris, f. fr. nouv. acq. 6771 50 (Reina), folio 6'. 9 9.In verde prato 10. I' sentl gia come J'arco d'amor 53 4. Madrigal, Un bel perlaro, from British Museum, London, Additional MSS 29987, 11. Lo lume vostro . 56 folio 17. 10 12. Lucida petra, 0 Margherita cara 58 5. , Lux purpurata-Diligite iusticiam, from Biblioteca Universitaria, Padua, MS 13. Lux purpurata- Diligite iusticiam 60 1475, folio 1. . 11 14. Nel bel giardino 63 6. Madrigal, 0 cieco mondo, from Biblioteca Universitaria, Padua, MS 658, YY3 No. 35. 12 15. Nel mio parlar . 65 69 7. Initial page of treatise, L'm·te del biscanto mis11rato, from Biblioteca Medicea-Laurenzi- 16. Non al suo amante 71 ana, Florence, codex Redi 71. 29 17. 0 cieco mondo . 18. 0 d·olce appresso 74 19. 0 in Italia . 76 20. Oselletto selvaggio 78 21. Per sparverare . 81 22. Posando sopr'un acqua 84 23. Prima virtute 87 24. Quando veggio rinnovellar i fiori 89 25. Sl come al canto 91 26. Sotto l'imperio . 95 27. Straccias'i pann'inclosso 99 28. Tanto che siate acquistati 101 29. Tanto soavemente 104 30. Un bel perlaro . 106 31. Un bel sparver . 108 32. U selletto selvaggio 111 33. Vestisse la cornacchia 114 34. Vola el bel sparver 116

( X J [xi ] CHAPTER I JACOPO DA BOLOGNA

JACOPO DA BoLOGNA, the composer who played so important a role in the musical productivity of the Italian , has assumed an importance today which necessitates an evaluation of his work. It is strange indeed that six hundred years should have passed before anyone has deemed the task worthy. To be sure, individual compositions by him were made known to the scholar during the first decade of the twentieth century, but solitary or fragmentary compositions seldom give a true summary. With this edition of Jacopo's work it is now possible to place him in the important niche he justly deserves. Although thirty-four compo­ sitions are attributable to Jacopo, by no means should it be inferred that this number represents his total output. It is impossible to ascertain how many more repose in libraries minus his name and how many more have disappeared during the past centuries. J acopo is at once an innovator and a leader, and, as such, his importance cannot be overemphasized. Without such a man to lay the groundwork, we would prob­ ably not have had a Francesco Landini. Moreover, when one considers that the majority of the fourteenth-century composers were Florentines, Jacopo's stature looms even greater. His position remains unchallenged until we meet the greatest of the trecentists, Landini. Indeed, the amazing renaissance in fourteenth-cen­ tury Italian music begins with Jacopo. The dates of J acopo's birth and death are not known, but we may conjecture that he was born early in the fourteenth century. A short period of his life seems to be well delineated: that period beginning with his service at the court of Luchino Visconti in Milan about 1346 and extending to the death of Mastino II della Scala of Verona in 1351. The exact length of residence in the court of Visconti is not known, but, since this ruler's reign ended abruptly in 1349, it is quite probable that, in the light of contemporary events, Jacopo's sojourn at Milan came to a close at the same time. We assume that his native town was Bologna because of the manuscripts bearing his name and provenance, and, also, he is referred to as "Bm1oniensi" by the fourteenth-century historian, Filippo Villani.1 During the three years_ that it is believed Jacopo remained at the court of Visconti, he was moved to write or set to music at least three compositions in praise of Luchino's administrative talent and the beauty of his spouse, Isabella. Notice the acrostic Luchinus Vicecomes in the following poem and Luchinus in the next. L Lux purpurata radiis .The light with rosy rays U Venit fugare teneb1·as Has come to drive the da1·k away C Clementi vigens principe Thriving under a gentle prince H Honoris namque clm·itas The splendor of his fame I I psius toti seculo For all his race and time N Numen acquirit celebre Acquires the holy name U Virtutis atque gratie Of virtue and of grace S Servator reipublice Savior of the commonwealth

[ 1 ] 2 University of California Publications in M1tsic Marrocco: Music of Jacopo da Bologna 3

V Virtutum culto1· optimus To every virtue dedicate 0 in Italy, you, fortunate Liguria, I Verus amator effic.ax True devotee strong to act And especially you, Milan, should praise and glorify God C Constas in omni studio l!nswerving in every zealous plan For the two newborn sons which heaven grants you E Et nil permi ttens mitu m Permitting nothing vain Which were born on Friday between sext and terce. C Cleme!lJS et iustus dominus Gentle righteous lord 0 Onustus arrogantibus A burden to the insolent It was a good sign of great victory M Misericors egentibus Compassionate to those in need That an eagle d1·ew you to Christianity E Emittit lumen omnibus He sends forth the light to all And Parma, tQ whom their name was pleasing, S Salutis atque premii. Of salvation and reward. Gave you Luca an

H Hoc est notum et satis probatum All of this could hardly have provided a tranquil setting for madrigalian pur­ I In quegli ch'han sentito el gusto amaro suits, and Luchino's violent death probably precipitated Jacopo's departure from N Nascosamente per comporre errore. Milan to seek employment in Verona. U Una donna vi regge, ch'e si bella [Isabella]' His activity at the court of Mastino della Scala in Verona is associated with S Sui cielnon e posta piu lucente stella. two composers, Magister Piero and Giovanni da Firenze (or da Cascia), the latter Your light, my sweet sir, said to have been organist at the Cathedral of Florence. From the literary re­ Virtue so perfect is embroidered mains of Filippo Villani we have evidence of the roles of Jacopo and Giovanni Which for the evil shines not, for the good is always bright. at the court of Mastino.

This, celebrated and excellent enough Nam cum Mastini della Scala tyranni atria quaestus gratia frequentaret, et cum Bononiensi In those who have tasted the bitter taste artis musicae peritissimo, de artis excellentia, tyranno eos irritante muneribus, contenderet, Which secretly deceives them. mandrialia sonosque multos intonuit, mirae dulcedinis et artificiosissimae melodiae, in quibis A lady rules you, who is so beautiful mag.ni quam suavis fuerit in arte doctrinae manifestavit.• In the heavens no star more lucent fin

[ 5 ] 6 University of California Publications in Music the prevailing practice, and, although some of the examples are purely theoretical, they are suggested, undoubtedly, as possibilities. FLORENCE: Biblioteca Medicea-Laurenziana, Palatino 87- This manuscript, also known as the Squarcialupi, contains 349 compositions of the Italian Ars Nova, twenty-nine of which are by Jacopo. The initial page of the manuscript bears the name of its former owner with the following caption: Questo libro e di M. Antonio di Bartolomeo Schuarcialupi horganista in sancta/maria del fi ore.

The initial letter which appears at the top of each page is exquisitely adorned with various colors, and on the extreme left of each composition there appears in miniature what is intended to be a portrait of the composer, whose name is written across the top of each double page with alternate red and black uncials. A pictorial representation of the poetry sometimes appears on the margin of the page. The music itself is notated with full black notes and written on a staff of six red lines. The orthography is semi-Gothic. Two of the cmnpositions in the codex have French texts; the rest are Italian. Abbreviations are used frequently, and these take the form of small curved or straight lines or checks placed above the vowel, or, as symbols used in place of monosyllabic .words.• FLORENCE: Biblioteca Nazionale Centrale, Panciatichiano 26- The mus1c. of this codex is notated with full black notes on a staff of six red lines, and the composer's first name is written plainly across the top of the page. This is the only manuscript whose three voices are indicated thus: .pm. (meaning primo or cantus), .Scds. (secundus or contratenor), and .t'tius. (third part or tenor) . There are no illuminations. The initial letter is large, but not so elaborately wrought as those in the Squarcialupi. Bar lines at the end of the composition are double and triple and are drawn in close proximity. The same abbreviations are used as frequently in this codex as in the Squarcialupi. In its 110 pages, 185 compositions are represented, of which twenty-four have French texts. Twenty­ one of J acopo's compositions are contained in this source. PARIS: Bibliotheque Nationale, fonds italien 568- This is a parchment manu­ script with a modern leather binding which bears the title italiens en musique, the three lilies of the French coat of arms, and the monogram of King Charles X. The notation resembles that of the squarciahipi rather than that of any other codex, and the text is also semi-Gothic in character. The large orna­ mented initial letter and the capitals are colored in red and blue. This codex contains 213 Italian, French, and Latin compositions, of which fourteen are by Jacopo. PARIS: Bibliotheque Nationale, f. fr. nouv. acq. 6771- Known as the Reina codex in deference to its former owner, this paper manuscript contains 225 compositions, of which 117 have French texts and 104 Italian; the remainder are textless. Twenty compositions by J acopo are found in this source. LONDON: British Museum, Additional MSS 29987- Were it not for a colla­ tion with the other codices, transcribing from this codex would have been, in most cases, a task of reconstruction. Many superfluous rests are interspersed through­ out the compositions and, at times, semibreves are written in place of breves, and Piate 3. Madrigal, Pri1na virtute, from Bibliotheque Nationale, Paris, f . fr. nouv. acq. 6771 (Reina), folio 6'. ,_- 00 "' w"'' w ;:.: • ~ " ~ ~

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    Plate 5. Motet, Lux purpurata-Diligite iusticiam, from Biblioteca Universitaria, Padua, MS 14 75, folio 1. illarrocco: Music of Jacopo da Bologna 13 minims intended for semibreves. This manuscript with. the Cherubini fragment and that from the Paduan library ~MS 1475) are the only ones which use a five­ line staff. The orthography is extremely poor and frequently illegible, and mis­ spelled words are common, but the form of the composition and the name of the composer is clearly written across the top of the page. Ap.proximately 150 compo­ sitions are contained in this source, ninety-three of which have Italian texts, the remainder having French or Latin texts. Of the seven photostatic copies of Jacopo's music obtained from this source, one was found which does not exist in any other codex.10 PADU A: Biblioteca Universitaria, MS 1475-The motet L.ux purpurata~ Diligite iusticiam is Jacopo's only composition from · this source, the whole of which comprises but six parchment leaves. The dimensions of this fascicle are 9% by 11 inches. Its black notes are placed on a red pentagram, whereas the text, placed beneath the staves, is of a semi-Gothic character.

    Plate 6. Madrigal, 0 cieco mondo, from Biblioteca Universitaria, Padua, MS 658, YY3 No. 35. Marrocco: Mnsic of Jacopo da Bologna 15 Motet.-The motet, a native French form, began to find its way slowly into CHAPTER Ill Italy in the fourteenth century, but did not achieve complete favor until the six­ THE MUSICAL FORMS teenth century. Jacopo's contribution to his form, Lux pttrpnrata-Diligite iusti­ ciam is an encomiastic hi-textual motet written in praise of Luchino Visconti, ' FROM ALL the musical forms which might have intrigued Jacopo-the ballata, his patron. Among the many interesting features found in this motet are the lauda, motet, madrigal, caccia, and possibly the Mass-Jacopo chose the madrigal. melismas on the opening and penultimate syllables, the numerous overlapping Tha~ he was aware of the other forms is obvious in that an example of a lauda, entrances, the clever handling of extended hockets from measures 55 to 64--par­ cacc1a, and motet have come down to us bearing his name. The five anonymous ticnlarly the parallel thirds and fifths of measure 61- and the recurrence of a monophonic found in the Rossi 215 codex of the Vatican Library1 (re­ six-note descending scale motif which may be interpreted as an integrative device. putedly the oldest manuscript containing Italian secular music) a,re evidence that the ballata was not unknown during the first half of the fourteenth century. f$==0=-_m J J It is not unreasonable to suppose that the practice of setting the ordinary of the Mass was also known to J acopo, for fragments of polyphonic Masses composed Of major importance is the simultaneous use of two different texts, a feature by , , , and Gra­ rarely found in the compositions of the Italian trecentists, and occurring in only tiosus da Padova have survived.' It is true that these composers were active during one other of Jacopo's works, the tri-textual Aquila altera- Creatttra gentile- Uccel the latter half of the fourteenth century, but it should be remembered that Ser di Dio. These are probably the earliest attempts of this kind in the Italian tre- Gherardello died between 1362 and 1364, only a few years after Jacopo's dis­ cento. appearance. Caccia.- The term caccia means chase or hunt. Musically speaking, the term Before discussing Jacopo's favorite musical medium, I shall touch somewhat was used to indicate strict imitation in two voices, known today as a canon. The briefly on his lauda, motet, and caccia." Since it is impossible to create any stand­ "chasing" voices are supported by an independent tenor voice. It is quite prob­ ards by which the lauda and motet may be judged, only generalizations will be able that the structure of the canon- one voice giving chase to another-in­ made. fluenced composers to prefer texts of a venatorialnature. Later, any scene lending Lauda.-The lauda is an indigenous Italian form and is a hymn of praise and itself to vivid description was introduced into the poetry. Although only one devotion which originated early in the thirteenth century in Umbria and was caccia, Per sparverare, is represented among the works of J acopo, it is not his associated particularly with the activity of St. Francis of Assisi (1182- 1226).' It sole example of canonic writing. Other comp-ositions using the canonic technique was relegated to the background by the secular forms in the fourteenth century, are Uselletto selvaggio and Giunge'l bel tempo. For the purpose of identification, and then flourished anew in the sixteenth. The discovery of J acopo's lauda would these compositions may be termed canonic-madrigals. The first employs canonic seem to indicate that thi~ form was not entirely abandoned in the fourteenth cen­ imitation for the first section and ritornello, but the second confines the canonic tury, for, with Jacopo, it continued in polyphonic dress. treatment to the first section alone. The form usually encountered resembles that of the ballata. A typical poem of the caccia contains blank verse and alternating rhyme, but the couplets do not always alternate with blank verse. The occurrence of excited AB ripresa dialogue in the poem will immediately violate all semblance of meter and form.• c piede I It should be recognized, therefore, that the structure of the caccia is subject to d piede Il variation. The form usually encountered is in two parts: a longer first section in ~tb volt a canonic imitation (invariably at the unison) ; and a shorter section called ritor­ AB ripresa nello, which may or may not be a canon. Usually, a second stanza to be sung to The prime difference, however, lies in the text; that of the lauda is sacred, the music of the first section appears at the bottom of the manuscript. The music whereas that of the ballata is secular. form is AB, AAB, AABB, or AA depending upon the number of stanzas or the Unfortunately, the poem Nel mio parlar is incomplete, lacking the piede II presence or absence of a ritornello. The form of J acopo's caccia is AB. The first and the volta. Although four voices are given in the manuscript, they are not to section-is in strict canonic imitation at the unison, but the ritornello is written be sung simultaneously; the composer indicated the manner of performance. in two-part harmony between the cantus and tenor. An unusual feature of this Under the tenor part of the verso, a Latin inscription conveys to the musician work is the change of rhythm from duodenaria to perfetta in the ritornello. that his part concords with the two upper·parts, that is, the cantus and contra­ Madrigal.-The earliest references to the madrigal are those of Frances~o da tenor; "Tenor iste concordat cum tr,ibus ipso numerato." On the recto, another Barberino in his Glosse latine ai documenti d'amore, dated 1313, and Antomo da tenor part is given with the information that it is to be sung with the cantus; Tempo's Summa artis rithimici vulgaris dictamini, da~ed 1332. The former, us~ng "Tenor iste concordat cum prima cantu."" the spelling matricale, tells us that it is coarse and Irregular; the latter writes

    [ 14] 16 University of California Publications in M1tsic that "mandriale" is a rustic kind of pastoral poem. Musicologists and philologists Marrocco: Music of Jacopo da Bologna 17 are not in agreement regarding the etymology of the word, but I believe that the solo madrigals, that is two-voice madrigals in which the text is carried by the derivation from matricale has been settled by Leandro Biadene's ar.ticle on the upper voice alone. The range of the melodies varies from an octave to a ninth; madrigal! skips of more than a fifth are used most effectively when, at the cadence, a new The poetic form of the fourteenth-century madrigal covers two periods. The phrase is begun. early madrigal (ea. 1330- 1350), reflecting da Barberino's description, may be All voices commence with a longa or brevis as though to establish the modality. described as having from two to as many as five strophes of three lines each of From this point all voices vocalize to the next syllable, vaulting in the process which two lines are usually in rhyme. The strophes may or may not be follo~ed from two to as many as nine measures. Then, in order to give symmetry to the by a couplet called ritornello, and all the lines may be heptasyllabic or hendeca­ musical picture, the penultimate syllable of the stanza is also clad in ornamental syllabic, or a combination of both. An example of the last mentioned is Straccias'i garb for a flight of several measures to the last cadence of the first section. Be­ pann'indosso, whose rhyme scheme is aBA, bCC:DD (capitals denote an eleven­ tween these high points Jacopo generously intersperses such technical features as syllable line, lower-case letters, seven syllables). In the late period (ea. 1350- sequence, rhythmic imitation, and other contrapuntal devices. These are shown 1370), the poetic form consists of two or three strophes of three hendecasyllabic on pages 20 to 22. lines of which the last two lines of each stanza are in rhyme. The stanzas are In general, the music of the madrigal contains a rather even distribution of followed by a hendecasyllabic couplet giving an over-all rhyme scheme ABB, florid and syllabic passages. That part of the melody supplied with a text usually CDD:EE. Only seven of Jacopo's madrigals conform to the late period, whereas moves in slower note values with a syllable allotted to a note, whereas that part the remainder, in view of their amorphousness, are from the early period." devoid of a text is usually highly melismatic. This arrangement caused Hugo An examination of the contents of the madrigal poems shows a wide variety Riemann to state that the melismas were not sung, but were performed on an of subject matter; they are amorous, contemplative bucolic encomiastic satirical instrument such as a , , or organetto.10 This is, of course, contrary to the moralistic, and didactic. Three of the texts which Jacopo s~t to the mu~ical for~ testimony given by Giovanni Boccaccio, who mentions in his ll Decamerone the of the madrigal are rispetti- a popular lyric form in hendecasyllables whose use of instruments supporting the voices.11 rhyme scheme is ABAB CC DD.• It consists of a quatrain in alternating rhyme The role played by the tenor in all madrigals is a varied and important one. It and a refrain usually having two couplets. Its name seems to indicate homage or functions as a supporting bass and also as a melody assisting the upper voice (or "respect" paid to a loved woman. voices) in carrying out short imitations (mel{)dic or rhythmic), sequences, and The irregularity of the early madrigalian verse is not reflected in the musical hocket; or, in a few cases, it confines its activity to a simple alignment with the form. A strophe whose three lines are arranged in combinations of seven .and upper voice. In the examples which follow, the first shows the active participa­ eleven syllables does not necessarily require musical phrases of different lengths, tion of the tenor in establishing a motive which is imitated by the contratenor for the madrigal melody is too highly melismatic to be concerned with or influ­ and the cantus. enced by the number of syllables in each verse. The three verses, however, permit the composer to give sectional treatment to the first part of the madrigal, each section drawing to a close on a cadential formula. AAB is the musical form gen­ Sotto /'imperio (m~asures 34 -36) erally encountered. A designates the first and longer section, containing the music for the stanzas, whereas B indicates the shorter section, ritornello, designated by the following monogram in the Panciatichiano codex: 'Jf, . The ritornello is not to be interpreted as a refrain. In these manuscripts the first section is fol­ lowed by the ritornello, at the end of which the second stanza •is given (to be sung to the music of the 'first section). This in turn is followed by the incipit of the ritornello. This is misleading because it seems to indicate that the ritornello follows both stanzas. By careful examination of the poetry, one will see im­ mediately that the sense of finality in the ritornello is so strong that a return to the second stanza would be illogical and anticlimactic. Style of the Madrigal.- With a few exceptions a certain distinguishable pat­ tern is noticed in the treatment of the melodic line in J acopo's madrigals. In three­ part madrigals, the cantus and contratenor are highly melismatic, whereas the tenor, characterized by long note values, performs the role of supporting bass. In two-part madrigals the upper voice is the more florid. There are no instances of 18 University of California Publications in Music lYlarrocco: Music of J acopo da Bologna 19 cerned with smooth melodic contours than with correct harn1onic progressions, Jn the second example, the tenor is giyen the principal melody. and, as a consequence, the reader will, at times, encounter parallel seconds and Aq11ila altera (nieasures 25-27) fifths, as in the following examples by Jacopo:

