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© 1972
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AN ANALYTICAL STUDY OF THE ITALIAN CYCLIC MADRIGAIS
c a , 15UO-161U
BY
THESIS
U rbana, I l l i n o i s
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U N I V E R S I T Y O F IL L IN O IS A T U R B A N A -C H A M P A IG N
-SfijLtember, 1971 .
TH E DEGREE m r DOCTOR
3R OF PHILOSOPHY
PHILOSOPHIC J_______
^ thesis
S ^ Head of Department
Final Examination!
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PLEASE NOTE:
Some p a g e s h a v e i n d i s t i n c t
p r i n t . F ilm e d a s r e c e i v e d .
UNIVERSITY MICROFILMS.
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ACKNOWLEDGEMENTS
The i n c l u s i o n o f much o f th e m a t e r i a l i n t h i s s tu d y , p a r t i c u l a r l y
t h e l i s t s o f s o u rc e s c o n ta in e d i n th e a p p e n d ic e s , was made p o s s i b l e
M usic w h ic h e n a b le d me t o i n v e s t i g a t e s e v e r a l E u ro p ean c o l l e c t i o n s , f o r
in f o r m a tio n c o n c e rn in g t h e c o n te n ts o f w h ic h I w o u ld h av e o th e r w is e h ad
t o depend upon s e c o n d a ry s o u r c e s , t h a t u n f o r t u n a t e l y p ro v e in c o m p le te
S t a a t s b i b l i o t h e k , S ig n o r S e r g io P a g a n e l l i a t t h e C iv ic o Museo B i b li o g r a f i c o
th e U n i v e r s i ty o f I l l i n o i s f o r t h e i r u n h e s i t a n t a s s i s t a n c e i n t h e
a c q u i s i t i o n o f m ic r o film s o f e a r l y p r i n t s . Above a l l , I am in d e b te d
e n c o u ra g e m e n t.
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iv
PREFACE
E i n s t e i n i n h i s th re e -v o lu m e m onograph on t h e I t a l i a n m a d r ig a l i s th e
s ta t e m e n t l i n k i n g th e o r i g i n o f t h e s e v e n t e e n th - c e n tu r y c a n t a t a t o th e
de v e lo p m e n t o f th e s ix t e e n th - c e n t u r y c y c l i c c a n z o n e .^ The te rm " c y c l i c
d e s ig n a t io n s — a s u s e d b y E i n s te i n i n c lu d e s a l l m u lti-m o v e m e n t s e t t i n g s
o f I t a l i a n s tr o p h ic t e x t s . To a v o id an y c o n f u s io n , i t s h o u ld a l s o b e
s t r e s s e d t h a t t h e a d je c t iv e " c y c l i c ” a s u s e d b y b o th E i n s t e i n a n d m y se lf
c a n tu s f ir m u s an d p a ro d y te c h n iq u e s b e in g i m p lie d . W h ile s t y l i s t i c
s t u d i e s c o n c e rn e d w i t h th e m a d r ig a ls o f a s i n g l e com poser a n d a r t i c l e s
d e a li n g w ith t h e h i s t o r y o f e a r l y o p e ra have a p p e a re d i n p r i n t , t h e o n ly
p u b l is h e d i n fo r m a tio n c o n c e rn in g m u lti-m o v em en t I t a l i a n m a d r ig a ls w r i t t e n
d u r in g t h e s e c o n d h a l f o f th e s i x t e e n t h an d th e e a r l y s e v e n t e e n th c e n t u r i e s
o c c u rs i n c i d e n t a l l y i n a r t i c l e s p r i m a r i l y d e v o te d t o o t h e r t o p i c s . T h is
i s in d e e d u n f o r t u n a te , s in c e t h e s i g n i f i c a n c e o f th e g ro w th o f i n t e r e s t
i n s e c u l a r c y c l i c c o m p o s itio n f o r t h e h i s t o r y o f m u s ic a l a e s t h e t i c s d u r in g
s tu d y i s t o i n v e s t i g a t e th e te c h n iq u e s em ployed i n t h e s e t t i n g o f m u l t i -
161U.
O r i g i n a l l y I had p la n n e d t o make a d e t a i l e d a n a l y t i c a l s tu d y o f a l l
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V
de l a m u sic a ( c a . 1 ^ 0 ) 2 a n d C la u d io M o n te v e rd i’ s S e s to l i b r o de m a d r i g a l i
a c in q u e v o c i ( l 6 l U ) .^ A f t e r a p r o v i s i o n a l in d e x o f c y c l i c m a d r ig a ls
h a d b e e n c o m p le te d ( a t l e a s t 523 c y c l i c m a d r ig a ls o f fro m f o u r t o f i f t y
movements w e re p u b l is h e d d u r in g t h e p e r i o d ) , h o w e v e r, i t became o b v io u s
t h a t th e p r o p o s e d t o p i c was to o b r o a d t o b e c o v e re d a d e q u a te ly i n one
(2 ) by p o e t i c fo rm , c o n s id e r in g o n ly s e t t i n g s o f a p a r t i c u l a r v e r s e ty p e
s u c h a s t h e s e s t i n a o r t h e c a n z o n e ; ( 3 ) b y p o e t , c o n s id e r in g o n ly t h e
s e t t i n g s o f t e x t s by a s i n g l e a u th o r s u c h a s P e t r a r c h ; ( 4 ) by t e x t ,
c o n s id e r in g o n ly t h e s e t t i n g s o f a p a r t i c u l a r poem s u c h a s V e rg in e b e l l a ;
(5 ) b y g e o g r a p h ic a l l o c a t i o n , c o n s id e r in g a l l t h e c y c le s p u b lis h e d b y
o f t h e f i r s t f o u r m ethods seem ed t o b e e n t i r e l y s a t i s f a c t o r y , s in c e i t
was q u i t e p o s s i b l e t h a t s u c h s t u d i e s w o u ld p ro d u c e r e s u l t s o f v e r y l i m i t e d
in c l u d e to o w id e a r a n g e o f p e r s o n a l s t y l e s a n d r u n th e r i s k o f a c c i d e n t a l l y
s e l e c t i n g c o m p o s itio n s a t y p i c a l o f t h e m a j o r i t y o f a co m poser1s c y c l i c
o u tp u t, A s tu d y l i m i t e d g e o g r a p h i c a l l y seem ed t o p r e s e n t th e b e s t m ethod
o f a c h ie v in g t h e d e s ir e d — a l b e i t som ew hat c o n t r a d i c t o r y — e le m e n ts o f
d i v e r s i t y a n d fo c u s w i t h in t h e r e p e r t o r y t o b e a n a ly z e d .
m u s i c o lo g i s ts , p r e s e n t a r e p e r t o r y o f s u i t a b l e s i z e a n d r e p r e s e n t a t i v e
o f th e c h r o n o l o g i c a l ra n g e an d th e v a r i e t y o f I t a l i a n s t r o p h i c v e r s e ty p e s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
m o st o f t e n s e t a s m ulti-m ovem en t c o m p o s itio n s . W ith t h e e x c e p tio n o f
t h e f i r s t c h a p t e r , w h ich i s d e v o te d t o a g e n e r a l s u rv e y o f th e m u l t i -
s p e c i f i c a l l y w r i t t e n , th e p r e s e n t s tu d y h a s been b a s e d on t h e c y c l i c
s i x t e e n t h - c e n t u r y I t a l i a n c y c li c m a d r ig a l, and th e f o u r t h w i t h t h e m u s ic a l
t r e a tm e n t o f t h e p o e ti c form i n s i x t e e n r e p r e s e n t a t i v e c y c l e s .
A ppendix A l i s t s a l l th e c o l l e c t i o n s and a n th o l o g i e s o f I t a l i a n
a r r a n g e d a l p h a b e t i c a l l y by name i n th e f i r s t p a r t o f th e in d e x , w h e re a s
c a l l y i n t h e se c o n d p a r t . Only one e d i t i o n —u s u a l l y t h e f i r s t — h a s
o f t h e c o l l e c t i o n , p u b l i s h e r , c i t y a n d d a te o f p u b l i c a t i o n , d e d ic a t io n ,
a n d a l i s t o f t h e c y c le s c o n ta in e d i n th e book w ith t h e s e p a r a t e p a r t s
c o m p risin g e a c h i n d ic a te d by 1 s t . ( f i r s t s t a n z a ) , 2 s t . (se c o n d s t a n z a ) ,
3 s t . ( th i r d s ta n z a ), e tc . I t h a s n o t b een p o s s ib l e a t t h i s tim e t o
c o m p le te ly u p d a te th e in fo r m a tio n c o n c e rn in g th e p r e s e n t l o c a t i o n o f
s o u rc e s in c lu d e d i n E m il V o g e l's c a ta lo g u e o f p r i n t e d I t a l i a n s e c u l a r
m u s ic .^ F o r l i s t i n g s o f l i b r a r y l o c a t i o n s o f a p a r t i c u l a r p r i n t , th e
r e a d e r i s r e f e r r e d t o V o g e l's i n d e x , o r , i n th e c a s e o f a n th o l o g i e s
M u s ic a l S o u r c e s . I n th e c o u rs e o f c h e ck in g th e c o n te n t s o f t h e m a d r ig a l
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books now c o n ta in e d i n t h e B r i t i s h Museum (L o n d o n ), t h e B a y e ris c h e
S t a a t s b i b l i o t h e k (M u n ic h ), a n d t h e C iv ic o Museo B i b l i o g r a f i c o M u s ic a le
p r i n t s w i l l be m en tio n e d w here r e l e v a n t .