    In verde prato (m~asure 71) Helmio parlar (measures 25-26) ----:i"'

    8 1 I I t 1

    8 Nelmio parlar (measure 44) Sotto /'imperio (measure 55) Tn the third example, the tenor and cantus collaborate in the treatment of hocket. ----.r- ! ! l ! ! t 3"'- ---;---. ----.r-

    8

    I' aenti giiz (measures 11-12) In -t·erde prato (measures 12-13) Before attempting an analysis of the harmony found in the music of J acopo, it would be well to keep in mind that the late thirteenth and early fourteenth centuries should be regarded as a phase of transition, or, as Yasser admirably defines it, as a period of tonal revolution." The theorists were attempting to I I I I I I classify intervals according to consonances and dissonances, but were not notably I successful in reaching an agreement among themselves. Some mensuralists re­ garded the third and sixth as imperfect consonances, with the prime, octave, fifth, B and fourth as perfect consonances. Of the imperfect consonances, the thirds were I the first to be recognized, with minor thirds preferred over major. The minor sixth then followed the major sixth in its elevation to the status of imperfect con­ sonance. In a treatise sometimes attributed to Robert de Sabillon (ea. 1180), the third was classified as a transitional interval. In its use it had to be preceded and Dissonances in the music of this period are by-products of linear counterpoint. followed by perfect consonances. The insertion of the third in the interval of the The interval of the fifth, octave, or unison usually opens a new phrase, but after fifth by Waiter Odington (ea. 1300) brought about the triad, the limited use of the opening measure J acopo is more concerned with melodic progressions than which in Italian compositions produced the feeling that the composers were not with the vertical results. The following passages fully bear out this contention yet fully aware of its tremendous possibilities. As late as the fourteenth century and, as a consequence, harmonic progressions such as parallel seconds occasionally there still seemed to be an uncertainty regarding the status of the minor sixth. It occur on strong beats: was classified as an imperfect dissonance by Jean de M u-ris (ea. 1350) in his Ars eontrapuncti, and as an imperfect consonance in his Ars diseanf1ts." Lo lume vostro ( measures _54-55) (measures 25-26) ~ This state of experimentation was equally as prevalent among composers who employed their latest harmonic discoveries often with harsh results. Although contrary motion prevailed, parallelism in thirds, fourths, fifths, sixths, and octaves still held some degree of attraction for the trecento composers. 1 According to de Coussemaker," parallel fifths were not entirely banned, but rules existed to avoid them. The early Italian composers, however, were more con- Marrocco: Music of Jacopo da Bologna 21 20 University of California Publ1:cations in Music Accented upper neighboring note: Syncopations usually give J acopo the opportunity to indulge in rapid shifts from Un bel sparver (measure 12) dissonances to consonances as in the following:

    .Lo lume vostro (measures 62-63)

    Escape note: Appoggiatura: Stracciasi pann'indosso (measures 4-5) In urde prato (measures 38-39) In the next example both parts converge from a fifth to a second by leap-: Posando sopr'un acqua (measures 62-63) r I! :· :;. n ~

    Accented passing note: Usetletto selvaggio (measure 49)

    It is a dissonance which could have been avoided had J acopo so wished by simply changing the tenor progression to read d-d-g-f. The disposition of the voices conceals much from the eye. The usual practice * was to place the cantus first, the contratenor second, and the tenor third, all following one another consecutively. Not written in score form, such devices asap­ poggiaturas, three-against-two, and imitation are impossible to discern. These contrapuntal devices are tools of the trade and were employed by all polypho­ nists; the following examples summarize the technique: Sequence: /Testisse la cornacchia (measures 63-64) Unaccented upper and lower neighboring notes: Oseltetto selvagg-io (measures 54-55) r F r F r r * * * : '

    Imitation: Aquila r;ltera (Introduction) Accented lower neighboring notes: I A~------, Tanto soaz•emente (measure 20) -~ I. . *

    8 22 University of California Publications in Music Marrocco: Music of Jacopo d.a Bologna 23 Example c is similar to the above in that both voices approach the cadence in contrary motion, but end an octave apart instead of at the unison. ------(c) Ve.~ti.~se la cornacchia (measures 76-78) te.

    te.

    Syncopation: In the approach to the cadence in three-part compositions, the penultimate chords frequently contain a triad which resolves to the octave and the fifth, as in example d. At times the fourth is raised with the seventh, producing double leading tones, as in e. (e) In t•erde prato (measures 66-68)

    Two- against -three: Lo lume ~·ostro (measure 57) .Nel mio parlar (measure to)

    It is understood that such cadences may occur at the end of each verse as well as at the end of the composition. Comparatively rare in Jacopo's technique is a cadence which, because of the 8 sixth· occurring on the penultimate note, the presence of the escape note, and the Rocket is a dev~ce whic~ appeared suddenly in the musical a~t of the thirteenth fact that it was used with considerable frequency by Landini, became \!:nown as century, :each~~ Its _Peak m the fourteenth, and lost itself slowly in the forms of the Landini sixth. Whether or not Francesco learned this from J acopo (under pol~phomc w~Itl~g m. the fifteenth ... Its function is to break up the flow of the whom, according to Riemann and Ellinwood he was supposed to have studied) IS varw~s melodic. lmes mto fragments or through the insertion of a rest after a purely speculatory.'" ~ote m alternatiOn. No regard is shown for the chopping up of words or syllables In ·su bei fiori (measures 19 -21) m the process. It rnay occur in one line only (p 106 measure 10) b ·t two · ( · ' , or e ween * * voiCe's p. 3 9,. measure 63 ).' or ~mong three voices ( p. 62, measures 55-59). J acopo s cadential for~ula IS qmte varied. In examples a and b the cantus descends to the final,. while the tenor ascends by step to the final, thus joining the cant~s at the umson. The cantus may descend to the final either through syncopation or ornamentation: 8 (a) Prima virtute (measures 56-58) (b) Tanto che siate ac9ttistatl (measures 37-39) ~--.-....3' The three-part madrigal is the exception rather than the rule in trecento polyphony. Landini, the most prolific of the trecentists, composed twelve madri­ gals, only three of which are written for three voices. On the other hand, the --- only madrigals composed by J acopo's contemporaries in t~ree parts are those ---- which have survived in canon form. Jacopo composed nine three-part composi- 24 University of California Publications in Music Marrocco: Music of Jacopo da Bologna 25 tions ( 5 madrigals, 1 canonic-madrigal, 1 lauda, 1 caccia, and 1 motet), evidence with a most exasperating problem-the correct application of complementary which points to Jacopo's superior polyphonic knowledge. One of his most ap­ accidentals when these have not been intentionally applied by the composer and pealing three-part works is the madrigal Aquila altera. This composition is un­ left to the discretion of the singers. In this problem we cannot turn to the usual in its harmonic texture, in the use of three different texts which are sung theorists for guidance, for incongruity exists between theoretical and musical simultaneously, and in the use of first and second endings in the ritornello. So sources. How are we to explain the inconsistency in the use of accidentals in one that the reader may see the harmonic treatment of this madrigal, the following composition when the same composition exists in two or more codices~ Perhaps analysis is given: we can turn for comfort to the pen of Ugolino d'Orvieto (fi. 1400), who tells us First part, measures 1- 12, strict imitation between cantus and contratenor that formerly it was the performer's prerogative to apply the self-understood from measure 7 over a nonimitative tenor; 13-16, cantus and tenor draw to a alterations, but now it was necessary to notate them because the singers of his cadence in contrary motion while the contratenor rests and comes in with an day were ignorant in such matters." Armed with this testimony we stand on firm overlapping entrance of the next phrase as the outer voices cadence; 17-25, ground in stating: (1) With trained singers of the fourteenth century the task melody taken by contratenor while other parts offer counter-melodies; 25-28, of adding accidentals not already supplied by the composer was, of necessity, a principal melody in tenor which leads to second cadence; 29- 37, overlapping matter of preconcerted agreement amongst the singers; and (2) chromatic altera­ entrance by the cantus and contratenor; 38- 50, imitative treatment among all tions appear only in those cases in which the composer deemed them necessary parts with final cadence reached through leading-tone progression. Second part in order to remove any doubt in the mind of the performer. The following ex­ (ritornello) 51- 78, cqntrapuntal treatment of cantus and contratenor, with ample will illustrate these points: tenor participation restricted to that of supporting bass. Aquila altera (measures 40-41) As a whole, two-voice madrigals are less imitative than those with three voices. * The treatment in the former lies in an even distribution of note-against-note writing and contrapuntal elements. Although deviations exist, the following analysis is given of a typical madrigal for two voices, N el bel giardino. First part, measures 1-10, two voices in free polyphony; 11-13, note-against­ note writing with syllabic treatment of text; 14-26, contrapuntal and antiph­ onal treatment, with hocket in measure 25; 27- 28, note-against-note writing with syllabic treatment of text; 29- 36, rhythmic imitation combined with hock­ ets; 37-44, contrapuntal treatment; 45-47, note-against-note writing with syl­ labic treatment of text; 48-56, contrapuntal treatment with one measure in hocket; 57-58, cadence approached in contrary motion. Second part (ritornello), Notation.- Vp to the thirteenth century both Italian notation and French no­ 59- 61, contrapuntal treatment; 62-70, note-against-note writing with syllabic tation went hand in hand in their development, except that the French recognized treatment of text; 71-74, contrapuntal treatment with approach to final cadence only fixed values of their notation, whereas Italian notation was not concerned in contrary motion. with fixed, but rather with changing values. Jacopo, a member of the early Italian school, employed the notational principles evolved by . But al­ Modes and Musica Ficta.-Jacopo preferred the Dorian and Aeolian modes. In though the Italian notation was in use for scarcely a century, French notation only three compositions is the tenor found with a B-fiat signature. To achieve con­ attracted composers throughout the continent and laid the foundation for the trast between the first section and the ritornello, J acopo often resorted to a change development of our present-day notation.'" in mode. In this regard, we find that approximately a third of the compositions In his treatise L'arte del biscanto misurato, Jacopo gives us the following in­ are cast in one mode for both sections, whereas two-thirds have a change in formation: "Nota che il tempo e le brieve una cosa significano." (Tempus and modality in the second section. brevis signify but one thing [that is, the same thing].) This. is interpreted to mean Like the music of the trouveres and , secular compositions of the that the unit of measure is the brevis, or a whole note in modern notation. fourteenth century were destined to play a major role in the gradual disintegra­ The subdivisions of "the breves are usually indicated, where a change of rhythm tion of the modal system. Although the music of this period is based on the occurs, by the appropriate initial letter, as for example "q," meaning quarternaria, modes, the use of complementary accidentals often destroys the modal character or four semibreves to the measure; "i," meaning senaria imperfecta, or six semi­ through raised leading tones at the cadences. Though not employed systematically, breves with an upward stem (or minimae) to the measure; "p," meaning senaria F sharp, C sharp, G sharp, and B fiat were freely used. These are the only ac­ perfecta, or six minimae to the measure as in triple simple time; "n,"· mean­ cidentals employed by Jacopo irrespective of the mode. And here we are faced ing novenaria, or nine minimae to the measure, as in triple compound time; 26 University of California Publications in Music Marrocco: Music of Jacopo da Bologna 27 and "d," meaning duodenaria, or twelve minimae to the measure as in triple tempus imperfectum to a place equal to tempus perfectum. It is difficult to ascer­ simple time. The modern equivalent signature of "d" is 3/2. It is clear, then, tain what influences caused this evolution, but perhaps they can be found in the that the value of the minima in Italian notation fluctuates between 1/4 and literature or in the popular music of the time, as Wolf suggests.22 1/12 the value of the brevis. The rhythmic principles of Italian notation are .Bonaventura also states th~:~.t it is to be noted that binary rhythm was used to presented very ably by Willi Apel in his book, TheN otation of Polyphonic Music a great extent by the Florentine composers."" These statements are borne out in from 900 to 1600.'0 When the time signature was not given at the beginning of Jacopo's music in which we notice that the first section of the madrigals is written the composition, the performer was obliged to classify the notes into those groups in duple meter, whereas the ritornello is in triple. The first sections of twenty­ in which they fell most easily. In this respect the performer was often aided by five madrigals are in divisio binario and six in divisio ternario. The ritornello points of division, which seem to have been established by Petrus de Cruce and shows five madrigals written in divisio binario, and twenty-six in divisio ternario. are characteristic of Italian notation. Besides the point of division, J acopo used Rarely does the meter change once· it is established. This is a feature found with the point of perfection, point of augmentation, and points of alteration. The increasing frequency in the music of the later trecentists. An example of this tech­ point of perfection was used to indicate perfection or triplicity of a longa, brevis, nique in the music of Jacopo is the PR version of Un bel sparver, which changes or semibrevis; the point of augmentation (also called the point of addition) served during the course of the first section from the initial quaternaria to senaria,. and in the same capacity as our present dot-it augments the note to which it is joined back to quaternaria. The ritornello holds constantly to perfetta.'' In l' mi son un, by half its value; the point of alteration is entirely different in its function-the the change is not indicated by the appropriate letter, but by a regrouping of only place where it can possibly occur is before the first of two short notes pre­ notes falling into formation of twos (from double compound % to simple triple ceded by a longer one. -But its peculiarity lies in its function, which concerns not %) and also from the rhythm of the text. The last example is the ritornello of the note it follows, but the second of the two short oi:tes which it precedes, the the caccia, Per sparverare, in which the change from duodenaria to perfetta is value of which it doubles: indicated at measure 127. • CONCLUSION We have seen that the madrigal was Jacopo's favorite musical form. The poetry, The process of singing two or more notes to one syllable is termed ligature. It which ori-ginated among the simple folk, soon entered the courts and became a is found in great numbers in tenor parts, which usually move in slower note vehicle which found favor with the trecento poets and composers. It was then no values than the cantus and contratenor. longer poetry and music for popular consumption, for in its present form the Taking into consideration the calligraphical individualities of the amanuenses, music was too refined, too florid, and too complicated structurally and rhythmi­ the notation used in Jacopo's music is comparatively uniform in all codices. The cally to be sung with any degree of competence by provincial or itinerant musi­ notes are plain black-faced square, oblong·, or diamond-shaped placed on a six­ cians. Itwas written expressly for the amusement of the courtiers, and it became 21 line staff. the art song of the period, through the pioneering of J acopo and his contempo­ raries. The melismatic-syllabic treatment of the madrigal- so typical of this ! ~ .., , • r • ~ form- was no doubt borrowed from the embellished and the melismatic Maxima. Longa .Brevis Semi brevis Semi brevis Minima. Semiminima Triplet semiminima (certainly well known to J acopo). The melismas on the opening syllable (via artis} of the first verse and the penultimate syllable of the last verse of a freely invented text set to an original tenor are common to the madrigal and the embellished Final notes are either maximae or greatly exaggerated longae: ~ . When conductus.25 From the meli§lmatic organum of the St. Martial and Compostela a stem is added downward to a semibrevis the process is termed via artis. It is schools, which are characterized by the use of extended melismas in the upper added to prolong the note value in order to fill the entire brevis measure en­ voice against fewer sustained notes in the tenor, one detects the other influence compassed by points of division. The semiminima with ascending stem and flag on Italian secular polyphony."' This early Gothic influence, beginning with the on the left side can be compared to our eighth note and is used only in triplet learned art of the Notre Dame school and the secular art of the troubadours, cul­ formation. Rests have the following appearance: minated in the sixteenth century. The use of the French language, at least in Lombardian courts, is not con­ sidered unusual in view of the political relations between France and Italy and the sixty-seven years of Papal residence at Avignon. Familiarity wit.h French Perfect \onga. Imperfect longa Brevis Semi brevis Minima. musical art is seen in J acopo's brief excursion from his madrigalian pursuits to Although in France composers showed decided preference for the use of tempus the composition of a hi-textual motet. The bilingual practice is also seen in his perfectum, there was evolving on Italian soil a musical rhythm which entitled madrigal, Lo lume vostro. It remained for the later trecentists and early quat- 28 University of California Publications in Mttsic trocentists to set entire compositions to a French text, as well af? to adopt French notational principles.27 Marchettus of Padua compares the two systems in his Pomerium musicae mensuratae (ea. 1325) and does not hesitate in considering ,.. French notation superior."" The principal historical significance of J acopo's madrigals lies in the manner in which they illustrate the transition from the two-part madrigals of Jacopo's contemporaries, Giovanni da Firenze and Magister Piero, to the three-part mad­ rigals culminating in the works of Landini. That he was a master of contra­ puntal technique and canon is evident in his music. His tritextual madrigal, Aquila altera, with its fuguelike treatment of the first section, can be considered a harbinger of the sixteenth-century madrigal. J acopo was one of the first, if not the first, to set the standards of the madrigal as an art form. With this con­ tribution alone he stands as the master architect in the edifice of the . Aquila. a.lter:a. - Creatura. gentile - Uccel di Dio CHAPTER IV MADRIGAL