A ppendix B p r e s e n t s an a l p h a b e t i c a l l i s t i n g o f t h e t i t l e s o f t h e
t e x t i n c i p i t f o r th e f i r s t m ovem ent, th e a u th o r a n d t h e p o e t i c s o u rc e
a r e a l s o i n d i c a t e d f o r e a ch s e t t i n g .
I t i s t o be hoped t h a t t h e p r e s e n t s t u d y , w h ich i n i t s t r e a tm e n t o f
a n a l y t i c a l p ro b le m s draw s upon o n ly a f r a c t i o n o f th e c y c le s p u b l is h e d
d u r in g t h e p e r i o d , w i l l s t i m u l a t e f u r t h e r i n v e s t i g a t i o n o f c y c l i c m a d r ig a ls
i n a n a tt e m p t t o e s t a b l i s h t h e a t t i t u d e s o f s ix t e e n t h - c e n t u r y com posers
to w a rd s th e c o m p o s itio n a l p ro b le m s I n v o lv e d i n th e s e t t i n g o f m u l t i - s t r o p h i c
I t a l i a n v e r s e form s a s m u lti-m o v e m e n t w o rk s .
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v iii
F o o tn o te s
3 . C la u d io M o n te v e rd i, I I S e s to l i b r o de m a d r i g a l i a c in q u e v o c i
con uno rf-ialogo a s e t t e , con i l su o Basso c o n tin u o . • . d i C la u d io M o n te v e rd i
(V e n ic e : R ic c ia r d o Amadino, lS lh T .
U. Em il V o g e l, B i b li o t h e k d e r g e d ru c k te n w e l t l i c h e n V o calm u sik
I t a l -i ftps a u s den J a h re n 1500-1700 e n th a l te n d d i e L i t t e r a t u r d e r F r o t t o l e ,
M a d rig a le , C a n z o n e tte , A r ie n , O p e ra , e t c . . . . m it nachtrSLgen v o n P r o f .
A l f r e d E i n s t e i n , 2 v o l s . , p h o t o - r e p r i n t o f t h e 1892 B e r li n e d i t i o n
(H ild e s h e ira : Georg 01ms, 1 9 6 2 ).
5. R e c u e ils Im prim es x v i e - x v i i e s i | c l e s , e d i t e d b y F r a n c o is L e s u re ,
V o l. I o f t h e R e p e r to i r e I n t e r n a t i o n a l d e s S o u rc e s M u s ic a le s , p u b l is h e d by
th e I n t e r n a t i o n a l M u s ic o lo g ic a l S o c i e t y a n d th e I n t e r n a t i o n a l A s s o c ia tio n
o f M usic L i b r a r ie s (M tinchen-D uisburg: G. H enle V e r la g , I 9 6 0 ) , RISM num bers
ha v e been i n d ic a te d i n b r a c k e t s i n o r d e r t o f a c i l i t a t e l o c a t i o n o f th e
c o rr e s p o n d in g e n t r y .
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ix
TABLE OF CONTENTS
P age
ACKNOWLEDGEMENTS........................................................ . . . . . ......................................................i i i
PREFACE.............................................................................................................................................. i v
LIST OF TABLES................................................................................................................................ x i
CHAPTER
I n s t i t u t i o n s an d P a t r o n s ............................................................................ 29
Summary. 72
The B a l l a t a .................... 91
The S o n n e t.................................... 96
The C anzone..............................................................................................................97
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X
Pag e
The Ode......................................................................................................................10U
Summary................ 105
S e s t i n e ................................. . . . . . . ................................................. l l i l
C a n z o n i...................................................................... ............................................173
S u m m a r y . 236
APPENDIX
V ITA ...................................................................................................................................... U l5
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xi
LIST OF TABLES
T a b le Page
1. C h r o n o lo g ic a l d i s t r i b u t i o n o f c y c li c n i a d r i g a l s . 8 5 » 4 . . . , 4 S» c c S 11
2. C h r o n o lo g ic a l d i s t r i b u t i o n o f th e u se o f d i f f e r e n t num bers
o f v o i c e s f o r s e c t i o n a l a r t i c u l a t i o n ........................................................ 1 5
3. C h r o n o lo g ic a l d i s t r i b u t i o n o f t h e number o f movements
p e r c y c l e . . « . . . .................................................................................................. 17
7. The m a g i s t r i pueroru m a n d t h e m a e s t r i d i c a p p e l l a a t th e
C a p p e lla G i u l ia from 15U0 t o 1 6 2 0 . . . . .................... 35
9. The m a e s t r i d i c a p p e l l a a t San G io v an n i i n L a te ra n o
betw een i535~"and l o i 9 .......................................................................................... 3 °
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x ii
T able p ag e
16* A summary o f t h e t o n a l s t r u c t u r e o f I v o ’ s P a c e n on tr o v o
and th e f i n a l s e c t i o n s o f P a l e s t r i n a ’ s Da fu o c o c o s i b e l
n a s c e . .................... 226
17* C y c lic m a d r ig a ls p u b l is h e d i n c o l l e c t i o n s d e d ic a t e d t o
th e A ccadem ia d e i S i g n o r i f i l a r m o n i c i V e ro n e s e . ......................... 2$1
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1
CHAPTER I
The s e t t i n g o f e n t i r e c a n z o n i, s e s t i n e , c a p i t o l i , a n d o t h e r m u l t i - s t r o p h i c
t e x t s em braces t h e b e g in n in g an d t h e d e c li n e o f t h e I t a l i a n m a d r ig a l* s d e v e lo p
o f Che debb* i o f a r , S i §_ d e b i l e i l f i l o . . a n d Se i l d i s s i m a i , 1 t h r e e P e t r a r c h a n
c a n z o n i th e t e x t s o f w h ic h w e re t o r e m a in p o p u la r w i t h m a d r i g a l i s t s f o r th e n e x t
a n anonymous s e t t i n g o f t h e f i r s t s ta n z a o f P e tr a r c h * s s e s t i n a M ia b e n ig n a f o r —
t u n a 3 th e t e x t o f t h e re m a in in g tw e lv e s ta n z a s h a v in g b e e n ad d e d a t th e b o tto m
s e c u l a r p r i n t , M usica de m esse r 3 e ra a r d o P is a n o s o p r a l e c an zo n e de P e t r a r c a ,
w h ic h a p p e a r e d i n 1 5 2 0 . 3 i n e a c h o f t h e f o r e g o i n g , m elo d ic m a t e r i a l w as p ro
v id e d f o r t h e f i r s t s t a n z a o n ly ; t h e r e m a in in g s tr o p h e s w e re t o b e r e p e a t e d t o
t h e same m usic*
c i a , w as p r o b a b ly th e f i r s t com poser t o p u b l is h c a n z o n i i n w h ic h e a c h s ta n z a i s
c o l l e c t i o n o f s e v e n c a n z o n i an d one o t t a v a r lm a , A l f r e d E i n s t e i n s t a t e d t h a t th e
s e t t i n g s w e re p r o b a b ly p u b lis h e d c a , l 5 U o /l 5 i u , ^ a c o n c lu s io n w i t h w h ic h th e
m u l t i - s t r o p h i c I t a l i a n t e x t s a s c y c l i c m a d r ig a ls so o n a t t r a c t e d c o m p o se rs, an d
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2
c in q u e e t a s e i v o c i a7 a nd C ip r ia n o d e R o r s ’s T e rzo l i b r o d i m a d r i g a l i a c in q u e
v o c ie 8
c lu d e s a d i s c u s s io n o f e a c h , some d e s e r v e s p e c i a l n o t e , A n to n io B a r r e , l i s t e d
a s a n a l t o i n t h e r e g i s t e r o f t h e C a p p e lla G i u l ia i n 1 5 5 2 , w as a c t i v e b o th a s a
c a r e e r f o r t h e h i s t o r y o f c y c l i c c a n z o n i b e in g t h e p u b l i c a t i o n o f I I Prim o l i b r o
d e l e muse a c in q u e v o c i i n 1 5 5 5 3 a c o l l e c t i o n d e v o te d e n t i r e l y t o m u l t i - s t r o p h i c
c lu d e d h i s asm s e t t i n g o f Dunque f i a v e r d i c e a , a f o u r - s t a n z a c y c le t h e t e x t o f
s o u rc e o f t e x t s O rlan d o f u r i o s o — p a r t i c u l a r l y th e f o u r s ta n z a s b e g in n in g w ith
Dunque f i a v e r d i c e a —a t t r a c t e d s e v e r a l o t h e r co m p o sers l a t e r i n th e c e n t u r y ,- ^
s ta n z a s . The o n ly c y c le a n te d a t in g B a r r l ’s , t h a t h a s b e e n d is c o v e r e d b y t h e
p e r s o n a e r a t a n t o ( V I I: 1 1 -1 5 ) . ^ I n t e r e s t i n O rlan d o f u r i o s o q u i c k l y k i n d l e d ,
tiv e ly : S a lv a to r e C a ta ld o ’s s e t t i n g o f e a c h o f th e f o r t y - s i x s ta n z a s b e g in n in g
c a p r i c c i o . . ^s o p ra l e s ta n z e d e l F u r i o s o . *^
I n th e 1 5 5 0 ’s , a s i n t h e l 5 i;0 » s , P e t r a r c h ’s O a n z c n ie re p ro v e d t o b e t h e
m a jo r s o u rc e o f t e x t s f o r m u l t i - s t r o p h i c c o m p o s itio n . R in a ld o d a M ontagnana’s
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3
t h r e e s e s t i n e a n d -faro c a n z o n i* ^ I n 1550 F ra n c e s c o P a r t i n a r o p u b l is h e d t h e f i r s t
fo r fo u r v o ic e s . L a s s e 's s e t t i n g p ro v e d t o b e s o p o p u la r t h a t i t a p p e a re d i n
t h i r t e e n d i f f e r e n t e d i t i o n s betw een 1 5 5 5 an d 1 5 9 2 *
The tw o p e r i o d s o f g r e a t e s t p r o d u c t i v i t y f o r t h e h i s t o r y o f t h e c y c l i c
somewhat o f a s p e c i a l l y o f s e t t i n g e n t i r e c a n z o n i* O th e r co m p o sers o f t e n i n
c y c le s w e re p u b l is h e d i n t h e 15 6 0 ' s , s u c h m a d r i g a l i s t s a s G io v a n n i P i e r l u i g i d a
p o e t r y o f L n i g i T a n s i l l o and J a c o p o S a n n a z a ro became i n c r e a s i n g l y p o p u la r
s o u rc e s f o r c y c le s o f f o u r and f i v e s t a n z a s , e s p e c i a l l y T a n s i l l o 's A c a s o u n
g i o rn o a n d S a n n a z a r o 's P e r p i a n t o l a m ia c a rn e * 2^
W h ile i t i s n o t f e a s i b l e t o m e n tio n a l l t h e i n t e r e s t i n g c y c le s p u b l is h e d
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k
M usica d e 1 v i r t u o s i d e l l a f l o r i d a c a p e l l a . . . Duca d i B a v ie ra a c in q u e v o c i . 2?
Behbo i n t h a t b o th t e x t s w e re t r e a t e d i n a n e n t i r e l y d i f f e r e n t m anner th a n
s e s t i n e 3 c a n z o n i, and o t ta v e r im e , w h ic h w e re th e t h r e e m ain c a t e g o r i e s o f
m u l t i - s t r o p h i c v e r s e fo rm s t o be s e t c y c l i c a l l y . R o s s e tt o ’s Lament w as one o f
th e f i r s t i n a s e r i e s o f c o m p o s itio n s t h a t c u lm in a te d w i t h C la u d io M a n te v e rd i* s
i n w h ic h e a ch s t a n z a o f t h e m u l t i - s t r o p h i c t e x t i s s e t by a d i f f e r e n t c o m p o se r.2 ^
mon p a tr o n , o r a t l e a s t d w e lt i n t h e same c i t y . 2^
a g a in in c r e a s e d —b y a p p ro x im a te ly f i f t y p e r c e n t — i n t h e f o llo w in g d e c a d e . It
i s d i f f i c u l t t o a c c o u n t f o r t h e r e l a t i v e l u l l in c y c l i c c o m p o s itio n d u r in g th e
1570*s . P e rh a p s t h e a u s t e r i t y c h a r a c t e r i s t i c o f I t a l i a n c u l t u r e — p a r t i c u l a r l y
t h a t o f Rome— d u r in g t h e f i r s t f i f t e e n y e a r s fo llo w in g t h e C o u n c il o f T re n t
o f t h e p o l i c i e s o f t h e fo rm e r Pope P a u l 17 (G ian P i e t r o C a r a f f a ) , e n c o u ra g e d a
in c lu d in g P e t r a r c h *s C a n z o n ie re a w h ic h w as a p rim a ry s o u rc e o f s e s t i n e and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
5
q u a s i - r e l i g i o u s o r p h i l o s o p h i c a l n a t u r e ( f o r e x a m p le , 7 e r g i n e b e jU a ), t h a t w e re
d o m in a ted a t l e a s t t h e c y c l i c a s p e c t s o f m a d r ig a l p r o d u c t i o n i n th e l 5 7 0 * s . At
t h e same t i c s p u b l i c a t i o n s o f m a d r i g a l i s p i r i t u a l i becam e i n c r e a s i n g l y p o p u l a r .
A lth o u g h t h e m a j o r i t y o f m a d r i g a l i s p i r i t u a l i c o n s i s t e d o f s i n g l e o r p a i r e d
s t r o p h e s , s e v e r a l w e re p u b l is h e d a s c y c l e s 0 G io v a n n i P e l l i o ’s Prim o l i b r o d e l l a
c a n z o n i s p i r i t u a l r i a c in q u e v o c i ^ O a n d F i l i p p o D u e’s l e Y e r g i n i . .« l i b r o p rim o a
s e i v o c i ^ 1 a r e t y p i c a l e x a m p le s. The p o p u l a r i t y o f s a c r e d m a d r i g a l s , a c o n ti n u
in g t r e n d f o r t h e re m a in d e r o f t h e c e n t u r y , c u lm in a te d , a t l e a s t fro m t h e v iew
of A n o th e r t r e n d i n c r e a s i n g l y a p p a r e n t i n t h e l 5 8 0 ’s w as t h e u s e o f
p a s t o r a l m a t e r i a l , t h e c h a r a c t e r o f w h ic h made a d e f i n i t e im p act on c y c l i c s e t t i n g s .
i n t h e s i x t e e n t h c e n tu r y . As d u r in g t h e o t h e r p e r i o d s , c a n z o n i and s e s t i n e
e i t h e r t y , o r i n i m i t a t i o n o f , P e t r a r c h p r o v id e d t h e t e x t s f o r a p p ro x im a te ly
o n e - t h i r d o f a l l m u l t i - s t r o p h i c s e t t i n g s 3 h o w e v e r, t h e tw o new e le m e n ts m en tio n ed
i n t h e p r e c e d i n g p a r a g r a p h , s a c r e d v e r n a c u l a r a n d p a s t o r a l m a t e r i a l , becam e i n
c r e a s i n g l y im p o r ta n t . P a l e s t r i n a ’s Prim o l i b r o de m a d r i g a l i a c in q u e v o c i . 3 3 an d
G io v a n n i P e i l i o ’s P rim o l i b r o d e c a n z o n i s p i r i t u a l i a s s l v o c i ^ -were d e v o te d
A le s s a n d r o M i i l e v i l l e , G io v a n n i Giacomo G a s t o l d i , A n d re a G a b r i e l i , a n d P h i li p p e
d e Monte i n c lu d e d a t l e a s t one c y c l i c ca n zo n e i n t h e i r c o l l e c t i o n s o f m a d r i g a l i
s p i r i t u a l i . 35
To a c e r t a i n e x t e n t p a s t o r a l m a t e r i a l h a d a lw a y s b e e n a n im p o rta n t e le m e n t
i n m a d r ig a l l i t e r a t u r e , b u t i t w as o f l e s s e r s i g n i f i c a n c e f o r c y c l i c s e t t i n g s
t h a n f o r s i n g l e m a d r ig a ls an d p a i r s . Of t h e p a s t o r a l poems u s e d a s s o u rc e s f o r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
6
m u lti-m o v em en t s e t t i n g s , S a n n a z a ro ’s A r c a d ia p ro v e d a f e r t i l e i n s p i r a t i o n f o r
a n d G io v a n n i Thomaso de B e n e d i c t i d a P a s c a r o l a , d u r in g th e 1580*s * ^ O th e r
i n t h e p a s t o r a l w o rld w as n o t c o n f in e d t o a p a r t i c u l a r g e o g r a p h ic a l a r e a .
on t h e m u s ic a l w o r ld d u r in g t h e l a s t tw o d e c ad e s o f t h e s i x t e e n t h c e n tu r y i s
s e c u t i v e s ta n z a s fro m A m in ta , Gerusalemme l i b e r a t a , a n d I I P a s to r f i d o i s r e l a
t h e sam e v o c a l d i s t r i b u t i o n . T h is i s a n im p o r ta n t p o i n t , b e c a u s e , d e s p it e th e
c h a r a c t e r i z e d b y t h e la c k o f t e x t u r a l c o n t r a s t s and d ia lo g u e e le m e n ts -—c a n i n no
w ay b e c o n s id e r e d f o r e r u n n e r s o f e a r l y o p e r a . On t h e w h o le , I I P a s to r f i d o
p ro v e d a m ore p o p u la r p o e t i c s o u rc e t h a n A m in ta , t h e o n l y m u l t i - s t r o p h i c s e t t i n g
T i r s i ; kO P h i li p p e d e M onte, G ia c h es de W e rt, S t e f a n o B e r n a rd ! , an d G io v an n i
Giacomo G a s t o ld i a l l p u b l is h e d c y c le s e m p lo y in g t e x t s fro m t h e f o r m e r . ^
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7
E x c e p t f o r a f o r t y p e r c e n t d e c r e a s e i n t h e num ber o f m u l t i - s t r o p h i c s e t t i n g s
in g th e fo rm e r d e c a d e a r e a p p l i c a b l e t o t h e l a t t e r * M a d r ig a li s p i r i t u a l i co n
b e in g t h e m o st im p r e s s iv e a s f a r a s s h e e r l e n g t h a n d s e r i o u s n e s s o f p u rp o se a re
c o n c e rn e d , S te fa n o V e n t u r i ’s s e t t i n g o f P e r g l * a p e r t i d e l C i e l ^ d e s e r v e s men
fo u r s ta n z a s . S t y l i s t i c a l l y a n d f o r m a ll y P e r gl* a p e r t i d e l C j e l d o e s n o t b e
lo n g w i t h t h e o t h e r c y c le s p u b l is h e d b e f o r e 1 6 0 0 , a n t i c i p a t i n g e le m e n ts o f e a r l y
p e r i o d s , M a re n z io e v in c e d l i t t l e i n t e r e s t i n c y c l i c c o m p o s itio n a t t h e b e g in n in g
of h is c a re e r. I t w as o n ly i n t h e l a t e r b o ck s t h a t M a re iz io t u r n e d t o e x te n d e d
s e t t i n g s , h i s S e s to l i b r o de m a d r i g a l i a s e i v o c i , ^ f o r e x a m p le , i n c lu d e d one
p a i r , P e t r a r c h ’s s e s t i n a G iovane Dorm a, an d T a n s i l l o ’ s c a p i t o l o Se q u e l d o l o r .