    THE MUSIC IN MODERN NOTATION FN 91 v -92r

    THE TRANSCRIPTIONS of Jacopo's music have been executed as faithfully as pos­ sible with strict adherence to the notation and rhythm given by the composer. 1 In those instances in which the position of a note or its value was not clear, the A-

    doubtful cases were resolved according to the author's judgment with an ex­ CONTR.d planation in the footnotes. The alignment of notes with syllables was, at times, confusing. As for this disposition, their placement was determined according to the most logical rhythmic recitation. Whenever available, manuscripts from the TENOR Panciatichiano codex were favored, since this, according to Ettore Li Gotti, is the Uc- oldest Florentine codex." In all transcriptions the treble and bass clefs were used on a :five~line staff instead of adopting the clef signs and the six-line staff of the Florentine and Parisian manuscripts. Ligatures were indicated thus: •8 qui- la'l ter- ra fer - ma In su la I ------Chromatic alterations were rarely indicated in the Qriginal manuscripts, ap­ 7 -- pearing only in those cases where the composer deemed them necessary in order tu- ra gen- tl- le ni- mal de- to remove any doubt in the mind of the performer. It has long been my conte·n­ tion that the use of accidentals varied with locality, composer, period, and prob­ ably with undisciplined or daring copyists. In keeping with this belief, comple­ eel di 01- In- se- gna dl g1u- st1- mentary accidentals have been added with restraint and appear above the note in question to indicate that the accidental appears in the same composition from another codex, or is suggested by the author. ta, Dell'

    1~ - gno, , :-; a- 11- In

    tl- a,

    Tu ai pr1n- cl- pal-

    [ 30] [ 31] 51 le. r------.,

    men- te eh a- ra glo- rl- L~

    pa- rl~ - l'es.:. ,., "• I.i t> ~- r--t 59

    PI- ma- gl- gu- lar- men- te tuo na.· tu- ra 8 11•

    vi- d! l'om-l::ra I Per- a

    67

    8 la p~T- fee- tic-

    8 vuo-

    13

    che nel- It J!"ran- d'o- pre tUat vtc- to-

    2. .------...

    to. to. so. __.---...

    75 ------

    •R le. ., 1. --, .... I

    rta. ...

    [ 32 J [ 33 ] Con gran furor MADRIGAL mat per me al- le- gre9- q'al cor non ve- me not- tur- no ~1 rt- ser- ra'l fio-

    mat per m{'BJ . ·le- gre~ - y'al cor non ve- me not- tur- no ~el rt- ser- ra'l fto-

    Pr1·

    fu· ror fe- ce to son dt be- 6

    gran f u­ 'ror fe- ce l'a­ va- to son dt be- n'e

    ne. re.

    to chtu;- so, Co- Ritornello dol- ce- ~a, Ed -:-----.. ~ 1 3

    per­ to so, eo- doJ- Ed i1D : J : : : r E : ; ·: : J : dt ~::>; ! :-;- ::m ~·' " On- d·e pe- ro eo- sr per

    la qual eJ cor mls-s'ha'n ea- te­ ser- ra- t'a mt la via d'a- mo- ~ ... La vt- ta st rt- que- sto mo- do, ~ .,... ·-!' ·~ u~ .... - ·~ .. ~ • • Jet la qual el cor mis-s'ha'n ea - te- • ser- ra- t'a m1 la via d'a- mo- que - sto mo- do, La vt- ta st rt-

    ~ ~~~~ :~ :Y J :: :;lm: :r :~ l2iE~; ~! *: : ;- :: : : : : l / r" :=~: .. :J .. :: .. ~ strtn-··:·- :ge ::a cto:rs ch ' t' o- do. :: ne , Che re, eo-

    [ 34] [ 35] Di novo e giunto un cavalier MADRIGAL b~- les- trter cb'&S- coc vten cbe sUe ser- con- FN 4t

    Oa- les- trter eh' as- FL. Ur-U v Con vten che stle ser- Con-

    01 no- · v'e gtunt' un Fe- rt a!- trt !'lel PR ~N [· i I· Uen o- gnl pfaz- D! no- v'i: gtunt' un tOtn t r a le par- Fe- rt al- trt nel

    Uen o - gnl ptaz- tOtn tra le _por- ea- va- lier er - ran - pet- to..... al- trCa la fac-

    FN ' ·~ er- ran- ea- va- pet- tOal- ~?a la fac- za. 8 te. ss

    ta. te.

    Ritornello FN ·d· I

    FN don- na dt ea- lu- I Ftn- eh~ ver- ra la

    cor- ren- te des- trler fer- che con • for - nl - to don- na d1 ea- !u- { ·l Fin- che ver- rH 1:.~ cor- ren- te df-s- trter fer- che non < fOI'- nl - !o

    rt- lo da le- 1 con-vten ch'el mo- ra Et ft- ~·r;rU:~~~Ur U:: C;~·Uf:: :~-:~F.: ,.~---- ...... ~ ·{ ra. .. rt- to da le- 1 con-vten ch'el mo- ra Et fe- ra- t'a ghiac- cln d"ar- :"De for- te

    [ 37] [ 36] Entra.va. Phebo

    MADRIGAL Che cia- scun pra- to Pe- scan- do me tro- .-----, ,..----.

    FL. 20 r - 2t. v Cbe eta- sc:1.1a pra- to 4(!) "I" 1r r · r 1Err E!JQ-1 .. Pe- lean- do me tro- 8 En- .. tra- va Pbe- bo Quan- do1 1n un flu- me

    ftor ves- ti- I r> V I" I" I [' I r E do...... a. bw " I~ ::;,- !;_ • nan- quef- 1 ~n - tra- va Phe- bo u~' Quan- do'1n un flu- me

    d'er- · b8e ftor ves- t1- ~ . vat, do- nan- do..... a quel- tl ra­ ' ~' ~.:- .~ ~:: ra'""'e cbta-

    ~ a. la. 5~ con lu- cen- t! ra-. d'ac- qua pu- rae eh l a-

    a. la. Ritornello "~ :~: ::::·' .:r ::;::: ::~~ : ~1. Ne! ra. Con

    ~l, Te- gno d'A- rl- e - te che fa- ee- ~ ~~~~~~~qu~l~·~la~va~-~ga ~pfU~c~he~~Tb~e-§_tl~~~b~l-~~

    re- ~no d' A- rt- e- tt: che fa- ce-. quel- la ..,.a- Kll . piU che The- tfS · bel-

    [ 38] . [ 39] Fenice fu' MADRIGAL • • or - bf- FL. :1.6 r- i'l' v 2~

    Or- bi-

    Fe- nt- ce tu', et AI- be- ro sec- CO

    ..to- -ra:------so to.

    vts- sf ma- f

    to- ra. .I to. vis- sf pu.- ra et m or- ma - f ne ac- qua tor .. Ritornello

    .... bf- da Et or sun tras- mu- ta - t'tn u- na bf- da Non DJ! df- let- ta maf: .Per que- sto

    .. I Tal vis - sf et tal me '\'f- \'0 bl- da Et or sun tras- mu- ta- t'tn u- na tor- bf- da Non m! dl - let- ta ma l: per que- ~to du-

    ve- re , non e

    e po$- se. st"rl - ve- re, C'HA don- ne~ non ptU to- ra. bl- .. to !

    . ....______.. . • • • cht: ho- nu- t3 · vt- re . vol- lo con m or per le be l- le Stn la sta - t 'e·-l no vieD dl su- ...-----.... I~ r r IF" I r I r Jl ehe ho- ms- tit vt- ve- r<. ·l Che '\'OI- lo con mor per le bel- ie v .. s. sen la sta- t'el·- ver- no .vfen dl su-

    [ 40] [ 41 ] Giunge'l bel tempo CANONIC· MADRIGAL iJ ~J~sg' ~I ~J.~~~J~. ~~I .~J.~~ - #_Jij.-:]~-=-=-=:_j-~~.r., 2:::-: l 'V nuo- v'er- bet- tR •• f1or- 82 don- - ne pe' t;hf r- tAn - di'"tn com-

    PN 9Br i&~J~~J~~~J~~-~ ! ~l~t~~ j:f--'--::--1-"Ji::::-r-f'::;--- o- ~~_y_-_ - -.d l8 ~ ~:~ ra Gtun- A'

    1: vto- S9 pa- rnt- I· r---, nuo- v'er­ het­ 4a ge'l bel tem - po dol- C!t!l- don- ne pe• ghir-•• I an- cl si 1 ,I ,..._____, d u - 8 Glun- A' le ere­ 46 .. Se- ,..-----., ,.

    l a prt- ma- ve- sel- Jet- tl, fuo- - (1or- vto - .. I detn com- pa- gn1- .------, ,__.___, ge:l bel te111- do l- Cl ·n:r- I j. ['' j i9 iT I I f" I r : I I 0 tJ &r !-.cte bea- to A- m or 40- &2 guen - 40 !or ·- m or dret

    B w .-----, r le I·. .. po del- la prt- ma- ve- " si d'u- sel- let- tt fuo-

    ,------,

    ra Che 26 I· ra Van "

    r42 1 [ 43] I' mi son un MADRIGAL

    PN 64Y

    do­ v'es­ ser m or dre1 tut- ta ~:::f:~:~:.:r iF:: :: ·::: ;ZF:

    le. I' mt 71 .. Dell' at·

    vuo- 1•. vi- .. "~ ,~'F :~:;~F :~ r· :, :·~·E Ritornello =:F':: :; iF ..---., ---:------. son un che trui fron- de

    Ed o- g-nl frut- t.o del pta- 78 Che sol con- si- gllo fan d'a-

    ~ t che per le fra- sch'an- don- do, Ed o- gn1 ~rut- to dol pta- t Che sol con- si- i'Uo fan d'a- 16~~· ~~~~de~m~al~non~ch~leg~-gl~o~l' o§m-~~~~~bra~,~~~

    per le fra- sch'an- dan­ ma1 non chleg- ifiO l'om-

    cer ger- mo- 86 mar dl -vo-

    vO pur cer dOl d1-let- to- si fio - 2s An- :tl m'l;- gem- bra }'al-trul pt:n..sJer Vl- cer ger- mo- ! mar dl vo- ~:· (i) F' Im) i v i r D' I r i r v I r· ! ;" lrt lf'22J t dO , vO purcer-can-do,....,t dl - let - to - si flo­ bra, An-zl m'tn-g·om-bra Fal-trul pen-sler vf- "t :· DJ::J·r :·: ,~:~ ~:=J•r :~;::: : lrllO. glia.

    [ 44 J [ 45 J In su bei fiori Per far ghtr-lan- d•a MADRIGAL ·'['.::~ Che ves- te sua. vU •

    rt Per far per le Che [che)

    ~1! me dl no- vt~o- do­ "~ . .. .. ,. , . "" .... ~::: :;::: :::: 1: ::: :: ::: n : 8 In In

    far ghtr~ Ion- d'a me d1 no- v("o- do- ves- t e !.ll:. vil- tit dt ll' al- trut st1- .------:-"'

    ' + su bet fto- rt tn sul- pan- n1 bt- gt al- zat' ...------...., ,.------, pr .~ "~: : ::ms;;.~w:~ :'~UJ::;:::. :: su bet ft;:----- rt in sul• pan· nt. bt- g-1 al- zat' rt. le. Ritornello ,...---., r-:------1 .d. .,.. ~ . ~ la ver- de fron­ eo- sf s.'ac- qui­ sta la fron- de al- la rt- ton- 57 [8 Cor- vo cbe d! Pa- on ste .. ~ r-:----, 8 la ver- de fro~ eo- sf s'ac­ qui­ sta la fron• ol- la rt- ton- Cor- VO che d! Pa ... on ve -

    ~" gra- dt - ta Dell' a l- ber ver- de che 80 [~}= 6 I; r p::- I ;· • Fr~' p;~ - IP~- g; r c~n r lv:- .. de gr<~- dl- ta Dell' al- ber ver- de che r~: ~~~~ !:.te la pen- na Fr:.:~' pap- pa- gal con ver-

    ~ 6 no~ le- me si- ta. spen- na. 64 ~ - :~- - :~:'~ ·: : ~ 1'-:-----... , 88 ~~~~ ~de--:---~so~~~.. ~· I E ~ [' I f' r [' I I . J npn tt>- me si- ta . f{O- g n a .Si spen- na. ------de--:---- Sot­ da. Per

    + G ln ma.

    [ 46] [ 47] +

    ghi. t o no - vt ar- bar la. 85 bos- ehet- to .. !" +

    to no- v 1 ar- bor ghi. la. bos- chet- to Ritornello +

    ed 1- spes- Si l un- 49 se ne gl- n so- +

    I.B Del grem- b'u-n f1or . che el- l'a - ve- a le ed 1- spes- s! lun- se ne g!- va

    - ! . ~ - • -

    ~ ~· ght, Pa­ la , Cb ta- - M~

    tol- SI. sr B gbt , Pa­ la, Chla -

    •8 fu gen- tfl che mal plU bel non co l- ~ stu­ rel­ la tro­ va! che 106 67 ma• l 'a me per dlr - le

    fu gen - tt! che mal ptU bel non col- B stu- rei - l a tro- '\'at che I m a' l'a me per dlr- le

    + .------...... r------.,

    8 si. gJie - a fun- 112 76 ~a pa- ro- +

    I· sl. eo- g iJ e- a fu~ u- na pa-

    + Hay &e omt'tted i'n p t! rforman.~Jt!

    [ 49] [ 48 ] In verde pra..to MADRIGAL dl •an- tan- do dol- ce tre- le- na, 1- m_a- g1-• nan- do don- I'N 95>-96r • • 29 dl can- tan- do . dol- ce tre- le- na, 1- ma- gl- nan- do don- ~ r------..,

    CONTRA. dl can- tan- do a dol- ce tre- le- na, 1- gl- nan- do don- -:-----. TENOR In Con

    • ~ 86

    ver- de pra- to pa- dll- tan- ta ehla- rl- ta don- <9-' .. 8 d!l- ve:r:._- de pra- to • pa- tan- to ch1a- rt- - ta don- -,--, ...... ver- de pra- tOe. pa- d!l- tan- ta ch1 a- rl- ta don- scha, Don- de Ve-

    48 glion ten- du- na m'a- ~ scha, Don- • ... • de ,______, Ve- u gl1on ten- du - na m'a- par- scha, Don- de Ve-

    ...... ,.. ... glton ten- du- na m' a- par-

    ne'""ed mlin- t1 su per..... Per- ba fre- nls- son·- si be- gli''oc- chl e tre~- 'i".. bion- tt:------Dan- ~tr vt- 50 ye, Ch't' pre- si . ne.... ed ~ man- u su per I'er- ba fre- nls- SI be- glCoc- chf""e tre<; - ~e bion- --., 22 ------t!, Dan- ~ar vi- :'·e. Ch' t' pre- si ne~ed man- tl su per,... !'er- ba fre- gli-oc- -:------nls- son SI be- chJ e tre<;- ~e blon-

    t-J, Dan- ~ar vi- ve, Ch'l' pre- st

    [50] [51] I' senti gi6. come l'arco d'a.mor MADRIGAL

    ,• PR Ur 56 i

    ~~ sen· Dal tem-

    I' sen­ Dal tem-

    I' sen­ Dal tem-

    62 scha. t1 &"la eo- me l'ar- eo d'a- mo- d• . po .no- vo~tn- flh do- dt- cht - r--.,

    8 me l'ar- CO d'a- mo- scha. t1 ~'~" eo-. po fin do- ve dt- eh!- de . no- vOtn-

    Ritornello eo- me l'ar- CO d'a- mo- .d. tl &"la ...... po no- voln-ffn do- ve dt- eh!- fl. I Mer- ce ch'el tuo po- der

    re, 69 "' na, ~ Mer- ce ch'el tuo po- der :1.1 re, na,

    Mer- ch'el tuo po- der r-----,

    re, "7' na, ,... .. m! va- glfa.

    ...... Con gran vi- gor el suo stra- le dts- ser- sa- men- 78 Stio.- t'e la ' spt- n(ln l'a- mo- • ~ ·- mer m! va- gUa------...... £!.• o• 22 Con gran vf - gor eJ suo stra- I• dis- ser- Sh- t'e la sp1- nitn ra- mo- ro- men - ·- mer m! va- glfa. + -- -r- Con gran '\'1 - i'Or el suo stra-' le dts- ser- sta- t'e la Spl- nlitn l'a- mo- ro- •• .. Jib .llll J. 11\ ''"

    [52] [53] ..------.... Ritornello

    "'· .. te, tor- to e'l m!- o Si- gnor 29 n, 61 te, tor- to e'I mi - o Sf-

    ra, tt, Or son tor- to e'l mt- o St- ...... •

    8 Che no~·\ si .sfer- ra tna! da g~n- tn eo- As- sen- te dal bel vt- so pe- re- gTI- 11- da, .. .. 11! .. S7 .. 66 Che SI sfer- ra mal ~ a gen- 111 eo- As - ser.- V!- pe- grt- •• dc..l bel re- ~ gnor m'af- 11- da,

    Che c.or:; si sfer- ra mai da gen- tJI co­ As- ser. - te dal bel vt - so pe- re- gr!- gnor m'af- fj- da , Pur

    eh' to r!- tor- n! al - la sua dol- et: gut -

    .. + 70 • 8 Pur ch'io ri- tor-n! al- '" sua dol- ce gu!-

    eh' 1o rl- tor- nl al- la a . dol - ce gu! -

    da.