The b e la t e d i n t e r e s t i n s e t t i n g t e x t s o f s e v e r a l s ta n z a s i s c h a r a c t e r i s t i c o f a
m u l t i - s t r o p h i c s e t t i n g , ev e n a s t h e e i g h t h a n d t h e n i n t h b o oks o f m a d r ig a ls f o r
s i x t e e n t h c e n tu r y t o s e t s i n g l e s tr o p h e s a n d p a i r s ,
d e c a d e s o f t h e s e v e n te e n th c e n t u r y , b u t s e t t i n g s o f f o u r o r more c o n s e c u tiv e
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
s ta n z a s f o r t h r e e o r m ore v o i c e s becam e i n c r e a s i n g l y r a r e , A n to n io i l V e rso * s
c e n tu r y , w as f a r more l i k e l y t o s c o r e h i s w o rk s f o r one o r tw o v o i c e s an d b a s so
ca n zo n e o r s e s t i n a i n i t s e n t i r e t y . P ro b a b ly t h e m o st fam ous c y c l i c m a d r ig a l t o
be p u b lis h e d w i t h i n t h e c h r o n o l o g i c a l b o u n d a rie s o f t h e p r e s e n t s tu d y i s a ls o
t h e l a s t t o be c o n s id e r e d , na m e ly M o n te v e rd i’s s e t t i n g o f L a s c ia te m i m o r i r e ,
c o n s i s t i n g o f f o u r s ta n z a s f o r f i v e v o ic e s and b a s s o c o n tin u o on a t e x t b y
p ro v id e d tw o v e r s i o n s o f L a s c ia te m i m o r i r e , t h e f i r s t o f w h ic h w as m onadic,*1? in
t h i s r e s p e c t M o n te v e rd i5s s e t t i n g s p r o v id e d b o th t h e c o n c lu s io n t o t h e c y c l i c
m a d r i g a l i a c in q u e v o c i ( l 6 l i t ) . W orks w i t h b o th s a c r e d a n d s e c u l a r I t a l i a n
E x c e p t f o r O ra z io V e c c h i’ s s e t t i n g o f C h i S f o rm a to d i m en a r, w h ic h t h e com poser
o f t h e l a t e s i x t e e n t h c e n tu r y ,* 1® t h e a u th o r h a s e x c lu d e d a l l c y c le s p u b lis h e d
a s p a r t s o f m a d r ig a l com edies ( f o r e x a m p le , N e l la v a g a s t a g i o n an d D a l le g e l a t e
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
9
t h e a fc re m e n tio n e d e x c e p t i o n , m u l t i - s t r o p h i c s e t t i n g s i n c o r p o r a te d i n m a d r ig a l
s e p a r a te s tu d y *
a n d t a b l e s i s i n o rd e r* u n f o r t u n a te l y t h e r e i s n o co m p le te in d e x o f I t a l i a n
s e c u l a r v o c a l m usic p u b lis h e d d u r in g t h e s i x t e e n t h a n d t h e s e v e n te e n th c e n t u r i e s .
a u s d e n J a h r e n 1$0Q-17G0^° i s in d is p e n d a b le a s a r e f e r e n c e t o o l , much o f t h e
in fo r m a tio n - —e s p e c i a l l y t h e l o c a t i o n o f e x ta n t p a r t - b o o k s — i s o u t - d a t e d , c o n te n t s
a u th o r h a s u s e d V og el« s c a ta lo g u e a s a s t a r t i n g p o i n t , a d d in g i n fo r m a tio n c u l l e d
fro m o t h e r b i b l i o g r a p h i e s , a r t i c l e s , a n d l i b r a r y c a ta l o g u e s , ^ 1 an d p e r s o n a l l y
e x a m in in g t h e c o n te n t s o f a l l t h e m a d r ig a l books now c o n ta in e d i n t h e B r i t i s h
l 6 ll+ , and—-on t h e b a s i s o f p a s t e x p e r ie n c e — t h e a i t h o r h a s no d o u b t b u t t h a t t h e
l i s t w i l l b e e x te n d e d , a f t e r v i s i t s t o o t h e r l i b r a r i e s . N e v e r th e le s s , a b o u t
s e v e n t y - f i v e p e r c e n t o f t h e e x t a n t m a d r i g a l p a r t- b o o k s h av e b een c h e ck e d f o r
c y c l e s , and t h e r e i s n o r e a s o n t o assum e t h a t th e i n t e r p r e t a t i o n o f t h e m a t e r i a l
w i l l d i f f e r m a rk e d ly a f t e r f u r t h e r e n t r i e s h av e b e e n made t o th e s o u rc e l i s t .
To t h e a u th o r ’ s know ledge t h e r e e x i s t n o m a n u s c r ip t s o u rc e s o f c y c l i c m a d r ig a ls
fro m t h e s i x t e e n t h c e n tu r y . M a n u sc rip t s o u rc e s o f I t a l i a n m a d r ig a ls , h o w e v e r,
i s a t o p i c t h a t h a s r e c e i v e d l i t t l e a t t e n t i o n fro m m u s i c o lo g i s ts , a n d i t i s
p o s s i b l e t h a t f u r t h e r r e s e a r c h w o u ld u n c o v e r some I n t e r e s t i n g ex a m p le s 5 b u t
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
10
a g a i n , t h e r e i s n o r e a s o n t o assum e t h a t th e a d d i t i o n s w o u ld e f f e c t t h e i n t e r
p r e t a t i o n o f t h e m a t e r i a l d i s c u s s e d i n t h e f o llo w in g p a r a g r a p h s .
V e ry l i t t l e h a s be e n w r i t t e n a b o u t c y c l i c m a d r i g a l s , a n d t h e few s ta t e m e n t s
one e n c o u n te r s p a s s im te n d t o s u g g e s t t h a t m u l t i - s t r o p h i c s e t t i n g s w e re a c r a z e
o f t h e l a t t e r p a r t o f th e c e n tu r y , an d t h a t m ost co m p o sers a r t i c u l a t e d t h e d i v i
E i n s t e i n w r i t e s t h a t i t i s e x c e p t i o n a l w hen Rore a n d P a l e s t r i n a s e t a l l t h e
s ta n z a s o f t h e i r V e rg in e be H a c y c le s f o r f i v e v o i c e s . ^ A c t u a l l y , a s one c a n
v i d e some b a s ic in fo r m a tio n c o n c e rn in g t h e c h r o n o l o g i c a l d i s t r i b u t i o n o f t h e
m a d r ig a ls l i s t e d i n t h e a p p e n d ic e s*
T a b le I I p r e s e n t s t h e c h r o n o l o g i c a l d i s t r i b u t i o n o f t h e u s e o f d i f f e r e n t
s e t t i n g o f s e p a r a te s ta n z a s a s o p p osed t o th e s e t t i n g o f p h r a s e s w i t h i n e a c h
s t a n z a , t h e l a t t e r f r e q u e n t l y b e in g em p h a size d b y c h a n g e s o f t e x t u r e i n t h e w orks
f o r e a c h s ta n z a s h a r p l y d e c r e a s e s . M a ttio R a m p o llin i, G io v a n n i A n im u cc ia , an d
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31
T a b le I
1 5 UO-1 SU?: 21 c y c le s o
l5W t: l ( 6 s t . a 3 -6 ).
151+5: l ( 5 0 s t . a it ) .
151+7: l ( l + s t . a it-5 ) 5 l ( 5 s t . a 5 ) ; l ( 6 s t . a 3 - 6 ) ; l ( 6 s t . a £ - 6 ) ;
l ( 6 s t . ai+-5 ) .
151+8: l ( i + s t . a 3 - 5 ) ; l ( 5 s t . a it) 5 l ( 6 s t . a 5 ) ; l ( 6 s t . a 5 - 6 ) ;
l ( 12s t . a 5 ).
151+9: l ( i t s t . a5 ) ; l ( i t s t . a it) .
1550- 1559- bZ c y c l e s .
1550: l ( 6 s t . ait) 5 l ( 6 s t . a 3 -6 ).
1552: l ( l t s t . a lt ) 3 l ( 6 s t . al+ ).
155U: 3 ( l t s t . a it ) ; i ( * t s t . 3 3 - 6 ) 5 l ( 5 s t . a it ) 5 i ( 6 s t . a 5 ) ;
l ( 6 s t . a it ) 5 l ( 7 s t . a 3 -7 )5 l ( 8 s t . a 3 - 8 ) 5 l ( 8 s t . a 3 - i t ) .
1557s l(Ust>o a i t - ? ) ; l ( l * s t . a 3 - 5 ) ; K 5 s t . a 3 - 6 ) ; l ( 7 s t . a 3 - 7 ) ;
l ( 8 s t . a 5 ) ; K U + s t. a i t ) .
1 5 58: K U s t . a lt ) ; K 5 s t . a lt ) ; l ( 5 s t . a 3 -5 ) 5 l ( 6 s t . a 5 ) ;
l ( 6 s t . a it ) ; it( 7 s t. a it) ; l ( 7 s t . a lt-5 ).
1 559: l ( 1 0 s t . a 3 - 7 ) ; 1(1+6 s t . a l t ) .
1 5 6 0 -1 5 6 ?: 106 c y c l e s .