    75

    da.

    da. • re. na. + 1J l o )IS

    [54] [55] Lo 'lume vo-stro MADRIGAL ··t :::::]:;:::J:•&:;<::; ffis: PN 67v tl ret non ICO• ·sa-

    Lo HOe •eiD:- pre cb.ia- por- r'er- ro-

    Lo Iu- .xp.e Hoe est no- sem- pre ebta- por- r'er- ro-

    ' J 1 JJ I ,J Jl' I r E1} R I S t Jd I J JDJD I J ~ J vo- stro dol- ce mt- 0 st- po• ?' tum. et (est] sa- tts pro- ba- r----, ..'-:------re.

    To- stro dol- ce mt- o st- po- ~ tu.m et [est] sa- tts pro- ba- ra. re. *

    re, Vir­ tu.- te stc per- fec - tu-m, In que- gli ch' ban- no sen- ·~~r&u:: crdJ::nw:; ;;;,:;-;-;: re, Vfr- t·u- te ste per- .. r: tum, In que- glt cb' han- no .ser - U- na d.on- na vt re- gna

    ---:9' a- .--,.._ ---::---.. 4 ~. ilJJZIJ fiJJ!A liJ BJi31J ta est OT• na- &t eta st - bel- la ~ Sui ctel non e po - sta ptU tOe I gus- to.... a- m a- t~ r j I ~· r vI J l t I e r I V ch'e sl- bel- la, Sul la est OT• na- ~ to-el gus- tOa- ma-

    tum, Ch'a' ro, Na-

    [56] [57] Lucida. pe!ra., o Ma.rgherita. ca.ra. MADRIGAL tuo' be- gi-Coc.-cht o- gnor di- seen- 25

    PL i.ftr-20v I ~~· ~~~~~~ tuo' be- e-UOc- cb:i. o- por dt- seen-

    ~ ~. ::r: J IEID ::; :~:l :; : : Lu- et da ' .. t:';ucu::,q;~:~ :~·n~u~r:=

    de.

    .~ ; qn?B ~:· :· :;:: :u~ ::-·:' .. r:: ~:·~.: Ritornello ~- .F .r =r · f :::: =r: pe- tra:-o Mar- gbe- . rt- ta ~a- ~t::: ~,;~::::: :::rr::: ~:::;·:=:·: ·:: "~ = :: =· :~r!_r; :=: :: :: E!: Pe- rO mer- ce- de tn- ra, Tan -

    .. :; ..:; .:·:.-:~: :g eo:. :: ~- :r::: ...... "..: ...... ~ ,... ~ · ...: .. to splen- dor non ren- de, 1 "~,:. r etc;r :~ :·•;::: u:;~; :; ~rE r: ' .,t·:;.. ;:;::~ ~· :~~:~~::: f:r ~:~~;:; :: Quan- to da'

    [58] [59] Lux purpura.ta. - Diliglte iusticia.m MOTET vtr- tu~ . tta at-que et'~-ti- e ser-va-tor re-1 - pu.-bli- ce, Vtr- tu- tum eul- tor op- tt-

    ..---., PAD.U7& ll21~~~~~~~~~~~.... . pro- Jlrt- um est prtn- et- pts, Lux

    Dl-

    Ve- ma - ter et- ft- cax Con- stans tn Ol:L-nt stu- dJ- m us rus ·- 1 28 ...... pur-pu-ra.-ta ra-dt- is Ve- nit fu-ga-re te- ne- bras. Ut sit. e- xu- tus yf- cl- ts. So- r---, 6

    11- gl- te tu- stJ .. ctam lu - dt-• ea- tts

    -& o, Et nJI per- mtt-tens rt:.. tum. Cle- mens et tus- tus j £? , ! I i : M P"j ;; I• ... I J 61 I :=>- I r----, • • • • • ;,. 7J TI • .... BB Cle- men- it vi- gens prfn- cl - I~ V ...... 11- cl- tu- do pri::- su- 11

    ma- cht- nam, Pro- des- se cunc- tis dt- se t-

    do-mt-cus, 0-nus-tu.s ar- ro- gan- tt- bus, M!- • ..... Ho- no- rls nam- que cla-rt- tas 1- psi-us to- t1 se- cu- lo !':u- me ac.-qut-rft ce-le- bre

    Sit mes, ut pa- et- f t-

    te, 0- b e s-~e nul-It (iiJe- rl- te,

    [ 60 l [ 61 l Nel bel gia.rdino MADRIGAL cors e-: gen- t1- bus, E- m1t lu- men om- nl-

    441¥1~~~~~~~~~~~~~~~~~~~ ~ ~~~ I'N 68.,. ce Qui-

    bus, Sa- lu- tls at- que pre-

    r----, 49 nan- d:a me fe- del ot- t1- ma lu- FL 10 scant e- ius po- -· -· [~.8 -~~~~bel~gia~r-~di-~no~c~be~~l'A~-~...... ~di~-c~e~c~in-~~~~~~~ ! 0 bel gtar- di - no cbe l 'A- d1 - ce c1n- - nan - d'a me fe- del ot- tt- ma lu-

    ge, Vi- ce, Spez -

    ve la bf _ seta fe- re ve- le- zO la fe- de ten- ne via d1-

    ve la bi - seta fe- re ve- le- zO la fe- de ten- ne vh. dt -

    I:W :Err I rm FEU I CUE; Ef Efl .. ~ ~ ~ :: ~ : ~ 1f ~ 1r ~ r 1r r r r 1 no­ ; : ver-

    [ 62 ] [ 63] Nel mio pa.rla.r .. t& ~: :n :~~~ ::r:r:;r:: ::rrr:.~urur: LAUD A sa, Che sa, SJ

    p 588 I

    e-t& fu don- na la ed a- mo- ro- ehe d.t don.. na ser- pe fu con- v~;----::.!:!-;::=_...--.._=:;::- ··~ ~ .Ne I - mi- e1a tu don- na bel- la ed a- mo-, ro- che dt don- na tn ser- pe fu con- ver- -- - - ml- fJ.

    .. ~; :.:rrt:~HF:.~ ::: :::~r :~r:; : Tenor lete concordar cum trlbue lpo numerato1. sa. sa . n

    - ~ Tenor------late concordar cum prlmo canto 2 .. t:::,~· :: s :m :m :: ~ : JJ ~ :.;H : ~ ·:·:; ;-;. ~· : : . Com' piU la fu~- go . ptU mt c1a dt· 1'-' ~ o par-lar dt que·- st!l don- n1e- ter- na, Do-

    ·" 7

    o par - lar dt que-sta don-n'e- ter- na , 7

    mor- so. Ne rt- me- dfo -

    . -.• ... ~ ...,...... !:iO'":------~

    1·) 1'1ds T~nor t"s to !Jt! sung rc£tA tAtt uppt~r tJOt"Ct!.t. so. 2) TA is 1';mor i1.to 6" .tung wit A tAe /t'r1·t t~oz't!tt on.IJI.

    [ 64] [ 65] ----:9' ----::-... n n ~ ~ - .....,

    I o.~ -.. I""' Ne! - na - me Cr-t-sto gra- tt- -- - (I - ...... ~ "9' ;::? ----:i' .., .., .. - Do· na- me Cri- sto gra - tt - Ne! 12 - 28 ~ n

    1! 11' n n • ~ M

    fl ... '$" --:7' ? " --"" 7 .., 1"-' -- - sem- p1 - ter- mon- do f u la don- pec- ea- n -- ~;::;--- (l ...

    I "" Jt.l - "" sem - PI- . ~-:r- man- do f u don- 17 ss la pec - ea- " fl ~ ~ 11( " ~~~ .M ~

    fl ::4::; ----:7' 3' 3' (I --::r ~.., ~ I "" - na. trl- - ce,------01 - ---a-' ~ ~ ~ ~ 'Z 7 _fl _7 r-- ~ · - ] na. = r.r---- .....______~- · -···--.~·-J• trt - ce, 01 22 ss (I 1l

    1. == ~ ,...... ______, " == " ~ - M - ~

    [ 66] [ 67 J Non al suo aman!e MADRIGAL I" .. - n

    I" qu:;-' ~or- tal n ·~:~I . I I 8 Non Ch'a

    ~ al su' a- man- te plU Dt- a- na ptac- .~ . - " ,.. ..,. "" al- pe- stre e cru- Jj_ _, - al su' a - man- te piU 01- a- na pfac - me la pa-. sto- rell ' a l- pe- stre e cru - I u qu~ mor- tal pec- ea-

    ·-

    48 fl

    que, Quan­ da , Po-

    do •~ per t a l ven­ tu- ra tut­ ta nu- t'a- ba- gn i:!. r un leg- g!a- dret- to ve-

    do per tal ven- tu"' ra tut- ta t 1a ba- gnar un l eK- g1a- dret- to ve- to':---·--·

    to. 59

    c :: @::: E: F~:: r:::: La Ch' al

    [ 68] [ 69] 0 cieco mondo MADRIGAL v1 - d1 nel mez- zo del : ·le ge - 11- d'~>.c­ 80 au- r'al va- gOe b1on- do ea- pel ch1u-

    v1- dt nel mez- zo del-le ge- 11- d'ac- f'N oar au- r'al va- go""'e b1on- do c ~:t-pe l cb1u- bt: J mm;::~:;::: ;::n:~:·:~= :: que . da . Rftorne.llll ----._ ---:;-.__ ~ .... cte- CO m on- do dl lu- sin- ghe pte- l'e eo - lul e'ha te dt- rl- i'B'] fre- .[ p 568

    ~ ete- eo mon- do dl lu- sin- ghe pie- M~:::~ :;m; ;:n:: :;~::: ::~: Pe eo- lul c'ha te dl- rl- ga'l fre- Tal che ml fe- ce j =I 0 2 J .. .."" I ' :&;

    ~2 ure:l I ::; ; ~~ I ~ I : . : r r ~tf- ;;·;·-·?U:n~ :~;::!;Jrl § no, >: ;::: no, : quan- do e-gl1 ar - dt: 'l cte-

    Mar- tal Quan- do ~• lo, Tut - ~ a- mo- .,~ .,~ M or- tal lo, Tut - to tre- .mar d'un a- mo- Quan- do

    ve- le- no In eta- setin tuo dl- a per men ehe ntll- la que I ben u ~· P~68

    so ge- lo, ~ ve- le- no In cl a - scun tuo dl- a per men che nul- la quel ben

    [ 7 I [ 70 ] J P568 I

    lee- to, 80 per- de,

    ---...... et de.

    lee- to, per- de,

    8 to. de ;

    Ritornello Fal- la- ce 87 Che so- pr'o- P~88.. Pe- ro gtil mal 67 p 588 I Fal- la- ce Che pr'o- ! Pe- ro rta mal

    + pfen d.'tn- gan- nl e 48 gnl al- tr'a- mor li.l-

    dl- te CO- lul non cu- rl,

    l'Sti~

    pten d'tn- gan- nl· e • trnl a!- tr'a- mor lu- "I dl- te eo- lul eu- rl,

    l OS­ pet­ St. ver-

    p 568 Che'l frut- to vuol gus- tar dl • 75 P~68 sos­ pet­ • sta ver- !_ Cbe'l frut- to vuol gus- tar d1

    ..._____.. "-----"

    P SGS r-:-----, -tt-· ...... • dol- cl f1o- r1 .-:---- 78 !• P5tik dol: cl fto- rl.

    + Jffly l;e 'omz'ttnf i'n performanc~.

    [ 72 J [ 73 J 0 dolce a.ppresso

    MADRIGAL- RISPETTO s'el- la vfen piU a te, l'ac- qua le nte- 82

    Ma, s'el- la vfen pf~ a te , l'ac-qua le PN 82v

    0 dol· ce ap- pres- so un bel per- ga. sa dar- ce al- L " [· 0 ~ .. •

    0 nle- g·a. Sa dar- mt pa- ce al- quan- to non st

    :: pie- ga.

    Ritornello ~ ---:?"" --a-- ;;a---- .. --:9"'- ----a-- ~ ---:?"" ~ .. so la - V! l e man Je gam- b'e p1e- dl Ahl, la~- - so me, non vuol ve. nlr - " [· "[ Ahi, I as- so me, non vuol ve - n!r le manle gam- b'e

    .... .-a-- 3'

    ptU ve, M a Uen ne! m!- 0 cor A que- sta rea fuor d'o-gnl buon eo- stu - me, 58 s;:----..., .. Q [· ~· 0 p i U a na- ·ve, M a tfen ne! m!- pte- d! Que- sta rea fuor d'o- gnt buon eo- stu- me, 3' .. .. ? stret-to sot- to chla - ve. 67 ~ A cut dl fe - del tut- to m! die - .Q.· .n· 25 [·

    stret-to sot- to chh. - ve, I' A cut d! fe - del cor tut- to m! die- dl.

    [ 74] [ 75] 0 in. Italia. MADRIGAL· RISPETTO 8 Un ve- ne- re fra ses- ta.-.e Lu· ea Gio- van- ni a cbi lor 81

    r---- - ~ PR tiv •• N r' 1 ; 1 1 " l~§~~~~~fff~· ··•· r::u r r r r r r r 1ELfJJ s IE1ifEt£Jir r 1'" err OJ Un ve- ne- re fra ses- ta'"'e ur Lu- ea G~o- ·van- nl a chl }or 0 fn I- ta- ll- a I'(~ Se - gno fu ben che e tJ:(#) 1 r t r 1 r I tr I [ f' I r r r W 0 In I- ta- 11- a Se- gno fu ben che za nac­ que- ro. no- me pla- que- ro. Fl. S7 I

    fu dl gran -vlt- to - . " 6 ter­ .. nac­ que- ro. A,~fe-Ell~-~~e~L1-~gu-~~~~~~~~rr~~~~~·.~,______, no. me pla- que- ro.

    i~ fe- If- ce Lt- gu- rt- a, fu dl gran vlt- to- rl- a,

    ~ E ' pro.;>rlo tu Ml- lan , Dio lau- da e .. :: :t : :: r r ? : ; ; : : : : 18 t:::·:~: ~ ~- ~ ~ ·~ _ ~-~~a~lch~· · ~~~~~nr-----___,§~~·t.=n' ~·-~qut~-~~·~~i~tra~s-~s·~·~I ~cr~tsu§an- Qua- ran- ta - set

    E pro-rrlo tu Ml- Jan, Dlo lau- da e I Che un' a-qui-la li tri:ls- se al Cr1st1an- 1

    ,,ri-_ a De'-- dul na- st- r .! :: ·: :E :: ::F; : - mo E Par- ma I'' or do- .. t c: ;~ :: :·; :r ~ un M con tre C Cor- re- a e

    -- glo­ rt- De' dol na- tj sl- e.- si- E Par- ma !or do-

    •, eh•' I t'a- g-u- rt­ a. ~~, ~nor c~el sl- mo, 2 " ~ ,; oo- '"' ,.,_ oo- .. ~: ~ ::~ fu :·~~::d'a- gos- to :>-~·:11 quar- to :;:df. ::

    gnor che'l cte l t'a- gu- ri­ a. nO do- po'l bat- te- s l- mo ,

    [ 76] [ 77] O.selletto .selva.ggio MADRIGAL

    ~ cl ver - set- tl can- ta con bel mo- con so- a- v'e ctol- me - lo- dl- 2A I'N 6~69r bal- l a - te, ma- drt - u-e mat- te -

    Per­ can- t~ -t'.O il bel mo- Po- mt-- lo- cl1- 11 et mot- te-

    0 - Per ­ Po-

    sel- l et- to sel- vag- gto per sta- gio-· grt - dar for- te non s1 can- ta be ­ ' cht l'ban- nOe tut- ti s1 fan ma- e -

    sel- let - to sel - vag - g1o per sta - gto - g ri- d::~ r for- te non sJ can- ta be- do T a- le che grt- da for - te eh! ch1 l'h

    v a 1 do Ta- le che gr1 - da for- a Sf r:. bel can- to 11 Tut - tl fie- ran Fl-

    .. ..r------., r---, 11 b l o - st r1- 46 chet- ne ne 17 strf

    te c. hi hon lo- cl vuol mae- .stri- 11- PI. -. Mar- chet-

    strt

    - do. a. 58 11. a 28 M Fan ......

    do. dol- et ver - set - t1 a.. M a· (On so- a- v'e dol­ tt. Fan bal- t

    [ 78 ] [ 79 ] Ritornello Per .spa.rvera.re CACCIA u ~r

    I k':U"~":: I'N 70 r - = ~ :I - Si :: Per spar- ra- re tol- st el mto spar-

    Per

    ra dt ma- gt- stro- 11 Che

    61 e pte-na la ter- ra di ma- gi- stro- 11 Che

    ro. Brae-ch(e brac-cht chta- man- do, "Elt, eit, Ea- rat- tie- ra, Te- va-

    spar- ve- ra- re

    Zon- ze-mo al- la ca:m·- pan- gna, :------vt - dl cer- ..... :~ .. .. 26 - - lo- eo piU non tro- va- no df- do, C'E1't, ett, Ba- rat- t1e- ra, 76 Te- va- r1n, te,

    lo- eo piU non t.ro- va- no dJ-

    r1n- fres_- car la ehan- gna, usur- la,qut, Te-. ya-.r1n,

    Zon- :r:e- mo al - la cam- pan- gna, vt- ·ctf cer- char e

    see- po- 11.