15 6 1 : l ( i + s t . a 5 ) ; 2 ( l j s t . a lt ) ; l ( 5 s t . a 5 ) ; l ( 5 s t . a it - 8 ) ;
i t ( 6 s t . a it ) ; l ( 6 s t . a 3 - 6 ) ; l ( 6 s t . a 3 - 5 ) ; l ( 7 s t . a lt) ;
l ( 7 s t . aL+-8); 2 ( 8 s t . a it ) ; i(8 s fc 0 a 3 - 7 ) ; I ( 1 0 s t . a 3 - 6 ) .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
22
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
33
1 5 8 0 -1 5 8 9 : 325 c y c l e s ,
1580: l( lis t , a6)s 2(l*st, a5)s l( l is t . a5- 6); 2(6s t . a3)5 l ( 6s t . a3-5)s
l ( 7s t . a7)s l ( 7s t . al;-5)j l ( 9s t , a3).
1581: l( 5 s t . a6)5 l(5 st» a5); i( 5 s t . alt); l( 7 s t . a6); l ( 7s t e a5)s
3(8s t , a5)$ l ( 8s t . aii); l ( 10s t e a5).
1582: l(lis t , a5)s l(lis t . a10; 3.(£st, a6 ); l( 5 s t . a5); l( 5 s t . a2i);
2(6s t , a5); i(7 st* a5)s 2( 7s t . ah)•
1583* l(iis t , a5)j l(U st. al;); l( lis t . ali-5)s 3.(5st<, a6 );
l ( 5s t , a5); l ( 6s t , a5)s 2(6s t , aii); l ( 6s t . a5- 6);
l ( 6s t . aii~6); l ( ? s t . a5)s l ( 9s t . aii-5).
1581+s l(lis t . a6 ); liOist. a5); 2 (5 st. a6); l( 5 s t . a5)$ l( 5 s t . a3-5);
3 (6 st. a6)5 U(6s t . a5)$ l ( 7 s t 0 a5); l ( 8s t . a$)s l ( 8s t . ah)}
l ( 10s t . ali); l ( l l s t , ali),
1585* 6(Ust, a5)s l(lts t. ali); 2 (5 st, a5); l ( 5s t , aii-6);
E(6 st. a5); l(7 st, a5); 1(18 s t , a3- 6) ,
1586: l(lis t . a6); 2(Ust. a5); 2 (list. ah)} 2(ljst. a3); 2(5s t . a5);
l( 5 s t . aii); l( 5 s t , a3); l ( 6s t . a5); l ( 6s t . aU); l ( 6s t , a3);
l ( 7s t . a5)s l ( 7s t . a3)s l ( 10s t . aii-6) .
1587* 2(iist, a5); 2 (5 st, a5); i( 5 s t . a5-6); 3 (6 st, a5)s l ( 6s t . ali);
l ( 7s t . a5)s 2( 7st* ah)} l ( 9s t , a3-6),
1588: l(l4St. a5); 2(list. a3); 1(53** a5); l(7 st. a6); l(7 st. a3-6);
l(7 st, a5- 6); l(8 st, a 5 ),
1590-1599* 75 cyc3jss,
3590: l ( i i s t , a lO ) ; l ( i i s t . a 6 ) ; l ( i i s t . a 5 ) ; l ( l i s t . a 3 ) ; 2 ( 6 s t . a 6 ) ;
l ( 7 s t . a 5 ) ; 2 ( 7 s t . a 3 ) j l ( 7 s t . a ii- 8 ) ; l ( 1 2 s t . a 5 ) ,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
lit
1 59$: l ( U s t . a 5 )s 3 ( l s t . a3 )5 l ( S s t . a 5 ) s l ( 7 s t . a 6 ) 5
l ( 1 0 s t . a 6 ) s l ( 2 0 s t . a?)o
1597: a h ); l( U s t. a 3 )j l ( 6 s t . a 5 )j l ( 6 s t . aU)5
l ( 7 s t . a 6 ) 3 l ( 1 2 s t . a lt ) .
1598s l ( i * s t . a 5 )s l ( 5 s t . a 5 )j l ( 8s t . a 8 ); l ( 12s t . a 5 ).
1 599: l ( U s t . a 7 )s l ( U s t . a 3 ) ; 2 ( 5 s t . a 3 ) s l ( 6 s t . a 7 ) ;
l ( 7 s t . a 5 )j l ( 7 s t . a 3 ); l ( 1 2 s t. a 3 ).
1 600 -1 6 0 9 : h9 c y c l e s .
1600: 2 ( U s t. a 7 ) 5 5 ( U s t. a 5 )s l ( U s t . a lt ) ; l ( 6 s t . a 5 )s
l ( 7 s t . a 3 -it ) 5 l ( 8 s t . a 5 ) 3 l ( 9 s t . a 5 - 7 ) .
1601: 3 (5s t . a 5 )s l ( 5 s t . a h ); l ( 7 s t . a it ) .
1603: l(Us-fc.a 6 )$ l ( 6 s t . a 6 ); l ( 8s t . a 5 ).
l 6 0 it: l ( i t s t . a3 ) 5 l ( 7 s t . a 5 )s l ( 7 s t . a h ).
1606: l ( 6 s t . a 5 -7 )s l ( 9 s t . a 3 ) .
1607: l ( U s t . a 5 ) j l ( i ; s t . a 3 )s l ( 6 s t . a 5 ) j l ( 6 s t . a l; ) ; l ( 8 s t . a 5 ).
1609: 2 ( li s t. a 5 )s l ( 9 s t . a 5 ).
io iO -lo lU s 21 c y c l e s .
1610: l ( 7s t . a5 ) .
1 611: 2 ( i t s t . a 5 )s 2 ( U s t. a 3 ) j l ( 5 s t . a 3 )„
1612: l ( l i s t . a 3 ) s l ( 6 s t . a 5 )«
1613: l ( i t s t . a 5 )s l ( i t s t , a 3 ); i ( 7 s t . a 5 ) ; l ( 7 s t . al *.)5 l ( 8 s t 0 a5 ).
I 6llt: I ( i t s t . a 5 )$ l |( U s t . a i;) ; l ( 5 s t . a 5 )s 2 ( 6 s t . a 5 ) .
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16
i n c r e a s e d an e a c h s u c c e s s iv e s t a n z a , o r i n w h ic h t h e i n i t i a l t e x t u r e m ig h t b e
th in n e d f o r th e m id d le s tr o p h e s a n d th e n g r a d u a l ly e n r i c h e d i n t h e f i n a l s t a n -
z a s .^ N e e d le s s t o s a y , t h e r e i s a c o n s id e r a b l e d i f f e r e n c e i n a u r a l e f f e c t b e
tw e e n t h e fo rm e r a n d t h e l a t t e r m e th o d s , t h e fo rm e r h a r d l y c o n s t i t u t i n g s e c t i o n a l
a r t i c u l a t i o n by o r g a n i z a ti o n o f t h e num ber o f v o ic e s a s E i n s t e i n s u g g e s t s . ^ In
a d d i t i o n t o t h e t h r e e a fo re m e n tio n e d c o m p o s e rs, G io v a n n i N a sc o , F ra n c e s c o P o r t i n -
a r o , V in c e n zo R u f f e , J a c q u e s A r c a d e lt , A n to n io B a rrS , N ic o lo D o r a t i , S a lv a d o re
E s s e n g a , B artholom eo S p a n to n i, S p e r in d io B e r th o ld o , a n d S te fa n o R o s s e tt o a l l
1^ 7 0 , a n d i t i s in d e e d u n f o r t u n a te t h a t E i n s t e i n a p p a r e n t l y b a s e d m ost o f h i s
s e n te d t h e norm . I n f a c t , t h e o p p o s ite i s t r u e ; th e a p p ro a c h o f R o re , P a l e s t r i n a ,
c e a s e d t o be w r i t t e n a f t e r 15 7 0 , b e c a u s e t h e r e a r e l a t e r e x a m p le s .^ How ever,
s u c h e x a m p le s r e p r e s e n t a v e r y s m a l l p o r t i o n o f t h e l a t e r r e p e r t o r y .
th e 1560 *s an d d e c li n e d t h e r e a f t e r .
T hree c a t e g o r i e s b a s e d an t h e s t r u c t u r e o f t h e t e x t may b e e s ta b l is h e d s
(1 ) c y c le s o f f o u r and f i v e movements a r e u s u a l l y s e t t i n g s o f o t t a v e r im e ,
m is c e lla n e o u s t h r e e - a n d f o u r - v e r s e f o rm s , o r s e c t i o n s o f l a r g e r w orks s u c h a s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
T a b le I I I
— 7 s l7 .
L s t. — — 6st . 8s t . 9s t . lo s t. lis t.
i5 U o -i5 U 9 h 2 8 3 2 0 0 1
1 550-1559 10 6 11 8 3 0 2 0
1 5 60-1569 12 11 5o 15 8 1 1 1
1 570-1579 23 10 32 10 3 2 0 h
1 580-1589 33 23 28 2b 8 3 3 2
1590-1599 26 9 16 10 h 1 2 0
1600-1609 21 8 8 5 3 3 0 1
1610-161U 12 2 3 3 1 0 0 0
1 2 s t. 1 3 s t. H is t. I5 st. l? s t. I8s-fc* 2 o s t,
15UO-15U9 0 0 0 0 0 0 0
1550-1559 0 0 1 0 0 0 0
1 560-1569 1 2 0 1 1 0 0
1570-1579 0 0 0 0 0 0 0
1580-1589 0 0 0 0 0 1 0
1590-1599 k 0 0 0 1 0 1
1600-1609 0 0 0 0 0 0 0
1610-1611- 0 0 0 0 0 0 0
^ T s t. 3 o s t. i ;6 s t. 5 0 s t.
0 Q 1
15UO-15U9 0
1550-1559 0 0 1 0
1560-1569 2 0 0 0
1570-1579 0 0 0 0
1580-1589 0 0 0 0
1590-1599 0 1 0 0
1600-1609 o 0 0 0
1610-1612; 0 0 0 0
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16
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19
d i f f i c u l t t o g e n e r a l iz e a b o u t t h e t h i r d c a te g o r y 3 s in c e many o f t h e w ork s fo rm
se co n d c a te g o r y 5 o t h e r s such a s S a l v a t o r e C a ta ld o ’ s T u t t i P r i n c i p i i de C a n ti
th a n e i g h t movements p u b lis h e d d u r in g e a c h d e c a d e . I t i s q u i t e c l e a r t h a t th e
tr e n d a f t e r 1 5 7 0 i s to w ard c y c le s o f fe w e r s e c t i o n s .
p a r t i c u l a r t e x t s r e f l e c t s t h e d e v e lo p m e n t o f t h e m a d r ig a l a s a w h o le : fo u r-p a rt
w r i t i n g w as s u p p la n te d b y f i v e - p a r t w r i t i n g i n t h e l a s t t h i r d o f t h e c e n tu r y ;
th e c o n c lu d in g y e a r s w e re m arked b y a t r e n d to w a rd s even r i c h e r s o n o r i t i e s on
th e one hand* a n d t h r e e - p a r t t e x t u r e s on th e o t h e r .
Table V
A COMPARISON OF THE NUMBER OF SECTIONS WITH THE PRESENCE OR
THE ABSENCE OF DIFFERENT NUMBERS OF VOICES
C y c le s o f U an d 5 C y c le s o f 6 t o 8 C y c le s o f More Than
S e c tio n s S e c ti o n s 8 S e c tio n s
Same D iffe re n t Same D iffe re n t Same D ifferent
151 +0 - 1 k 2 1 12 2 0
1550-1559 10 6 33 9 k 0
1560-1^69 19 k 53 20 7 3
1570-1579 32 1 36 9 k 2
1580-1589 51 5 52 8 5 1+
1590-1599 3k 1 27 3 10 0
1600-1609 29 0 13 3 3 1
1609-161!+ lh 0 7 0 0 0
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
20
be reca p itu lated : (1) w ith the exception of th e f i r s t decade, the m ajority o f
r e a lly a c o r o lla ry to p oin ts one and th ree. With one or two excep tion s, long
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21
F o o tn o te s
3 , The t i t l e . M usic a de m e s s s r B e rn a rd o P is a n o s o p r a l e c a n zo n e d e P e t r a r c a ,
i s somewhat m is le a d in g due t o t h e f a c t t h a t o n ly s e v e n o f t h e s e v e n te e n com posi
t i o n s a r e r e a l l y b a s e d an t e x t s b y P e t r a r c h : Amor s e v u o i c h ' i o t o r n i , S i § d e
b i l e i l f i l o , N e l la s t a g i o n ch e *1 c i e l , L a sso me c 5 T i o n o n s o , C h ia re f r e s c h e
e d o l c i a c q u e ,"tlke d s b b ' i o f a r , a n a Se i l d i s s i m a l, “ S i some p i e c e s P is a n o
p r o v id e d t h e commia-Eo—- a s t h e s h o r t e r " T i n a l s t a n z a -was c a l l e d —w i t h i t s own s e t
t i n g , F o r a summary o f t h e b i o g r a p h i c a l d e t a i l s an d a s t y l i s t i c d e s c r i p t i o n o f
t h e w o r k s , s e e A l f r e d E i n s t e i n , The I t a l i a n M a d rig a l, t r a n s l a t e d b y A le x a n d e r
H, K ra p p e . R oger H, S e s s io n s , a n d O l iv e r S tru n k ( P r i n c e to n : P r in c e t o n U n i v e r s i ty
P r e s s , 1 9 1 9 ) , V ol* I , p , 128-135* A t r a n s c r i p t i o n o f Che d e b b » i o f a r i s a v a i l
a b le i n Knud Je p p e s e n » s a r t i c l e , !,D ie n e u e n td e c k te n B u ch er d e r Lauden d e s Ot
t a v i a n o d e i P e t r u c c i und a n d e r e 'm u s i k a li s c h e S e l t e n h e i t e n d e r B i b l i o t e c a Colom-
b i n a z u S e v i l l a , “ Z e i t s c h r i f t f g r M u s ik w is s e n s c h a ft, X I I ( 1 9 2 9 ), 8 6 -8 9 o
5* E i n s t e i n , I t a l i a n M a d rig a l, V o l, I , p* 2 8 9 o
6* G ia c h es de P o n te , C in q u a n ta S ta n z e d e l Bembo c o n l a nm gica d i s o p ra
com post a p e r * ,,M , G ia c h es de |Ponte“ T V en ic e : 'A n to n io G a rd a n e , 15h5)*
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
22
8 , The f i r s t e d i t i o n o f C ip r ia n o d e R o r e ’s T e rz o l i b r o d i m a d r ig a l! a c i n
que (V e n ic e : G irolam o S c o t to , 15U 8), c o n ta i n s o n ly t h e f o r s i s ix ' s ta n z a s o f
P e t r a r c h ’s canzone V e rg in e b e l l a . I n th e s e c o n d e d i t i o n , p u b l is h e d i n 1552 b y
A n to n io G ardano,' a l l e le v e n s ta n z a s a r e in c l u d e d 0
1 1 , G iandom inico M a r t o r e t t a , L i M a d r ig a li d q u a t t r o v o c i (V e n ic e :
G irolam o S c o t t o , 15U8) • ""
1 2 , S a lv a to r e C a ta ld o , T u t t i P r i n c i p i i d e C a n t i d e l l ’ A r i o s t o p o s t i in
m u sic a (V e n ic e : G irolam o S c o t t o , 1559)*
lU , A qu a lu n q u e a n im a le , Non 1 t a n t i a n im a li , a n d La v e r 1* a u ro r a a r e t h e
s e s t i n e ; Che d e b h ’’ i o f a r and Q u a n d “ j j s'oave a r e t h e c a n z o n i, ”
1 5 , F ra n c e s c o P o r t i n a r o , I I P rim o l i b r o d e m a d r i g a l i a c in q u e v o c i (V e n ic e :
A n to n io G a rd a n e , 1 5 5 0 ); Anonymous, b e d i v e r s ! a u t o r i i l ' q p a rto jA 'b ro T S e " 'm a d rig a li
a q u a tr o v o c i a n o te b ia n c h e ( V e n ic e : A n to n io G a rd a n e , 155UT F ra n c e s c o
R o s s e l l i i n , i l P rim o ^ lih ro ' d e m a d r i g a l i a q u a t t r o v o c i d i O rlan d o d i L assu s
(V e n ic e : G irolam o Sc o t t o , l 5 T 3 ) ; A urelio"""dell'a F a y a , I I P rim o H ^ o d e m a d r i g a l i
a c in q u e v o c i (V e n ic e : F ra n c e s c o R a m p a ze tto , 1 5 6 1 ); G io v a n n i Domenico d a M dia,
I I Secohdo l i b r o de m a d r i g a l i a c in q u e v o c i (Rome: V a l e r i o S a lv ia n o & F r a t e l l i ,
I 5 6 h ) ; G iovanni' A n to n io Mayo, H P rim o l i h r o d i m a d r i g a l i a q u a tt r o v o c i ( l i o n e :
A n tc n io C e r c ia , 1 5 6 7 ); A ndrea G a b r i e l i , t f c d r i g a l i e t' r a c e r c a r ! a q u a tt r o v o c i a
c in q u e e t a s e i v o c i (V e n ic e : L i F i g l i u o l i d i' A n to n io G a rd a n o ,”1 5 7 0 ); P ad re f 7
LSauro de S e r v i , 11 Prim o l i b r o de m a d r i g a l i a q u a tr o v o c i (V e n ic e : L i F i g l i u o l i
d i A n to n io G ardano, 1 5 7 1 ); P i e t r o V i n c i , 11 P rim o l i h r o d e m a d r i g a l i a q u a tt r o
v o c i (V e n ic e : L ’ H erede d i G irolam o S c o t to , i'5 8 '3 );' l u c a ~ 5 a r e n s io , l l S e s to
l i h r o de m a d r i g a l i a s e i v o c i ( V e n ic e : A n g elo G ard an o , 1 5 9 5 )c
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
23
1 9 . S a lv a d o re E s s e n g a , S ec ondo l i b r o d e m a d r i g a l i a c in q u e v o c i (V e n ic e :
A n to n io G ardano, 1 5 6 1 ): L a sso me c h ! i o (pslT* a 5 ) ; Amor**s donne ( h s t . a 5 ) j Che
d o lc e p i u ( 6 s t . a 3 -6 )$ Amor d a c h J ~ e l t i ( 7 s t« a l* -8 ); Amor s e m ai ( 5 s t . al*-8)o
2 0 . G io v an n i A n to n io M ayo, Prim o l i b r o d i m a d r i g a l i a q u a t t r o v o c i (L io n e :
A n to n io C e r c ia , 1 5 6 7 ): Giovane Donna ( 6 s t . ' ai77; S o v ra una~~verde r x v a ( 6 s t . a ii) ;
Non h a t a n t * anim al i ( 6 s t . aliJT
2 2 . J e a n N a sc o , l a Canzon e t M a d r ig a li a s e i v o c i (V e n ic e : A n to n io
G ardano, 1 5 6 2 ): O cch i m ie i ( 7 s t . a 3 - 7 ) ; A 1 p l e d * uxT g l c v i n e t t o ( 5 s t . a 3 - 6 ) ;
0 Bossignuol ( l i s t . ai*-?); I I s o l quando ( lis t . a3-5TT
23 . F o r a l i s t i n g o f e a c h composer»s m u l t i - s t r o p h i c p r o d u c t i o n s e e A p pendix A.
2i*. F o r a l i s t i n g o f t h e s e t t i n g s o f p a r t i c u l a r t e x t s , s e e A ppendix B.