    - [ 81 l [ 80 l r----"1 ..----.._

    sa boc- ea,, f1Ut" "Le - va, du-· b1- ta.: " Ve' la Ba- rat- tie- ... ttUt" "A- mo- ro-

    ~ r-----, ~ ~ 97 •8 "Bur- la , quf, Te- va- r1n, rtU.t'' 1. Po! del re- d!- non ml 1u- car la chan- gna. ~~~

    la!"

    59 bOc - ea, flU!" "Le- va , le- va, l e- va- la Ba - rat- tte - ra, rtUI" ' ~A - mo- ro- sa

    b Ritornello + ·- .p. don- na pre- s1 Qua- glie as- la\l' Per l a ml- a ml- o spar- ve- ro In pu- gno, Et

    119 "Guar- da, g ua:r- da, guar- da- la!" _,.,._ .> " +rt- 8

    Per quel-la tol- si el m1o spar- ve- r o In pu- gno, Et

    b ~ ,----. ,.---, g ...... ~ ~ -, 3' ? ? I r ltt c I I I I 11 j' I r 1r r 1EEU 1 F I : rrr I r r non ml re- dl ~ re j, Pol del I~ sa- l'ul-tt- mo dt d1 gJu.n- gno. r---, r---, ,-----, r---,

    Sfi ~28 na pre - si Qua- glle as- sa- ~ Per la ml- a don- 8 .-:----., .

    que-sto ru l'ul-U- mo dt dl g1un- g"ll<> .

    + )foy lu olla'tterl 1'n p~r.formn7tCt!, ++ (} t'n J/.r. J) 1.11. L

    [ 82] [ 83 ] Po.sa.ndo sopr•un a.cqua. MADRIGAL mu- tar- s'u- na don- n'tn fe -· ra b1s- ques-ta ser- pe mt mor- dea si for-

    I'N 61v

    mu-tar- s'u- na don- ri'tn fe- ra bfs- ques-ta ser- pe mt mor- d.ea si for ..

    48

    sa, ~ san- do so- pr'un ac- qua te, 8 ~~~~~~~~~g§o- ~gml~~co l~-~1~1 tlple~-~d~l

    san­ do so- pr'un ac- qua go- mt col- 11 p1e- df ~ sa, Che te, .. Che

    Che "~ r r : ; r :~ ~ :~: u : :~:. :; ~ ) ~ : : : : Che tn so - gno vt- e- col- la eo- I-(A. (l tu.t - ta'l vol- to -ml SI git- to ml 5\'t.:- glfai po- eo lun- g) da

    tut- ta '1 YOl- to ml si glt- to " ~ : : ~ : :!·· : : : ~ : : E : : : :,:: : ml S\'t:- glfRI po- eo lun- g! da di, Tras- , ~ E ....

    A fls- 65 mo~ - ~ .. ' : .. -~ ; .,.------.... . tts­ l mor.;.

    [ 84] [ 85 ] Prima. virtute MADRIGAL

    72

    PN 6.,._87• PR # 7' sa, te, Pr!- ma vir- Ma per ben Ritornello -:------. .2

    Prh m« vir- .Ma per ben A

    PR "? p

    A tu- t'e eo- str1rl.- ger la Un- fa- f'e per ben dlr s'tn- pin-

    tu- t'e eo- strtn- ger la 11n.:. fa- r'e per ben dlr s'tn- pin- tor· na'l co l- lo m1 la. sctO u- na strop-

    11 1 tor- na'l col - la m1 la- sci({'u- na strop - .. ~ : : : : : J rJ r : : ~= e r :r; e • u r;: : r ~ J ~;: ~ : : gua Chan- . ~ 8 pa, Che per in- to mat non - 99

    pa, Che per fn - c:m- to mal non

    ta- si'n men - -te

    ea- to ch'e per- fee- to au- to - 2~ dl eo- lu- I ed i: f~- 11-

    ea-· to · ch'e per- fee - to'""au - to- ~ d! eo- lul ed i: fe- li -

    [ 86 ] [ 87] I r i!Ja3 I 2 J J .f] I Ch' il sa ta- re Qua.ndo veggio rinn.ovella.r i fiori Ch'a ra- gion sa MADRIGAL ~r F' L r I• I I r I ~ I f' r r I r r r J re. Ch' U sa f"a - re ce. Ch'a ra - g1on " FL 0 V

    ...... ~ .... ser- vo e s1 - gno- ce- r'e pe- rO df- "!. •::~ .. •

    bUOD Ser - VO Si- Quan ­ :#:=~=;~:: e gno ­ r:;:. ta- ce- r'e pe - rO df- Per- 1

    veg- glo rln- no- sot - t'om- l'rH dj "t :~: /r) :~ ~ ~ ': :~ n:JJ~:~s~ :: ------... ce . do veg - gfo rJ n - no- che Ritornello sot - t'om- bra df ...... lin- gua non ha os- so ver non e mat mos- so, ·-l~ ~" · •• ~~~~v~el- ~~l~...ar . ~~--.J~~~ffo-.. .,, ~~ Jtn - J"ua non ha os- so ver non e mai mos- so, vel­ l ar 1 fio - PR ghtr- lan- da d'er - 1.

    m a spes - se Yol - te fa rom - ~er l o eh! per- de per mal dir non e r t- "I. ~,; 0

    M:~ m a spe:.- se ··•o l- te fa rom-per lo Chi eh! rer- de per m al dtr non e rJ- r~ rf Et ba Fa-

    r ~;-::c;m l

    so, } f . I I ~~-~=- rtn- \:'CT- cean d1 -

    + Mav 61!! omz"ttl!d z"n pBrformance.

    [ 88]

    [ 89 J sl. come al canto

    d!r le fron- de to - gl!~ed er- ba. MADRIGAL 1 mo- ra gl! vo- str("oc- cht, qu~n- do hf ------.. ~

    d!r le fron- de to- gl('ed er- ba. mo- ra gl! '\"0 - strt'""'oc- chi, quan- do

    J I r·· I

    0 r CONTJU . ~~~~~~~~~~~~~~I§~~g~ lfj sl mor Co-

    TENOR l~~~~~~~~~~~~~~~~~~~~~ s\ eo- di VO! don- na'e . d'A- mo- men- te su- per- 49 la m! a

    [' ~ d! vo! don- na,....,e d'A- mo- la m! a men- te su- per- eo- me..... al to si per ..r,

    '7

    eo- me&l can­ to sf per es- '"f~:rcu::::~ ::~ ~er, ·::: re. :: ba. eo- me'"""al can­ to Ritornello sr per es- ser, !' !·:---··a cr rr r r :~ ~; r rr rr : ~ ~ ~: ~: -: ~ J · : .. l:H::::: ·;· . u;- : .. ~-~! ;··:~ : ·= .... bel­ gua ­ ~ Che ver- de sem- pre per voJ st sem- te- is ~~~~~~~~~~ del- la bel - Ji'I- gua­ don- na, sem- pre te-

    9"

    del­ la bel­ gua­ don- na, sem- te-

    [ 90 J [ 91 J ,..------.._[. f'' ltGDr'· 1 1 I Pren­ D'o-

    na. o- den- do suo ph - cer CQ, Fa- t'D1 al- tro bel pta- ~r ~· 26 11 ,r x· f"C?t [" I tu I ss ~ u . o- eo. Fa- 8 den- do suo pla- cer . ....------... gnl al- tro bel pla-

    0- Fa- eo. den- do suo ~· - cer gnl al- tro bel pla-

    suo cam- mln p1U tem- la m la gl t£es- •er con tor- m a hu - m a - cer, sen do' I tu' me -

    BS 60 .M 0 IUO blt- cam- mln ~;. tem- re - stl la m·1a vo - .g11aes- oer ~ con ·for- m a hu - ma- cer, do 'l tu• me-

    bl1- 0 suo cam- mln ptU tem- re- s11 la m la gThles- ser con tor- m a hu- ma- cer, sen- do'I t u ' me-

    FL

    pOel gre- na. Ion- ta- na ,.. .. 40 87 8 po,....el gre- CO Ion- ta- na - na . ~

    po"""'el gre - CO na . Ion- ta·- na.

    [ 92] [ 93] Ritornello Sotto I' imperio MADRIGAL- RISPETTO

    PN 11:v- 12r

    C.ANTUS Pe- ehe

    CONTRA TENOR

    TENOR Sot­ _.:.. ____ eo-

    '"' d'o- gnl '\"!1"- tu- t e nl-

    to l' lm - pe- r!- o del pos-sen - te ·pTtn - ce, me ·eh' to la m!-ro piU CQI - ge, .---r- 7' 6

    ~ to l'tm - pe- rt-· 0 del pos- sen - te pr!n- me eh' to la mi - ro ptU sen cor-

    Q

    to ta, Tu la ra gem- m a me

    --y-.. a~ Mar - gbe - rl- ta. r r E! I r t er I J a rtr r I

    85 • I:S Mar- ghe- rl- ta.

    ce, ge,

    Mar- ghe- rt- ta,

    l ' fm­ pe - tl- o del pos-sen- te pr1n- ch'to 1a mf-roptU sen cor-

    [ 94] [ 95 ] •8 va le, El - la me pe r - ~ue ;-il cur mi si- J.!OO - strug- ge, L'a- ni ha cru do si as - pra ha la •8 Che net suo no - m'al - le Ju - ra - t;'a - "3"-- Olf"Oc chi don - nes - ch i ddu - d 'e via iug - %9

    •8 1<, El - la me per-se - gue ;:, mi si - gno- rez- 15 • ge, L'a - ni - ha cru - Jo si as - pra ha la SCHf- 8 Che ne I suo no - m'al - le do - ra - te3. Oli oc Chi don - nes - chi chiu - d'e via fug-

    che da lei fuJ!- gir nul - la mi va - le, El- la per - se - .l~·ue'J ruo - eo rianHIIa mi uc - ci- t~ SlfllJ.! - ge, L'a- ni ha Cr.li • uo ce, Che ---y---... ge, G li~c-

    } . rez- 8 a, Poi scor- za, -y---.. Ch< le, Re gna la bi scia ge, Poi eo- me ser pe 33

    za, Pui 18 eo - 1:1, """"3'-- Che le, Re- ge, Poi

    cor mi- o si - gno rez ,., si as- pra ho:~ la scor- za ,

    net suo no- m'::;\ - le do - ra - te le, Re gna la biscia't cu i rnor- so mi chi don-nes - chi chiu- cl'e via fug gc, Poi CO.- me scr- pc !os-si - eo 3"-- 3"-- •8 CO me don- na i- ste:s- sa si va- l{hez- in lt=i per li lt= non ha piir for

    So mi vi n - tos- sa por - 37

    na se stes - ghez ­ 22 sa va - in I"; per me non ha pilr for - vin­

    Che ::1- onnr in lci r~· r llllll hiir vi n-

    H p p p :a:ZD <:he ua nul- la mi [)i fun- m't1c - t:i ~~ -y---..

    Slfii J.!· I t v r I- ¥J « , Si ge, [)j

    [ 97]

    [ 96] Ritornello .Q.• Sfraccias' i pann' indosso MADRIGAL eo -

    PL Ur eo-

    stra~- eta- s't pan-. n'tn- Ma PUr el la m'of- eo - stet g18

    Strae- c1a- s'l pan- n'tn- Ma pur el- la niof-

    me ptU ehe'l so- 1•, Con

    ~ 7' 7' 150 1! lu- .. p!U che'l so - .. le. Con .t ~ :;8 ; . r : ; ~ : ~ :: Err : r : ~: :rr ~~-; ': : clos- so, Que- lu- me ptU ch e' l so- le, Con fen- de, Quan-

    ~

    sta don- ~·I- la btan- ca""'e fa so' ten- .do con suo mos- set- t'el- la mt toe-

    sta don- ~el - la ·blan - ca,.....e fa so' ten- .. do con suo mos- set- t'el- la mt toe-

    ptU clO ml rt- cor- do piU mt do- de, Et 10 ea, E

    de , Et ea, E

    r r le. :~ ~- : to mt dt tre ...

    [ 98 J [ 99 J Ta.nto che .sia.te a.cqui.sta.t i 8 par- do da lel'l Piu ch't' pos .. '12 m or m! fa ser- rar la boc- MADRIGAL r----;.--,

    guar- do da le-t' I p tij. ch' l' pos- mor m! fa .IOU- ror la boo.-

    Tan­ Ma

    so. ea. Tan­ Ma Ritornello

    A cam- po non puO star, m a dl Pau- 49

    to cbe s ta - tl'ac- qui- sta- tJ nel gtu- pen- sa.- ie cht sle - te , on- deet qua- ~ A cam- po non puO star, m a dt pau-

    to cbe sta- ti'ac- qui- sta- tt nel g1u- pen.- sa:. te cht ste- te, on - de"et qua-

    stO Non l e u- 9

    sto Non le U-

    9' ------

    non v'a- n- da - te che'1 tem- m!- 1!- t-a vot re- gna et

    Q .ra.

    non v'a- ft- d:l- te cbe'l tem - ·mt- 11- ta ·vol re - gna et

    [lOO J [ 10 I J Ritornello ·<1 ·

    po non du­ cor- te- sl- :1.8 ,.. Ta- .. 4:0

    po non du­ cor- te- sl- Ta-

    n ~--..._ I ~ .'1 ----a- 9' ra, Et 22 a, Ni"tn .... ~ lo- r'a - vi en cbe per- de- -- tf':'l va- lo-

    !2 ... .,.. ra, .. I a, lo- r'a- vten cr.e per- de- te'l lo-

    non v'tn- gan- nl trop- po'l· dol- ce al - to gus­ Et sem - pre 1&- te con al- tru1 a- ... .. ~ .... ••

    non v 'tn- gan- Et se m- Pre non nl trap_ po'J dol- ce gus- al- to vo - - la- te con al- trut

    du- r'a- mor dl si- gno-

    95 le.

    to. re . le.

    [ 102] [ 103] 'r:a.nto .soa.vemenfe MADRIGAL puO sen- tir cbt non la bran=- ea. sua btan- cbe9- ~&el sol st slug- ge. 84

    PL ~6 r- 1'7v puO sen- ttr cbt non la bran- ea. sua b1an- cheer- ~a'"'el sol si sfug- ge •.

    Tan- to •o- ve- men- te Et per dt- sde-·- gno man- ea, Ritornello l(l .. I r v r r I r r I r r r I If I r [' Tan- to so- ve- men- te Et per ell- sde-·- gno man- ea,

    per la b.oc - ,t ~ .>r :~~ :~r::u~rr:: I:: Ba- xon mt Vo­ Tal •• ~ ·~ F~: - r:·: : :: W : E : : :: U r: r r: :.EEf :

    1 c:ht la toe- ea tut- to st dt- strug- ea e- sta don- cre l- la :.,, ~~~~~~la~n-& - ~do~~v~ten~eo-~st~et ~~st ~bel-~l~ae ~b$tan~-~§

    l an - do vlen eo - stet st bel- l a""'e btan- cbt la toe- ea tut- to st df- strug- "t ~ r: r:: ·: :·: r: r :: r: r ::m:; cr :·;- : "t.~u;z::r ":::.':·:r:r:~ :: :: st che tre- man- do ea . ge .

    t+· ;:wrrrr;: lr::r :~r::m;r::; ~ : per- de le. fa- vel- Che'l non st per la

    [ 105 J [ 104 J Un bel perlaro MADRIGAL

    L :1.6 V

    de.

    4 :1. Un

    de.

    Ritornello

    .,1~8An- ~ve, ~An-~na-ve ~

    ..._ 4 8 la rl- va D'-un fiu - ·me a le An- na- ve, An- na- , f~• ~sui-~~~,.._,.------,

    sui- la r1- va D'un flu- me a le ,_ __ _ 8 le don- ne can- tan- do, Pr~- se-mi quel-la ---, 62

    fron- de Tre- ~t =1 s~a- van 1le don- ne can- tan- do , Pre- se-mi quel-Ja "~

    cui fron- de Tre- sea- van

    4 r r t t 1 v f' 1 r r r r !ll·c 28 8· don- ne gal- e fre- sche""e bton-

    [ per cut vo' pe- dO. M t r r 1 f' r 1 r ~ r ; don- ne gal- fre- sche'"'e blon-

    [ 106 J [ 107 J Un bel spa.rver MADRIGAL

    Pll lll~lh .

    Un A­ I an - do fuor per la'"'e- ra sa- pon Vo- dts- se, va' se- guen- do quel spar- ve- lar grt-dan-d.Otu-ftn-Oa mez·- za .. not -

    Un A­ lan- do fuor pr.r la,....e- ra &a - pon d..ls- se, va' se - guen-do quel spar- ve­ Vo- lar grl- dan-dO'tn- fjn- Oa mez- za- not-

    PR · #

    de, bel spar- ver g-en­ t1l d1 pen- na btan­ ro, m or che del ser­ vt r mat· non l'a- te, 8 scon- !an- d0a mon- te tut.: to gtor- no'l VI- f2_

    de , ro, bel spar- ver gen­ tU dl pen - na btan­ te, mar che de:l ser ­ vtr mal non l'a- scon­ l an- d0a mon- te tut- to glor- no'l vt -

    In Cbe .Pa-

    In ::: Cbe Po-

    ea, de, un bel pra - to ver - pten dl fron - dl- ver- gen- t11 tan - { '"e ne- dl, Ur- ra ma- )R •• seta st col - le- ga - vi"tn fra due gyot- "' ..

    ea, V O­ bel pra- to de plen dl fron- de , M! d!- ·ver- ra ~en - ttl tan- tie ma- ne- <11, Ur - sc1a st col- le- y;lJn fra due grot- ~·-

    [ 108 J [ 109 J Uselletfo Selva.ggio CANONIC - MADRIGAL 89

    p 568

    ' .... PL :I.Sv

    de. ro. te. u- sel- let-to sel-vag-gto per &ta~ Ritorne!lo

    u -

    Al 44 al al- ba'l

    o•

    Al l'al- ba'J

    Dol- ci ver- can- ta con bel do ~

    g1or- no sel - let-to sel-vag-gfopersta- gto-ne Dol- et ap- par- v'e to tor- na- va

    g-Jor- "I no ap - par- v'e to tor- va '9' ... Ta- le che g rJ- da for- te eh! non - lo- do Per 9' E queJ- J' on pu - gno a! - ! or- mt :1.4 ·{ ... ver- set- t! can- ta con bel mo- do Ta- l e che gr1- da for- te E quel- l'on pu - gno a !- mt

    -61- gr1-dar for-te non st can-ta be- ne MP. con so - as e-e t dol-ce me-lo - d!-

    221~~~~~~~~~~~~~~~~I~ -.. --.J ~~~~§§~~ lo- do Per grt-dar for-te non st can-ta be- ~~

    [ 110] [Ill J Sl fa bel c·an-toe ctOvuol ma- e-

    28

    ne M a con so- a ...ve'"et dol-ce me-lo- d1-

    ...... ____.._ Po-eht l' han- no et tut- u .

    Sft 65 51 fa bel (1.

    Ritornello ·d· ._____..- fan ma- ·- str1 Fan"bal- la- te- ma-drt- a -ue mot- SI e pte-na la ter-ra dt ma- e- stro- 48

    Po-chl fhan- et tut- tl si fan m a- 78 ;;<. .1l. ·- Sl - ... pie- na la ter-re dt ma- e- stro-

    tl Tut- 6 # ~ ~ 51 ll che lo-co pJU nontro- va- no dl- see- po- ll.

    Str1 Fan bal- la- te 9' 9' 9' - ma- dr1- a-Ill: mot- te - tl 9' Tut- .n. 78 ...... ll eh• lo- eo piU. non tro- no dl- see- po- u.

    [ 112 J [ 113 J Ves1isse lo. cornocchia MADRIGAL ~ con que!- le non eb- be vi_:- to- r!- " ., ~ ··- .. " . "' ...... ·- . •·

    PR SOv

    con quel- le non eb - be vie - to- r1 - r:::r; :~ e:::; :~;~- la- ta fu e po1 mes- sa..... tn e- st- [tf:::Ve- :: stJs- :r:se Per- che:'"'al- la .. lto. l a co r- nac- ch!a d'al- trui pen­ .9 • cor.: ti"'o - ve- ran glt'"'al- trf.... u c- eel- Ritornello FL .,_____, ~ =

    la cor­ nac- chta d'al - txui pen­ I cor- te""o - ve- ran glf'... al- tr('uc - eel-

    ne, SI .. Ercrr: Per ~~r :;·:CEr:~·ttu::rrr:rer:: 11, ; r::

    FL I

    eo- me dl- ce d'I- so - po la sto - · 26 ptit on- ta In me - fO dl !or con- I· ,----- ,--, r------, .. ~· "· . Fol - Ua fa cbe to- stQ si dis- ves- eo- me ·dl- ce d'l- so- po la piU on- In me- -ye dl l or '" te, Fol - Ua fa che t?- sto si dis- ves -

    r't- a. Ma 8 ci- lio. Pe- "~ - : ~r:~rrw ::mcr~:;rrr~rr :: : 1 r·· 1 r r r 1 r 1 r 1 v· Jt ~Y M ~miTt~d ,., ~rfttf"if!tn et te"" r!­ a. Ma cl - Ho. Pe-

    [ 115] [ ll4] Vo10. el bel spa.rver MADRIGAL quan-ta pos- so'I chta­ l'a:. ~0 - ro· - so tos- Si

    PL ~8 r- ~9 v

    ..,_. chia­ tos- .: Quel:_ ....

    1 Vo- Que I mo. CO . 87

    la .... lo be~ spar- par Yer dt ra- mOt.n mo. che di- c'a ,I .... me, Non tl eo- eo . la lo .t:el spar- ver dt par che dt - ra- mo.-.fn Ritornello c'a me, Non tl

    ra- ...... g-no- mo, Et _...... ----.... sea, Se r::------, .... ~ .. I gran dt- ra- gno - mo, sea,

    r------.,-, di - sde - gno Ben te ne pa- gbe - rO lie to vo per !o bos - i9 tu me pill non t ' a- .. !. ""' '" ··-·· ~- r---,-..-, ~ 10pet- to g1u - ro'"'e per dl - sde- gno Ben te ne pa - gbe - rO se

    Et· lo vo per to bos- Se tu me ptU non t'a -

    Cac - ctan- do lu­ ], Et E eo- sr pro- vo .. [0·· ~m J: : : ~ : : : ~ n: w ::~: :: ~ ma' tt pa. eo, Cac- cJan- do lu - I, Et quan- to pes- so•I mo, E eo- sf pro- vo Pa- mo- ro- so

    . [ 116 ] [ 117 ] .APPENDIXES APPENDIX A VARIATIONS IN THE MUSICAL READINGS

    IN COLLATING the various codices, a number of notational and rhythmical dif­ ferences were discovered, and in some instances two parts were found in lieu of three. These variations are listed below. The first column of readings represents the music as transcribed in this volume; a blank in another column indicates agreement with the first column. Abbreviations: FL = Florence, Biblioteca Medicea-Laurenziana, codex Palatino ( Squarcialupi) 87 FN =Florence, Biblioteca Nazionale Centrale, codex Panciatichiano 26 L = London, British Museum, Additional MSS 29987 P =Paris, Bibliotheque Nationale, fonds italien 568 PR = Paris, Bibliotheque Nationale, f. fr. nouv. acq. 6771 Pad 658 = Padua, Biblioteca Universitaria, MS 658

    [ 121] .Apil• •Iter-a -Cre•l•~t•• Kll111ile-Ucce/ 1/a" Oao .Ayt~ilfl c/lerfl {cont. ) Meaa. No·. FN FL P568 PR Me as. 8 No . FN FL P568 PR F sharp no sharp no sharp CO~TRATENOR 10 i E ~ E ~ E ~ E= 15 F sharp no sharp DO sharp 23 18 C sharp J J J J J J J no sharp DO sharp DO sharp r-r 26 20 tt r i tr fFFrEEEf Err r Et 24 r r 'r err r 33 G sharp no sharp no sharp 26 p 45 C sharp no sharp no sharp no sharp r ~r F' ~ F' ~ 29 G sharp no sharp DO sharp no sharp 53-54 ·33 C sharp DO Sharp riE F IUr r IUF r lr l!r DO sharp r r r r r 38 F sharp DO sharp DO sharp 55 C sharp no sharp no sharp no sharp r .., 41 •r Do sharps no sharps t u'r r 60 t ., J i> ~ ., )l J t ., j) J 46 rruur Frrrcrrr 64 51 F sharp DO sharp trcrc:r f!f!& trffct

    57 j )! ~ J ~ ~ J ~ t J ~ ~ 65 rJ J J. J

    62 J. )l ., j, ., j, 73 G sharp no sharp no sharp ~ ~ J ~ J ~ ., J j,

    63 J 76 (f J J J ~ J J r u r r Et F r r r El r

    64 TENOR J J J J ~ 5 66 j, ., )l t§J J ,) J J ~ J. ~ J ~ ., J j) ~ ,. J j, 6 one measure liga. three measure liga. 70 j, J. ., j, ~ ~ J ~ ., J j, 16 72 ¥4 r r r r •r r E E uu r ~ E r r E 73 18-21 . je C sharp no sharp -l•leje 1- I• le -1- 1- I- I le

    74 ~ J ., 25 n ~ .,m ~ .m j ., m r r E r r r r C! r r r Et r r r u 76 no .ligature no lif

    31 tED"tttr tEftnr 54 J ~ J ~ ~ J ~ t )! )'! 59 J J J J. J J. J 33 r r El r •rrrr 62 J ~ J ~ ~ J ~ ~ 35 no sharp F sharp 66 J ~ J ~ ~ J ~ t 67 C sharp 110 sh;u·p no sharp no sharp 37 rrercrce · rrrrrrrr

    70 J ~ J ~ ~ J t t

    74 J ~ J ~ t J ~ ~

    76 J. J J r;::-, 3' uo secoud 44-45 rtrrrrrj rFrrrg cfr rtr Er I rErtft(tr 79 J J twding given J J

    .Di J~~ovo ;, gi1mlu '"' cavalie1' Meao. 47 rcrur r r rrtrEFrrff No. FL FN P568 I'R L 1-2 F I e TENOR

    r----, 3 rro-r t'1 7 r r r r r r r F F 7 FFrrecre FFcrrrrr r r r r 17 E r r r 9 ClitJ r mr• o:a.J r w:r.J r C!U J r 29 no sharp C sharp 14 brevis longa long a no flat brevis rest no flat 15 longa rest 32 B flat no flat 18 Ferrcere tcrrerrr 35-36 r I rlr * r r r 1r1r 17-19 rcrrmrmrcriJrr' d~Ril~m 51 r r r r r r r r 23-24 FEFrErEFI Ftrr crcrersr 1cErlr

    2!J C sharp no sharp no sharp no sharp [ 125] [ 124] .Penice fu' Meao. I'111i •o" '"' (cont.) No. FL PR· lieu. No. FN FL PR 7 J J J J J 51 rrrrrr 27 J :: J J J. J 54 C sharp oo sharp 30 J J J J. J 59 oo sharp Csharp 41 J J J J J 4!! C sharp no sharp 63-64 rrrrrrrrttr1r errrcrErFr 1r crcrcrrrr r1 r TENOR

    3 66 :r I r· ~ - r lr * u rtr err EW Et r C!Eff! 13 uc:uu TENOR b 44 r !! ccrvr rrrvr r 1 cr r

    50 r r r r r r : 16 Pr p r r u r v r ur P 52 C sharp no sharp 31 J. J> J J. J )l I'mi aon u" Meas. No. FN FL PR 38 J J>J J> J j,J>J 8 J )lJ J>

    10 F sharp 36 . r· , r- uo sharp no sharp r 'v r 27 11 :: E5 :za • r· 58-59 " r Ir r .. 31 JTJ~.rn .m J J> 60 36 :f r ~ ;J.. r r r r r r r r r r 1 r r 1 r : 41 vr lr :fr ~tt 63-64 e r I r rr 1r

    45 r ~~-- r pg [ 126 J [ 127] Meas. No. FN FL ...... No. FN 4 --:1'- FL P568 PR ~JJ JJ] ;j 5-6 o I o o IJ .... --y-.... ~ 5 J 0 OJJ) --:1'- =J J =n JUJri 12 J J J ~ J J J J J J J J J J 6 C sharp no sharp 14 rrrrrrrr f ~fErr rtrfrr r rtrrrrr- 46 20 rrrrrrrr c:r r r r ur r r E!r E r 48 21 C sharp no sharp

    24 25 rrrrcrFriErrr~ rrrrrrrr1errr~ 49 J --:1' --:1' rrrr-rrEFirrFl ) )J ;:m 30' r r ~ r r r 54-58 Ji3JDIJ11IJWrpitlf$•uliJ J@ 32 rrrrrrrr rurrsr ruru rrrrrrrr ~ 7' ~ ~JiiLol; II!J)J JlfflJ DltjjJJ]} 3' 33-34 rrrrrrrntcrErrrcr rttr 1r r Etcr r rcr1 r r Ettt r trr 1r rercr TENOR :;;;:-----, ~ 11 C sharp 40 r-p no sharp r r t r 18 ligature no ligature .---; Et FlEECE 25 f4 .J 'r ,. g gJ J r- I F g 46 DO sharp Fsharp 37 ~r r g ~· r- = 48 rrrrr rrrrE I err rE 1 res rE~ 38-44 Melody written minor third lower than FL. 54 l r r I I r j I I j j I 48-49 '7 7 :r 1 r er~~ t r 1r PFp r= 56 ~ E 56 E E I E ¥r r ~ 62 60 ligature nu wuuwJJ]J nu J u.a J nu J u J J nu J u J J no ligature [ 128] 62 J J J J J J J J J J J J [ 129 J Ne/ 6el Kiardi11o {cont.) Meas. v ..... :n FN P.R No. FN FL P568 PR No. P,I)68

    initial note longa 64 nununu JJJ JJ lJJ oouJ J J J JJJ J J J J initial note brevis 3' 66 brevis rest longa rest J ,, 2 iiJJn 69 C sharp no sharp no sharp no sharp

    70 J J J J J J J. ~J J 71-72 8

    loop looga rest JJJJJJ1JilDJ]jjiijj JgJjiJJJ:t:wiJ JjJJilDJmuiJ JjJJIJiJJJJJijJ 11-12 brevis brevis rest

    3' TENOR 18 r r ffl£7J 1 r tUn .D f #~~ f ~--A ;; 3 long& re.t -s I I I - -I I I 23 brevis brevis rest loo&a

    13 r r r r r r 27 r 16 C sharp no sharp no sharp

    18 B flat 110 flat no flat no flat

    2'1-24 oJo

    28 B flat no flat no flat DO flat 31 J J JJ J.n J J JJU n 30 no ligature ligature

    36 G sharp B flat no flat no flat DO flat 41 no sharp G sharp 40-41 ligature no ligature "7i' 3' 52 J ~ j ,flJJ]!J 44 J J J J t J J t nmn -r 45 r r r r r r r r r j r r 3' 53 nJJEJJJJJJ 52 C sharp no sharp no sharp JJ!JlJffliJD

    56 C sharp no sharp no sharp TENOR 3' 62 r r r r r rr r r rrr r r 8 r uur brevia rest 66 brevis rest longa rest lacking r ~ 21 r r ~ r 67 J J J J J J J J J J jiJ jl J J J )lJ ~ 70 J J J J J 47 [ 131] [ 130] 0 dolctt appresso 0 cieco moNio lieu. FL P568 PR L Meaa. No. FN No. FN FL P568 PR PAD 658* brevia (unit) brevis (unit) longa is unit brevis is unit ligatures 2 no ligature ligatures 4 ligatures 6 no ligature ligatures ligatures 6 7 no ligature ligatures ligatures 8 no ligatures ligatures 13 B flat no flat no flat no flat no flat 3' 3' 15-16 ligature no ligature no ligature no ligature no ligature 16-16 rttEtrrlr- rr1Llflrru ~ 3' 3' .-..-.. 34-36 J l•e] 8 19 EEi{g~£ EUWftr 44 JJJJJJJ] JJJJJ] J J JJJ J J J JJJ] 27 no ligature ligature

    45 C sharp no sharp no sharp no sharp 28 =r J r r 57 ligature JJJ]]JJ JJJ]JJJ JJJ]IJJ uwuunu JJJ]JJJ 30 no ligature ligature

    40 no ligature ligature 59-62 syncopation no syncopation 3' 3' 42 UrU:rr r 72 JJJ JlJJJJJ JiJJJjJJ J -:r 7' 74 bre,·is re~t omitted brevis rest omitted 3' rwrw 45 EWE·;t w. TENOR ligature no ligature B flat in signature 46 1-3 longa and brevis perfect longa perfect longa 51 C sharp uo sharp ligature ligature 10 r J r J r J r 52 rio ligatnre r r no hocket 53 boclr.et no hoclr.et 15 C sharp no sharp no sharp

    30-31 e J " no sharp 56 rrrrrrrrr f ligatures 58 no ligatures ligatures 35 J ~ n J ~ n ,---, TENOR 40-42 ligature J-lfcJ J-IJJ Jale 1.. 8 110 ligature ligature r::----, .u !;;;-----, .Sol 63 C sharp no sharp no sharp no sh~rp no sharp 19-20 lt j It j 74 brevis rest omitted brevis. rest omitted 35 75 B flat no flat no flat no flat ur ur ur ur r r r * l .m indebted to Nino Pirrotta, Director of the Music Library of S. r.r.ci1ia, Rnme, for a pbutovaph of this madri·gal preserved 45 r r in the Bi blioteca Cnivenitaria, Padua ( eod~s. 658, folio YY3, No. 35), which contains only one compo&ition by Jacopo. r [ 133] [ 132] 0 dole~ app,.euo (cont.) Meas. No. FN FL P568 PR L Moao. No. FN FL PR 46 r ~ ~ r r ~ r ~ J ua J uu ~- 55 lttJrm- uur rr r ~ ur rr F ,.... 6 56 DO flat UBEJ wuu B flat

    59 no sharp 14 F sharp no sharp no sharp C sharp 17 F sharp no sharp no sharp 0 ,., Italia Moao. 18 No. PR FN FL initial note breYis it1itial note longa 27 uuu H no ligature ligature 39-40 two measures written a third higher 9 F u r r rrrrvr p r c:rur 48 G sharp uo sharp 11 55 no ligatures ligatures uru 1li no ligatures ligatures 56 EfDn r 17 J p p uu r r J Ar r J 59-60 rlr 2:{ J r ~ a J 1 r u 61 F sharp no sharp 76 C sharp 110 sharp no sharp 26 J I ~n 82 ligature no ligature r ~ 3H r J au 83 auu ar u r ruu r r au TEXOR 40 nn nJ 7-8 ligatures 110 ligatures TENOR 32-33 r uu1r r uu1r 8-9 no ligatures ligatures 38 B flat no flat 20-21 no ligatures ligatures 44 r l r r r r r 23 J J ~ r r 48 DO flat B flat 27-28 no ligatures ligatures 51 r p ~ 29 J. jlJ J u r r r

    43 no ligatures !igdtures r 1a4 1 [ 135] Meas. No. FN Jleao. L No. FN FL P568 PR initial note longa initial note brevis 8 ~ r r 6 f E r E ~:::zt CJE r---y 10 P P 8 E r r r r r ,.....___, ,...... , r---- 9 brevis semi brevis 15-16 . ff r 1 r r r u r 1 r r ft r 1 r r 12 semibrevis lacking 18 C sharp no sharp no sharp 17 ligature no ligature 21-22 two breves 23 J. I J ~ ~ J...__,_... I J. four semi breves 27 brevis semibrevis and rest 32 ~ J J