27 . A I d o lc e su o n i n , M u sica d e 1 v i r t u o s i d e l l a f l o r i d a c a p e l l a d e l l 1• . .S .
Duca d i B a v ie ra a c in q u e v o c iV co n l e rim e d e l S . A n to n io M in tu rro l i b r o primo~~
(V e n ic e : G irolam o S c o t t o , 1 5 6 9 ). ~
28. A I d o lc e su o n c o n s i s t s o f t h i r t e e n s ta n z a s f o r f i v e v o i c e s , t h e f o l -
Ic w in g com poser's b e in g r e s p o n s i b le f o r e a c h s ta n z a r e s p e c t i v e l y : O rlan d o d i
l a s s o , G ioseppe Guami, Simon G a tto - F i l e n o C o m a z z a n i, F ra n c e s c o Guami, G io .
B a t t . da Crem ona, A n to n io G ossw in, I v o d e V e n to , G io . B a t t . Romano, Leonardo
M e ld a e rt, M assimo T r o ia n o , M assimo T r o ia n o , and Massimo T r o ia n o . A c o r p o r a te
s e t t i n g o f A l l a d o l e 1 ombra b y G ioseppe Guami, F r a n c e s c o Guami, Iv o d e V e n to ,
Massimo T r o ia n o , A n to n io G ossw in, G io . B a t t . d a C rem ona, an d M assimo T ro ia n o
■was a l s o i n c lu d e d i n t h e same a n th o lo g y .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2h
M ai n o n v o p i l c a n t a r i n , I I G audio p rim o l i b r o d e m a d r i g a l i de d i v e r s i e c c e l l e n ,
m u s ic i a t r e v o c i (V e n ic e : L ’ H erede d i G irolam o S c o tto ^ 1 5 8 S J 3 N in f a
c h e d a l s u p e r b 1 A d r i a t i c o i n , N av i f r u t t i m u sic a l i m a d r ig a li a c in q u e v o c i
^ V e n ic e : Giacomo V a n c e n ti, 1590) &590~*-5lT^ fa g i o rn o k P a le s a c r o i n , i l T r io n f o
d i P o r i d e s c r i t t o d a d i v e r s i s t p o s to i n m u s ic a a s e i v o c i' (V en ice? A ngelo
G a rdano, 1592) ll.592lJ-3* The“T a s 't exam ple i s a n “ i n - t e r e s ti n g w o rk i n w h ic h b o th
t h e t e x t and t h e m u s ic a l s e t t i n g com bine t h e e f f o r t s o f e i g h t p o e ts a n d e i g h t
com posers r e s p e c t i v e l y 0 I n a l l o t h e r c a s e s , t h e t e x t i s t h e w ork o f o n e man.
B oth Q u esto d i che I f e l i c e , w r i t t e n t o c e l e b r a t e a v i c t o r y o f t h e V e n e tia n s ,
a nd S p e r a r n a n s i p o t e a , a s e s t i n a com posed f o r t h e w e d d in g o f G randuca F ra n c e s c o
I and f ii a n c o C a p e l l o , a r e ex a m p le s o f c o m p o s ite c y c le s w r i t t e n t o b e p e rfo rm e d
f o r a s p e c i f i c o c c a s io n . B oth a l s o com b in ed t h e e f f o r t s o f V e n e tia n m a d r i g a l i s t s ;
M entre t i f u i s i g r a t o a n d N in fa che d a l s u p e r b * A d r i a t i c o com bined t h e e f f o r t s
o f Raman c o m p o se rs0
30. P . G io v a n n i P e l l i o , Prim o l i b r o d e l l e c a n z o n i s p i r i t u a l i a c in q u e v o c
(V e n ic e : A ngelo G a rdano, 1 5 7 8 ): o d i d a l c i e l ( U s t . a 5 j ; S i n a qaahdo s i g i a r
( U s t. a 5 )s I o s& saramo Mot o re ( l i s t . a5 T j D e~ Ia t u a g r a t i a (U st.~ V 5 )3 Come v a g o
a u g e l e t t o ( 5 s t . a5T*
3 3 . G io v a n n i P e t r ’ A lo y s io P a l e s t r i n a , I I Prim o l i b r o d e m a d r i g a l i a c in
que v o c i (V e n ic e : A n g e lo G ard an o , 1 5 8 1 ): V e rg in e b e l l a ( 8 s t . a 5 ) j S p i r i t o
S a n to ( l o s t . a 5 ) ; 0 J e s u d o lc e ( 8 s t . a 5 ) .
3U. G io v a n n i P e l l i o , I I Prim o l i b r o d e c a n z o n i s p i r i t u a l i a s e i v o c i
(V enice? Giacomo V in c e n z i F~Ricc'iarcLo Am adiho, l5 8 U ) : b e 1 ’ e g re i n f e m e
( 6 s t . a6 ) ; H t u o a i u t o 5 S ig n o re ( 5 s t . a 6 ) ; Deh f r a c o n S a n te m ie ( U s t. a 6 ) j
Quando a i c o r s i e r d e l Sol*~( 6 s t . a 6 ) .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
25
3 8 . I n a d d i t i o n t o t h e p e n e t r a t i n g comments t h a t a p p e a r th ro u g h o u t A l f r e d
E i n s t e i n !s The I t a l i a n M a d r i g a l, - th e f o ll o w i n g books an d a r t i c l e s d e a l s p e c i f i
c a l l y -w ith th e s u b j e c t : A l f r e d E i n s t e i n , " O rlan d o F u r io s o a n d La Gerusalemme
L i b e r a t a a s s e t t o M usic d u r in g t h e l £ t h a n d 1 7 th C e n t u r i e s , ” N o te s , V I I I ( 1 9 5 0 -
1 9 5 1 ) , 623-630; Hans E n g e l, " M a re n z io ^ M a d rig a le und i h r e d ic h b e r is c h e n G ru n d -
l a g e n , ” A c ta M u s ic o lo g ic a , V I I I (1 9 3 6 ), 1 2 9 -1 3 9 , IX ( 1 9 3 7 ), 1 1 -2 2 ; L odovico
F r a t i , " lo r q u a to T a sso i n m u s ic a ," R i v i s t a M usic a l e I t a l i a n a , XXX ( 1 9 2 3 ), 3 9 0 -
b 0 0 ; A ngelo S o l e r t i , e d . « Le rim e d e l T a s s o (B o lo g n a: R om agaoli d a li * A cau a,
1 8 9 8 ) , V o l. I , p . 389-UU6; A rn o ld H artm an n , J r . , " B a t t i s t a Guar i n i and ID-
P a s t o r f i d o , " M u s ic a l Q u a r te r ly , XXXIX ( 1 9 5 3 ), h l 5 -b 2 5 .
3 9 . Luca M a re n z io , Q uarto l i b r o d e m a d r i g a l i a c in q u e v o c i (V e n ic e :
Giacomo V i n c e n ti , 1 5 8 b ). '.the s o u rc e oF ~the t e x t is~ "T orquato l a s s o ’s G e ru s a
lemme l i b e r a t a ( X I I: 9 6 - 9 9 ) . O th e r s e t t i n g s o f t h e same p a s s a g e w e re p u b lis h e d
by S c ip io n e D ent i c e i n 1598 an d b y A n to n io C i f r a i n 16 0 5 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
26
A le s s a n d r o M a rin o ’s Prim o l i b r o d e m a d r i g a l i a s e i v o c i (V e n ic e : R i c c ia r d o
A m adino, 1 5 9 7 ), and A rc a n g e lo S o r s a r o ’ s PxeT oFi A f f e V ii i l p rim o l i b r o d e l l e
c a n z o n e t te s p i r i t u a l i a_ q u a t t r o v o c i (V e n ic e : R ic e ia rd o * lim a d in o , ± 5 9 7 ) a r e
tw o o t h e r c o l l e c t i o n s fro m t h e 1 5 9 0 ’s c o n ta i n in g c a n z o n i s p i r i t u a l i ,
li3 , S te f a n o V e n t u r i , M a d r ig a li a q u a tr o v o c i (V e n ic e : Giacomo V i n c e n t i ,
l%9h)» A f i v e - v o i c e r e f r a i n a l t e r n a t e s -with s ta n z a s s c o re d f o r v a r y i n g tw o -
v o i c e c o m b in a tio n s ,
U5o A n to n io i l V e r s o , D e c im o q u in to l i b r o de* m a d r i g a l i k c in q u e v o c i
(P a le rm o : G iovan B a t t i s t a M a rin g o , 1619),
1*6, C la u d io M o n te v e rd i, I I S e s to l i b r o d e m a d r i g a l i a c in q u e v o c i , , »con
i l su o b a s s o c o n ti n u o ( V a ii c e : R ic c ia r d o A m adino, 1 6 U 4JT
5 0 , E m il V o g e l, B ib li o t h e k d e r g e d ru c k te n w e l t l i c h e n V o c alm u sik I t a l i e n s
a a s d e n J a h re n 1500-1700 enthalTTend d i e L i i i e r a t u r d e r F r o t i o l e , ia a d r ig a ie Can
zone t 't e , A r i e h , Q pern, e t c , , , m it n a c h trA g e n v o n £ro£_, A l f r e d E n a s te i n , 2 v o I s T ,
r e p r i n t o f t h e 1892 B e r li n e d i t i o n ( fa ild e s h e im : G eorg 61m s, 1 9 6 2 ),
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
27
53* E ach c y c le h a s b e e n i n c lu d e d u n d e r t h e e a r l i e s t y e a r f o r w h ic h t h e r e
i n a n e x t a n t p a rt-b o o k * I n m ost c a s e s t h i s i s t h e d a te o f t h e f i r s t e d i t i o n ,
a lth o u g h t r a c e s o f some f i r s t e d i t i o n s h av e u n d o u b te d ly v a n is h e d . I t w o u ld b e
p r e f e r a b l e , o f c o u r s e , t o know th e a c t u a l d a te o f c o m p o s itio n , b u t s u c h in fo rm a
t i o n i s u s u a l l y n o t a v a i l a b l e . The num ber p r e c e d in g t h e p a r e n t h e s i s i n d i c a t e s
t h e num ber o f c y c le s p u b lis h e d i n a s p e c i f i c y e a r w i t h t h e c h a r a c t e r i s t i c s co ded
w i t h i n t h e p a r e n th e s e s (num ber o f s ta n z a s and num ber o f v o i c e s ) .