    36 F sharp no sharp oosharp noshup 30

    32 ligature &-~ • ,¥?1rr no ligature LFdUir r e::~ E == r= 34 J J J )!.,~

    39 no sharp F sharp 66 40 ligature r r no ligature 63-64 42 r r 1 r "r rr lrrr r r 1 r r :tt r r .--- 46 ligature no ligature 72 ruu r r r r 54 :0 Er r r 74 ~ .,j)J ,....._, .. r--- 60 : .. ur F 75-76 UO"E!IrBr UErctlr r F = 82-83 ligature ,.--..., no ligature 86 89-90 looga r "r r r breves ,_.., .---, r-.-- ...... 104 Jsf JJJJJ J J J J J J J 91-93 F' lr'l r' 'E rtr 1rr 1rtr 116 100-104 FN ,----, FL . =w o ·.r r r1 r 1 J * ~ 1 r::r uDir Wu r err lr" 1J.lr uJ lr ''U TENOR P568 PR So num~rous are omissions of measures iu the L manuscript, that a transcription is impossible. r U'r I r' I ,J ll i er J I r· Pr . r r r I r' I J * * I r E1 J I r· Pr [ 136] [ 137] Po&a11tlo •op,.'N" IIC¥N4 (cont.) p,.;,.ll tJi,.INI• Mea1. TENOR No. FN FL P568 PR L Meu. No. FN FL P568 L initial note brevis longa loDga brevia brevia 2 DO sharp G sharp 20-22 . r~ ~ Ir ~ ~ Ir ~ ~ r'"lrp'~IFP'~ 8 DO sharp F sharp 26 r r r r r 11 F sharp DO sharp 32 J J J J )',., J J )',.,J 12 JiJ' J J J1 JJJ'J jjJ J'1J1J ;u 39 J J J )',J j, 3' ,.__, 7' ?2 r.----. J J mu J J JJ JJ 48-48 ~ '~ rI J. I r· rr Id. I r· r r I J. I r· 7' T' ~4 mmJ J ~iEJ J J£mJ J mmJ J mmJ J ,_., --, .....-, r-""1 .....--., 25 F sharp DO sharp DO sharp 58-60 r1i1rrr1.rr r· 1r r 1r r r ~ 1r r 1r r 37 -, JiJ J J J JJJU JJ JJ JJJJJJJJ 68-70 fir I r· r I r·n r· 38 :aJ J.#l k jJ J J 83 F' ,_.._, ,.---, 1""""'1 ,...-..., 43 J ~ 85 J J J t J J J n J J :n J J J J J I 3'-- 3'-- ,_.._, 102 I ., j)J I J J I J J 44 fflJJ J J J1Ju J l

    46 F sharp DO sharp DO sharp DO lharp 110 •

    51 Fsharp DO sharp DO &harp DO &harp DO lharp

    TENOR

    ~ 13 t r t ~r r r ~ r 1r r r 1r

    [ 138] [ 139 ] Si COWitl a/ Ca1Jio Sotto l'impllr"io Ileal. No . FN FL Ileal. PR L No. FN FL P568 PR 8 r p E1J 3' 3' FPWJ 14 rrrp r PU rrrau r 14 plica 19 ruEJn 18 )\ r u E1r r t• J ~· )lJ 32 23 t J u J n 1J u J n . t J u J n IJ gJ. TJ F sharp no sharp ---;:-. 3' 32 m)lJ lnJ jl 43 ~ r p rfr u ~ r p rr r r - P r r ~ o P r r Po 35 plictJ 7'- 3' 3' 7'- 3' 3' 3'

    45 no sharp C sharp 50 traEEruEir ttrrtru~r, ttrrtrctur . rtrUrcrE1r

    ~ l!!!l"""'3' 46 unnecessary brevis rest inserted between 46 and 47 51 tJnnctrn .t--m.uc&mn 52 one measure omitted 54 &crcrererr r 66 )lJ )\J )lJ J )\ CONTRATENOR 67 JTI J. J )\ )\ J

    74 J J J J J J J J J J 21 r r r r r r 80 rrcrcrr:rr r rrrrrrrrcrcr -;r-.. 7' 3' --;r.. 28 r Ecrecrr r,f:r eua r tr ru r 86 rrrrrcru r erjrerrrr r 34 ~J J ~J )!J J J j, CONTRATENOR 3' 3' 3' 3' (No contrateoor ( No contratenor 40 uurc;e:r ar:rtrrtr aurcrr.r ur:rrcr r 31 F sharp given in this MS.) no sharp given in this MS.) 3' 3' 32 r E eJ . r r p 43 1r truu vr 'tt:ru Wtrru 63 G sharp DO sharp TENOR iO jlJ )!J )l J )!J 38 f t 9p f , Pp

    TENOR All MSS in complete agreement. 49 r r r' r r r r r r r r r r r r= [ 140] [ 141] Un 6el •pa,.ve,. PR )(..... FL P568 Tanto c.4e 1iate acfMi.tati No . FN Met.s. ---;---. ---;---. No . FN FL PR n-;1 3 m m

    2 4 11-14 meter change 3' -;--- 7' 3' '3' 3' one f u 11 measure from %to% 20 DJ JJJJJJ n n JJJJJJ . nnJJJJJJ 6 lacking

    22 G sharp no sharp

    7' 3 7' 7' 7' '3' 7' r r 26 mmnm mmJ )lm 3' 14 :n JJU u :DDfflFi Ey3t1Jn 31 J J ~ J J J J n J J ~ 7'3'- . ""i'-3' r-r- 15 J ... 42 nJJDnnnn Jl3JJ]J fJjilf,J 1IlfflJ IJPJJ Pr ;sa er 19 vr J J n= -""3" 43 no sharp C sharp 3' n nJJJJU 34 nnnm 46 J~ucUnn

    49 inw i£J

    53 r 54 no sharp G sharp G sharp 3' . 3' f] JJ J J .n JJJJ 64 J TENOR =P J J D= TENOR ~ ...... , C sharp 5 C sharp C sharp r r r r 15 no sharp

    : r r ~ 31 r r r r ' r r 38 =r i

    43 r r 1 r r r P'r r 46 n

    53 J n J 49 rr r r1 r r r ~ no sharp 63 C sharp [ 143]

    [ 142] UJutl/etto ielvaggio (canon) Jloaa. No. FL FN P568 APPENDIX B 7 J J J il ,. CROSS-REFERENCE TABLE

    Manuscript sources 11 J Number J J m Transcriptions of parts Pad FL FN L p PR Pad 658 1475 25 J ~ J J J J 1. Aquila altera- 27 Creatura gentile- J J J I J I Uccel di Dio ...... 3 M* 8'- 9V 91 V- 92' 3 2v- 3r ...... 2. Con gran furor ...... 2M 18'-19v ...... 28 ~ J ~ J J I J I 3. Di novo e giunto un cavalier ...... 2M 11'- 12v 68• 2V 11 10v ...... In rilornello,.•ecundogiven 4. Entrava Phebo ...... 2M 20'-21 V ...... 40 J ~ J for primo. Probably error 5. Fenice fu' t ...... 2M 16'-17V 11v ...... of copyist. J I ~ J 6. Giunge 'l bel tempo . 2CM 93' ...... 43 J I 7. I' mi son un ...... 2M 17'- 18v 64V 8' ...... n J I I n 8. In su bei fiori...... 2M 69v ...... 9. In verde prato ...... 3M 14v 95v_:_96' ...... 76 e ,J 9 ,J 10. I' senti gia come l'ar- r r r co d'amor ...... 3M 15'- 16v 12' ...... TENOR 11. Lo lume vostro ...... 2M 15'-16v 67v . .. ·· ··· .. 12. Lucida petra, 0 Mar- 19'-20V ...... 11 last note brevis last nute semibreris gherita cara ...... 2M 13. Lux purpurata-Dili- 72 ligature no ligature gite iustici.amt .. . . 3 Motet ...... 1 14. N el bel giardino . .. . . 2M 9'-10V 63v 8 5' ...... 74 15. Nel mio parlar ...... 2or3 L 74v-75r ...... J mnnu J nnnnw 16. Non a! suo amantet . . 2M 10'-11 V 71' 5 3V ...... 17. 0 cieco mondo ...... 2M 11'-12v 65' 6 ' 5v YY3No. 35

    2MR 14'- 15v 62V 1Y 9 7v • • • • • • • • • 0 76 0 J J J J 18. 0 dolce appresso .. . .. 19. 0 in Italia ...... 2MR 17'- 18v 64' 6V ...... 20. Oselletto selvaggio ... 2M 12'-13v 68v-69' 8v . . ·· ·· · ... 21V ...... Ye•li••e la cornacc/u"a 21. Per sparverare ...... 3C 70' Jleu. 22. Posando sopr'un No. PR FL .acqua ...... 2M 10'-11 V 65V 7 9' ...... 23. Prima virtute . . : ... 2M 12'-13V 66V-67' 12V 10 6' ...... 27 no sharp F sharp 24. Quando veggio rinno- vellar i fiori ...... 2M 9v ...... 51 n n )!,. J 25. Si come al canto . . ... 3M 19'- 20" 94V- 95' 7v 33v ...... n n 26. Sotto l 'imperio ...... 3MR 7'-8V 72v- 72r 2 1v ...... 27. Straccias'i pann'in- 157 no sharp F sharp dosso ...... 2M 21' .. ·· · · · · ·. 28. Tanto che siate 715 r r r ~ rf•oJ r er r• acquistati ...... 2M 14'- 15V 61 r 4v ...... r u J 29. Tanto soavemente ... 2M 16'-17v ...... 16v_17' ...... TE!\OR 30. Un bel perlaro ...... 2M 31. .Un bel sparver ...... 2M 9'- 10V 73V-74' 4 4' . . . ··· ·· ·. 12'-13V 68v-69' 8v ...... r---., 32. Uselletto selvaggio .. 3CM 33. Vestisse la cornacchia 2M 20'-21 V 30V ...... 5 ~~ ~ -, r r 34. Vola el bel sparver ... 2M 18'-19V .. . · ·· · · .. • M= Madrigal; CM = Canonic-madrigal; C = Caccia; L = Lauda; MR = Madrigal-rispetro. 49 t These compositions are available on recordings: No. 5 recorded by H . Guermant and E. Jacquier with Lute and r I r r I r Viola for Anthologie Sonore 59; Nos. 13 and 16 were recorded for L'Oiseau (record numbers 1 and 2) by J . Archimbaud a!ld R. Bonte.

    [ 144] [ 145] Marrocco: Mttsic of Jacopo da Bologna 147 If the melody descends and the first note has no stem it is a longa: ..APPENDIX C THE ART OF MEASURED POLYPHONY .ACCORDING ••. - · !J¥4 TO MAESTRO J.ACOPO D.A BOLOGNA If it has a stem up on left, it is a semibrevis: THESE ARE the rules and divisions o£ the art of music, that is, the manner of writ­ ing the notes, the values of the longa, brevis, minima, and semiminima, according to the teaching of Maestro J acopo da Bologna: lilil' ..... liili" ...... ~~;.. ., The double longa has the following appearance: If the first note has a stem down on left, it is a brevis: -I ..., ~ ..J !1111 .. ,.... ,...... r-· ... I" M . ,.... The simple longa: .., .., ,J ..J The last note of a descending ligature is a longa if it is square or if it has a stem down on right: The brevis: • • • • ...., ; .. ., liiF The semi brevis: • • • • The last note of a descending oblique ligature is a brevis: And also another semibreve: ,_. --- a •-. ua- ... -. .... f The minima: + + + If the last note, namely, that which is above the penultimate, has no stem, it is a brevis: ~ . -=-·. _... .. -4 .... The semiminima: • • • ~ ~ ~ ~ If the last note has a stem down or up on right, it is a longa: Here follow the ligature of the notes. When the melody rises and the first note of the ligature lacks a stem, the first note is a brevis: ...... •ill .... -, .., - . .., ---- = If the last note is directly above the penultimate, it is a longa: If it has a stem up on the left side it is a semibrevis: ... I I ...... -...... ~ ., .., .. .., All intermediary notes are breves: If it has a stem down on right, it is a longa: . .., ::wlla- ., .... T=~ ...., ,-~·- ,...... M U Cl

    [ 146] 148 University of California Publications in Music Marroc_co: Music of Jacopo da Bologna 149 When the first note is a semibrevis, the second, last, or intermediary is also a The modus perfectum: semibrevis. The reason is that no semibrevis can be placed alone, for this would The longa is recognized in four manners: not complete the measure: 1) when the longa is followed by a point: ---...... §;...... , 11... .,. ., . ., . 2) when the longa is followed by a longa or a longa rest of the value of two or Note that temp1ts and brevis signify but one thing. three tempora:

    The rest which covers one space or two lines has the value of one tempus (brevis): •• .. ..

    3) when two or three breves are placed before or after it: The rest which covers two spaces or three lines has the value of two tempora: ,...., ...... 11 11 11 4) when many breves are placed before or after it, and dividing these in groups of threes there are left but two or three at the end: The rest which covers three spaces or four lines has the value of three tempora:

    • m ... ..- 11 11 11 ...... r- m=· ...... 11 ..... 11 11

    The perfect longa has the value of three tempora: The rest which covers four spaces or more is always held ad libitum:

    ,. ~· ~· , , 11 The imperfect longa is recognized in four manners: The rest which covers half a space extending downward from the line has the value 1) when the longa is preceded or followed by a brevis: of a semibrevis: • ., . .. ., .....

    The rest which covers half a space extending upward from the line has the value 2) when the longa is preceded or followed by many breves and dividing these in of a minima: groups of threes there is one left at the end:

    L MOIIIIIjji ...... There are two modi of singing, perfectum and imperfectum.

    The modus irnperfectum: 3) when the longa is preceded by many breves and before the last brevis there is a point: The simple longa has the value of two breves, ana the double longa four breves, except that when a point of division follows it, if it is a simple longa, it has the ~-·- ., value of six breves. The rest has the value of not more than two breves. The brevis is always recta. The brevis recta is that which has the value of one tempus. 150 University of California P1tblications in Music Marrocco: Music of Jacopo da Bologna 151 4) when the_longa is followed by several breves, or if there is a point before the first brevis: they are of minor prolation. Thus tempus imperfectum has a double role; it can be of major [or minor]' prolation so long as tempus imperfectwm equals two semi­ breves, perfect or imperfect. If the semibreves are perfect, they are in major '--'7 =, prolation, and if they are imperfect, they are in minor prolation. The tempus perfectum with major prolation is novenaria, and tempus imperfectum is senaria The imperfect longa has the value of two tempora. imperfecta! Tempus perfectum with minor prolation is senaria perfecta, and tempus i·mperfectum is quaternaria. The difference between senaria perfecta and , , , , senaria imperfecta is explained herewith. Senaria perfecta can be divided into three equal parts, that is, three equal imperfect semibreves, whereas senaria im­ perfecta is divided into two equal perfect parts, that is, two equal perfect semi­ The brevis altem is recognized in four manners: breves. The semibrevis can also be either imperfecta or perfecta. The perfect semi­ 1) when two breves precede a longa, the second brevis becomes altera: brevis has the value of three minimae, and the imperfect has the value of two. The perfect semibrevis is found in major prolations, and the imperfect semibrevis is I'", found in minor prolations. The perfect' semibrevis in tempus perfectum with major prolation ( novenaria) is. recta and altera. The recta has the value of three minimae and the altera has the value of six. The perfect semibrevis in tempus 2) wh~n three breves ~recede a longa, or if they are placed between two longae; imperfectum with major prolation (senaria) is always recta. The imperfect' semi­ or, If ~he first brevis has a point after it, the third brevis becomes altera its brevis in tempus perfectum with minor prolation can be recta and altera. The recta value Is doubled. If the second brevis has a point after it, it is also altera. '· equals a third of the tempus, whereas the altera equals two-thirds. The imperfect semi brevis ·in tempus imperfectum with minor prolation ( quaternaria) is always recta, that is, it has the value of two minimae: The minima can be either recta or ...... , altera. The recta equals one minima and the altera equals two. The altera is found in major prolation and the recta is found in the minor. 3) when ~receding. or following a longa there are several breves in groups of The perfect brevis in tempus perfectum is recognized in four manners: threes m perfectiOn, and at the end there remain two, the last becomes a brevis 1) when it has a longa• or a longa rest' after it: altera. .. ---...... -..=a a., r·--•·*"' r 4 2) when there is a brevis or a brevis rest after it: ) when precedi~g or f_ollowing a longa there are several breves, and before the last two there Is a pomt, the last becomes a brevis altera. M M M . I • ....., 11 r-- ...... -----· 3) when there are two or three semibreves before or after it: All other breve_s that are not altera are recte. A brevis altera is that which equals M h§ W • M p two tempora, while the longa having a stem extending· below and above the note • • • • also equals two tempora. The double longa has the value of four tempora. . The above trea.ts the two modi of singing, perfectum and imperfectum. Tempusl 4) when there are several semibreves before or after it, and dividing them in ~;n also be sung m_perfectum and imperfectum. Tempus perfectum has the value groups of threes, there remain two or three at the end: t~ree equal semibreves, and tempus imperfectum has the value of two equal ~mibreves. Tempus ]Jerfectum can be applied to both major and minor prolation. liilii ••••••• ,. •••••••• ••••• · e~pus pe~fectum equals three equal semibreves, perfect or imperfect if the per ect semibreves are of major prolation, and, if the semibreves are im~erfect 1 Modi in MS. ' 2 Omitted in MS. • Imperfecta in MS. 6 Imperfecta longa. 3 Perfecta in MS. 5 Perfecta in MS. 7 Perfecta rest. 152 University of California Publications in llfusic Marrocco: Music of Jacopo da Bologna 153 The imperfect brevis in tempus perfectum• is recognized in four manners: 4) when before or after the brevis there are several semibreves and there is a point before the last two: 1) when the brevis has one semi brevis before or after it: • • •••••• •· 11 . . . • • • • • • . . . . . The brevis in tempus imperfectum is always imperfect except when it is supplied 2) when there are several semibreves before or after it, and dividing them in groups of threes there remains but one at the end: with a point, in which case it is perfect and the semibrevis is recta. The perfect semi brevis in major prolation is recognized in four manners: 1) when the semibrevis has a point: • • • • • • • • • • • • • • • • • • • •• • 3) when there are several semibreves before it, and before the last one there is a point: 2) when the semibrevis has before or after it two or three minimae: ...... ~ ...... • • • • • . .; • ••• * ; ; Jo a 4) when there are several semibreves after the brevis and after the first semi­ brevis there is a point: 3) when the semibrevis has before it a semibrevis altera or its equivalent rest: • • • • • • • •• • • • • • 11 The semibrevis altera in tempus perfect7tm is recognized in four manners: 1) when two semibreves are placed before a brevis, the second becomes altera: 4) when the semibrevis has before or after it several minimae, and dividing them in groups of threes there remain two or three at the end:

    b. '"-M • • M ... 11

    2) when before the brevis, or between two breves or three semibreves there is a point after the first semibrevis, the second is altera. And if after ~he second The imperfect semi brevis" in major prolation is recognized in four manners: semibrevis there is a point, the second is altera. 1) when the semibrevis has one minima before or after it:

    + ' Me M M M liiiiiiii • • • • • 11

    3) when. before or after the brevis there are several semibreves, and dividing 2) when it has before or after it several minimae, and dividing them in groups them m groups of threes there remain two at the end then the last semibrevis of three there remains one at the end: is altera: '

    • I i i i i • • • • • • • • • • • • • • • • • • • • • •

    8 Imperfectum in MS. • Brevis in MS. 154 University of California P~tblications in Music Marrocco: Music of Jacopo da Bologna 155 3) when before the semibrevis there are several minimae and before the last The minima recta has the value of two semiminimae: minima there is a point:

    I • i i· i • I i i i· • Three semiminimae have the value of two minimae:

    4) when after the semibrevis there are several minimae and after the first minima there is a point:

    Four semiminimae have the value of three minimae:

    If the semibrevis has a point in minor prolation, then the semibrevis is perfect and the following minima is always recta. The minima altera in major prolation is recognized in four manners: 1) when before or after the semi brevis there are two minimae, the second minima is altera: Deo gratias, Amen. • •

    2) when before the semibrevis or between two semibreves are three minimae, the third minima is altera if after the first minima there is a point. If there is a point after the second minima, it is altera: • • i i •

    3) when before or after the semibrevis there are several minimae, and dividing them in groups of threes there remain two at the end, the last minima is alter a:

    'i i i · i ili i i i· i i .I. i i i i i i i i

    4) when before or after the semibrevis there are several minimae, and before the last two there is a point, the last is altera:

    • i i i· i i I i i i· i i •

    10 Example shortened. NOTES

    CHAPTER I 1 Filippo Villani, Liber de origine civitatis j!orentiae et eiusdenl fanwsis civib1ts (Florence, 1847)' p. 34. 2 Notice the reference to Is a bell a on the words, "e si bella." This poetic device known as a senhal is probably of Proven.<;al origin and is a play on words to indicate a hidden name. 3 Luigi Osio, Documenti diplomatici tratti dagli archivi Milanesi (Milan, 1864), I, 111. • Filippo Villani, op. cit., p. 34. 5 At least two examples of these musico-poetical polemics have survived: SI. come al canto della bella Iguana, as a three-part setting by Jacopo and a two-part by Magister Piero, and the caccia, Con bracchi asswi, set to the same text by Magister Piero and Giovanni da Firenze. See this writer's· edition of Fourteenth-Century Italian Cacce (Cambridge, Mass., 1942), pp. 15 and 18. • See Posando sopr'un acqua and Sotto !'imperio. 7 See the rhymed translation in Wm. Dudley Foulke's Some Love Songs of Petrarch (London, 1915), p. 133; and an English translation of 0 cieco m on do by Ezra Pound, Sonnets and Ballate of Guido Cavalcanti (London, 1912), p. 87. This madrigal poem is incorrectly attributed to Cavalcanti, who lived between 1250 and 1300. As I have pointed out in my article, "The Fourteenth-Century Madrigal," Speculu'm, XXVI (1951), 449-457, the earliest reference to the madrigal comes from the pen of Francesco da Barberino in 1313 who tells us that the madrigal is coarse and inordinate. The poem of 0 deco nwndo could not have been written earlier than 1345- 1350, for it is cast in the accepted rhyme scheme of the later fourteenth century- ABB, CDD: EE. 8 See Nel bel giardino. The Scala dynasty, beginning with the reign of Alberto in 1277 and ending with Antonio in 1387, patronized the arts, their court attracting the foremost musicians and poets. To Jacopo, Giovanni, and Piero, we may add the poets Antonio da Tempo, Gidino da Sommacampagna, Petrarch, and Francesco Vannozzo, .all of whom dedicated some of their works to the various members of the Scala nobility. 9 Pompeo Litta, Famiglie celebri d'Italia (Milan, 1819).

    CHAPTER II 1 Henceforward, these abbreviations will be used. 2 This writer is grateful to Dragan Plamenac for photographs of the newly discovered manu­ script now known as the Faenza codex 117, which contains among its ninety-seven parchment folios five two-part instrumental compositions, the tenors of which were borrowed from Jacopo's music by an anonymous fifteenth-century arranger. That the music was intended for a key­ board instrument is apparent in view of the lack of text and the rapid and continuous suc­ cession of semiminims in the upper voice. Since the arrangements are not by Jacopo, and, moreover, no new music is found in this codex, there is no valid reason to include them in this study. For· a description of the manuscript, see Plamenac, "Keyboard Music of the Fourteenth Century in 117," Journal of the American Musicological Society, IV (Fall, 1951)' 179- 201. 3 Cf. collation on pp. 12 .2-~44. • See p. 16 for a definition of this poetic form. 5 Attributed to Jacopo by Dom Anselm Hughes in his Mediaeval Polyphony, in the Bodleian Library (Oxford, 1951), p. 39, is an unautographed fragment (MS can. pat. lat. 229) with the incipit, Perche io te disprisiando t'abandono. He classifies it as a ballata fragment and refers the reader to Heinrich Besseler's article, "Studien zur Musik des ·Mittelalters," AfM, VII (1925), 193-252, iri which the fragment is identified as the ritornello to Jacopo's madrigal, 0 cieco mondo. This fragment is indeed a most puzzling one, for there is no similarity between its music .and the ritornello of manuscript 658 at Padua. The text is identical, however, and does appear in this manuscript as the second of two ritornelli, as can be seen in plate 6. It is interesting to note that the double ritornello occurs in this source only. The probability that this poem may have been given a musical setting by another composer should not be overlooked, for we have evidence of such practice in other poems, e.g., Con bracchi assai (Piero and Gio­ v.anni da Firenze); SI. come al canto della bella Iguana (Jacopo and Piero); Ita se n'era a star nel paradiso (Lorenzo Masini and Vincenzo da Rimini); and La fi era testa (Bartolino da Padua and Niccolo da Perugia). 6 Wolf erroneously describes four three-part compositions as being two-part. These are In

    [ 157 ] 159 158 University of California Publications in Music Marrocco: Mttsic of Jacopo da Bologna

    verde prato, I' senti gia come l'arco d'amor, Per sparverare, and Si come al canto. All but Per "The change is not indicated in the other three codices FL, FN, nor P568. In FL the sparverare appear in the Squarcialupi codex as two-part compositions, but in other codices meter is octonaria throughout. three voices are given. It is obvious that the absence of a third voice is the result of an error of "" See the examples of embellished conducti in "The Conductus," by Leonard Ellinwood in omission on the part of the scribe, for it is conceded that the Squarcialupi codex is the latest of Musical Quarterly, XXVII (1941), 197-205. the above-mentioned sources, dating from the fifteenth century. Cf. F . Ludwig's review of '"'See Cunctipotens genitor in the Davison-Apel Historical Anthology of Music, Vol. 1, p. 41. Johannes Wolf's "Geschichte der Mensural-Notation" in Sammelbiinde der internationalen Musik· 21 See the ballata Adiu, adiu dous dame jolye, in Ellinwood, The Works of Francesco Landini gesellschaft, VI (1905), 597- 641. (Cam'bridge, Mass.: 1939), p. 169; La douce yere by B.artolino da Padova, which survives in 7 The treatise has been published by Johannes Wolf in Theod01··K1·oyer Festsch?"ift (Regens· FL, FN, PR, P568, L, and the Lucca codex; and the ballata, Je suy nat·vres tan fort, by berg, 1933), p. 17. Magister Antonius Zachara da Teramo in Musica Disciplina, IV, fasc. 2, 3, 4 (1950), 151. 8 For a description of codex Redi 71, see Armen Carapetyan, "A Fourteenth-Century Floren­ .. Martin Gerbert, Scriptores, Vol. III (1784 facsimile ed., 1931), p. 175. tine Treatise in the Vernacular," Musica Disciplina, IV, fasc. 1 (1950), 81-92. CHAPTER. IV • For a complete study of the semeiography used in the texts of this period, see Adriano Cappelli, Dieeionario di abbreviature latine ed italiane (Milan, 1949). 1 In all transcriptions rhythmical values one-half those of the originals were used unless 10 Un bel perlaro. See plate 4. otherwise indicated. The original time signatures are given in the transcriptions with the modern signatures in parentheses. CHAPTER III • La poesa musicale italiana del secolo XIV (Palermo, 1944), pp. 56-58. 1 This codex has been fully described by Johannes Wolf in Jah?·btwh der Musikbibliothelc Peters, XLV (1939), 53, and by Ettore Li Gotti in La poesia musicale italiana del secolo XIV (Palermo, 1944). 2 See Guillaume de Van, Les mon1tments de l'ars nova, (Paris, n.d.). 3 The caccia has already been fully treated by me (see Fourteenth Centw·y Italian Cacce). • The two main sources for this monodic music are found in MS Magliabecchiana II, I 122, Florence, and in MS Laudario, 91, Cortona. For a study of this form, see Fernando Liuzzi, La lat1da e i primOTdi della 1nelod·ia italiana, 2 vols. (Rome, 1935). • See Nelmio parlar, p. 65. • The unique difference between the canonic madrigal and the caccia lies not only in the poetic form but also in the effervescent excitement in which the latter abounds-cries and com­ mands, goading, bargaining, and humorous touches, for which purpose onomatopoeia is effec­ tively used. 7 Leandro Biadene, "Madrigale," Rassegna bibliografica della letteratum italiana, VI (1898), 334. An excellent English translation of Biadene's article by Edward J . Dent can be found in Music and Letters, XXIX, no. 2 (1948), 121- 128. 8 For a discussion of this poetic form, see W. Thomas Marrocco, "The Fourteenth-Century Madrigal: Its Form and Contents," Speculum, XXVI (1951), 449-457. 0 See 0 dolce appresso, 0 in Italia, and Sotto l'imperio. Four of Jacopo's madrigals have a ritornello consisting of two couplets producing the form AABB. See Aquila altera, Giunge'l bel tentpo, I mi son un, and Prima virtute; 10 Hugo Riemann, "Das Kunstlied im 14-15 Jahrhundert," Samn1elbande der internationalen Musilcgesellschaft, VII (1906), 529. The strongest evidence against Riemann's thesis is found in the manuscript!! from the British Museum, Additional MSS 29987. In these the scribe took pains to indicate that the melismas were to be sung, by repeating the vowel or its succeeding consonant every few notes until the next syllable is reached, as in bion-n-n-n-n- de. See plate 4. 11 Arnaldo Bonaventura, "Il Boccaccio e la musica," Rivista musicale italiana, XXI (1914), 419. 12 Joseph Yasser, Mediaeval Quartal Harmony (New York, 1938), p. 96. 13 E. de Coussemaker, Scriptorum de musica medii aevi nova series (Paris, 1864), Vol. III, p. 64. 1 • E. de Coussemaker, Histoire de l'harmonie au moyen age (Paris, 1852), p. 64. 10 Marius Schneider, "Der Hocketus," Zeitschrift fur Musilcwissenschaft, XI (1929), 391. 16 Leonard Ellinwood, "Francesco Landini and his Music," Musical Quarte1·ly, XXII (1936), 191. 17 Otto Kornmiiller, "Musiklehre des Ugolino von Orvieto," Kirchenmusilcalisches Jahrbuch, II (1895), 19. 18 To avoid minor seconds and augmented fifths, sharps are added to F and C. 111 Johannes Wolf, Handbuch der Notationskunde (Leipzig, 1919), Vol. II, p. 200. 20 Willi Apel, The Notation of Polyphonic Music from 900 to 1600 (Cambridge, Mass., 1942), pp. 368- 384. n Five-line staves are used in Pad 1475, in L, and in the Cherubini Conservatory fragment. 22 J. Wolf, Geschichte der Mensuralnotation, p. 28. 23 A. Bonaventma, op. cit., 417. BIBLIOGRAPHY Antognoni, Oreste. "Le glosse ai documenti d'amore di M. Francesco da Barberino," Giornale di filologia rornanza, IV (1892), 78- 98. Apel, Willi, The Notation of Polyphonic Music from 900 to 1600. Cambridge, Mass., The Mediaeval Academy of America, 1942. Besseler, Heinrich. "Studien zur Musik des Mittelalters," A.rchiv fur Musikwissenschaft, VII (1925)' 193-252. Biadene, Leandro. "Madrigale," Rassegna bibz.iografica della letteratura italiana, VI (1898), 329- 336. Bonaventura, A. "Il Boccaccio e la musica," Rivista musicale italiana, XXI (1914), 405-442. Cappelli, Adriano. Dizionario di abbreviature latine ed italiane. Milan, Hoepli, 1949. Carapetyan, Armen. "A Fourteenth-Century Florentine Treatise in the Vernacular," Musica Disciplina, IV, fasc. 1 (1950) , 81- 92. Carducci, Giosue. Cacce in rima dei secoli XIV e XV. Bologna, Zanichelli, 1896. ---. Cantilene e ballate, strambotti e madrigali nei secc. XIII e XIV. Pisa, Nistri, 1871. ---. Opere, Vol. VIII, Mttsica e poesia nel mondo elegante italiano del sec. XIV. Bologna, Zanichelli, 1893. Cipolla, C. "Sui motivi del ritorno in italia di Francesco Petrarca ne! 1347," Giornale storico di letteratura italiana, XL VII ( 1906), 253- 265. Coussemaker, E. de. Histoi1·e de l'harmonie au moyen age. Paris, Didron, 1852. ---. L'art hannonique aux XII• et XIII• siecles. Paris, Durand, 1865. ---. Scriptomm de mttsica ·medii aevi nova sel"ies, 3 vols. Paris, Durand, 1864. Ellinwood, Leonard. "Francesco Landini and His Music," Musical Qttal·terly, X:X:II (1936), 190- 216. ---. "Origins of the Italian Ars Nova." Papers, American Musicological Society (1937), 29-37. --- . The Works of Francesco Lanclini. Cambridge, Mass., The Mediaeval Academy of Amer­ ica, 1939. Foulke, Wm. Dudley. Some Love Songs of PetrMch. London, Oxford University Press, 1915. Gerbert, Martin. 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    [ 161 ] 162 University of California Publications in Music Marrocco, W. Thomas (Continued) ---."The Fourteenth-Century Madrigal: Its Form and Contents," Speculum, XXVI (1951), 449-457. Morini, Adolfo. "Un celebre musico dimenticato, ," Bollettino della regia deputazione di storia patria per l'Umbria, XXVII (1924), 305- 309. Osio, Luigi. D·ocumenti diplomatici tratti dagli archivi milanesi, 3 vols. Milan, 1864. Pellegrini, C. F. "Poesie minori riguardando gli Scaligeri," Bollettirw dell'istituto storico italiano, XXIII (1902), 7- 206. Pirrotta, Nino. "Il codice di Lucca," Musica Disciplina, III, fasc. 2, 3, 4 (1949), 119-138. ---. "Per !'origine e la storia de!la caccia e del madrigale trecentesco," Rivista musicale italiana, IL (1947), 121-142. ---. "Sull'etimologia di 'Madrigale,' " Poesia, IX ( 1948), 60-61. Pound, Ezm. So-nnets and Ballate of G~tido Cavalcanti. London, Swift and Co., 1912. Prato, Giovanni da. Il Paradiso degli Alberti, 4 vols., ed. A. Wesselofsky. Bologna, Romagnoli, 1867. Riemann, Hugo. "Das Kunstlied in XIV und XV Jahrhundert," Samn!elbande der interna­ tionalen Musilcgesellschaft, VII (1905-1906), 529- 550. Sartori, Claudio. La notazione italiana del t1·ecento. Florence, Olschki, 1938. Schering, Arnold . .Studien zur Musilcgeschichte der Friihrenaissance. Leipzig, Breitkopf und Hartel, 1914. Schneider, Marius. "Der Hocketus," Zeitsch1·ift fur Musilcwissenschaft, XI (1921), 390- 396. Taucci, R. Fra Andrea dei Servi. Rome, Collegio S. Alessio Falconieri, 1935. Tempo, Antonio da. Summa artis rithimici vulgaris dictaminus, ed. Grion. Bologna, Romagnoli, 1869. Van, Guillaume de. Les monuments de l'ars nova. Paris, L'Oiseau Lyre, n.d. Villani, Filippo. Liber de o1·igine civitatis fiorentiae et eiusdem fa?nosis civibus. Florence, Galletti, 1847. White, R. John. Music of the Early Italian .A1·s Nova. Unpublished Ph.D. dissertation. Indiana University, 1952. Wolf, Johannes. "Die Rossi Handschrift 215 der Vaticana und das Trecento Madrigal,'' Jahrbuch der Musilcbibliothelc Pete1·s, XLV (1939), 53- 69. ---. "Florenz in der Musikgeschichte des XIV Jahrh.," Sammelbiinde der internationalen Musilcgesellschaft, Ill (1902), 599-646. ---. Geschichte de1· Mensuralnotation von 1250 bis 1460, 3 vols. Leipzig, Breitkopf und Hartel, 1904. ---. Handbuch de1· Notationslcunde, Vol. II. Leipzig, Breitkopf und Hartel, 1913. ---. Theodor-Kroyer Festschrift. Regensburg, G. Bosse, 1933. Yasser, Joseph. Mediaeval Quartal Harmony. New York, American Library of Musicology, 1938.