56, E i n s t e i n , I t a l i a n M a d rig a l, V o l, I , p 0 2 9 0 ,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
28
CHAPTER I I
A lth o u g h t h e m a j o r it y o f m a d r ig a l books p u b l is h e d i n t h e s i x t e e n t h c e n tu r y
a r e e i t h e r p r i m a r i l y d e v o te d t o t h e -works o f a s i n g l e co m p o se r, o r a r e c o sm o p o li
t a n i n r e p r e s e n t a t i o n , a few c o l l e c t i o n s a tt e m p t t o b r in g t o g e t h e r w o rk s w r i t t e n
g a l i a c in q u e de d i v e r s i e c c e H e n t i m u s ic i d i Roma p u b lis h e d b y th e h e i r s o f
G irolam o S c o t to i n 1 5 8 2 , 3. l e G io ie m a d r i g a l i a c in q u e v o c i d i d i v e r s i e c c e l l e n -
v i o d u r in g t h e I5 9 0 * s,~ Such c o l l e c t i o n s a r e i m p o r ta n t , b e c a u s e i n s p i t e o f s t y l
i s t i c d i v e r s i t y t h e y c o n ta i n t h e s u g g e s tio n o f r e g i o n a l i d e n t i f i c a t i o n t h a t s u p
e rs e d e s th e s in g le a r t i s t . T h is i s n o t t o s a y t h a t t h e r e w as a Roman— a s o p p o se ^
f o r ex a m p le , t o a V e n e tia n — s c h o o l o f co m p o sers d u r in g t h e s i x t e e n t h c e n tu r y ;
s t i t u t i o n s upon t h e m u s ic ia n s i n t h e i r em ploy w o u ld h a v e te n d e d t o p ro d u ce a
c e r t a i n d e g re e o f s i m i l a r i t y i n th e w o rk s co m m issio n ed f o r t h e i r u s e . The f o l
lo w in g p a ra g ra p h s w i l l be d e v o te d t o a s u rv e y o f t h e i n s t i t u t i o n s a n d p a tr o n s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
29
l e a s t one c y c l i c m a d r ig a l b e tw e en l$hO an d l 6 l l u
I n s t i t u t i o n s an d P a tr o n s
p a tr o n s o f t h e a r t s , t h e m ost p ro m in e n t p a tr o n i n s ix t e e n t h - c e n t u r y Rome w as th e
C a th o lic C hurch. P o s i t i o n s w i t h i n t h e c h u rc h w e re a rr a n g e d h i e r a r c h i c a l l y a t
th e a p e x o f w h ich w e re t h o s e p o s ts d i r e c t l y c o n t r o l l e d b y t h e V a t ic a n , t h e g o a l
t o t h e C a p p e lla S i s t i n a , t h e e l i t e g ro u p o f m u s ic ia n s t h a t p r o v id e d w h a te v e r
m usic w a s i n q u ir e d f o r t h e f u n c t i o n s a t w h ic h t h e pope p e r s o n a l l y o f f i c i a t e d .
^he n e x t m o s t- p r iz e d a p p o in tm en ts w e re t h o s e o f m a e s t r i d i c a p p e l l a a t th e t h r e e
m u s ic a l d i r e c t o r s h i p o f t h e F re n c h N a t io n a l C h u rc h , S an L u ig i d e l F r a n c e s ! ,
p r o b a b ly ra n k e d f i f t h i n te rm s o f p r e s t i g e . P o s ts a t o t h e r c h u rc h e s e n p lo y in g
c h o ir d i r e c t o r s , su c h a s San L o re n zo i n Damaso a n d t h e s t a t i o n a l c h u r c h e s ,
d e f i n i t e l y o c c u p ie d a lo w e r l e v e l w i t h i n t h e h i e r a r c h y . J e su it-s p o n s o re d c o l
l e g e s a n d t h e i r a f f i l i a t e d c h u rc h e s em ployed s e v e r a l p r o f e s s i o n a l m u s ic ia n s t o
l e s s e r e x t e n t , t h e E n g lis h C o lle g e w e re a lm o s t a s s o u g h t a f t e r a s th e p o s i t i o n s
a t t h e V a t ic a n . I n f a c t , b y t h e t u r n o f t h e c e n tu r y t h e m u s ic a l fame o f t h e
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
f r e q u e n t demand th ro u g h o u t t h e c i t y . O th e r i n s t i t u t i o n s a t w h ic h m u s ic ia n s w e re
em ployed a s d i r e c t o r s , o r f o r w h ic h t h e y p ro v id e d c o m p o s itio n s , w e re t h e s a c r e d
In a d d it i o n t o t h e p o s ts d i r e c t l y r e l a t e d t o t h e c h u r c h , many c a r d i n a l s m ain
C a r d in a l G a b r ie le P a l e o t t o , C a r d in a l F l a v io O r s i n i , C a r d in a l C r i s t o f o r o M adruzzo,
and C a r d in a l L u ig i d ’E s t e .
A c c o rd in g t o t r a d i t i o n , t h e g e n e a lo g y o f t h e C a p p e lla S i s t i n a c a n be t r a c e d
t a b l i s h e d a s c h o la c a n to ru m f o r t h e e d u c a tio n o f c h o r i s t e r s . U n f o r tu n a t e l y ,
t h e p r e s e n c e o f a c h o r a l s c h o o l d u r in g S t . S y l v e s t e r ’s p o n t i f i c a t e c a n n o t be
t h e c h a n t g r a d u a lly d e c li n e d i n t h e t h i r t e e n t h c e n tu r y . D u rin g t h e f o u r t e e n t h
c e n tu r y , a f t e r th e p a p a cy h ad b een t r a n s f e r r e d t o A v ig n o n , t h e a c t i v i t i e s o f
i n 1377s t h e c h a p e l, w h ic h h a d become p a r t o f t h e p o p e ’s p e r s o n a l r e t i n u e i n
com bining t h e f e a t u r e s o f a r e s i d e n t i n s t i t u t i o n w i t h o f f i c i a l s t a t u s ( c h a r a c
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
31
S i s t i n a r e t a i n e d n one o f t h e p e d a g o g ic a l f u n c t i o n s o f th e e a r l i e r Roman
i n s t i t u t i o n s , a n d i n t h i s r e s p e c t i t a l s o d i f f e r e d fro m i t s c o n te m p o ra r ie s .
p r o v id e m u sic f o r t h e M ass, t h e D iv in e O f f ic e , a n d a n y o t h e r f u n c t i o n s a t w h ic h
on t h e p e r s o n a l t a s t e o f t h e r e i g n i n g p o p e . F o r ex am p le, d u r in g t h e p o n t i f i c a t e
o f Leo X t h e s i n g e r s t o t a l e d t h i r t y - s i x , u n d e r C lem en t V I I t w e n ty - f o u r , J u l i u s
I I I t w e n ty - f o u r , an d S i x tu s V tw e n ty - o n e .10 The s in g e r s w e re d i r e c t e d by th e
On S e p tem b e r 1 , 15 8 6 , S i x tu s V p u b l is h e d th e b u l l , I n suprem a m i l i t a n t i s e c c l e -
s i a e c a t h e d r a , 11 w h ic h c o m p le te ly r e v i s e d th e m eth o d o f f i l l i n g th e d i r e c t o r s h i p .
f o r t h e m a jo r f e a s t s . A s c r i p to r u m w as e s t a b l i s h e d t o p r o v id e c o p ie s o f th e
m u s ic a l m a n u s c r ip ts u s e d by t h e c h o i r .
c a n t o r i , m a e s t r i p r o te m p o re , a n d com posers t o t h e c h a p e l a v a i l a b l e i n s e c o n d a ry
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
32
b a s e d upon s ta t e m e n t s q u o te d b y E n r ic o C e la n i i n a n a r t i c l e on th e C o r s in ia n o
m a n u s c r ip t, an h i s t o r i c a c c o u n t o f t h e v a r i o u s s i n g e r s a t t h e p a p a l c h a p e l fro m
r e l i a b l e F o m a r i *s in fo r m a tio n i s , i s d e b a ta b l e ; t h e r e f o r e , a n y l i s t o f com
p o s e r s m ust r e m a in p r o v i s i o n a l u n t i l f u r t h e r r e s e a r c h i s c o m p le te d .
T ab le V I
p a p a l c h a p e l , was p la n n e d b y S i x tu s I F , b u t t h e id e a w as n o t c a r r i e d o u t u n t i l
F e b ru a ry 1 9 , If>13, when J u l i u s I I s ig n e d t h e b u l l c r e a t i n g t h e n e c e s s a r y fu n d s
t r a i n th e c h o ir , th e o th e r to te a c h r h e t o r ic .- ^ P r io r t o 1313. th e m a jo r ity o f
from t h e n o r t h . He h o p e d t h a t b y e s t a b l i s h i n g a n i n s t i t u t i o n w h e re I t a l i a n
s in g e r s w o u ld be t r a i n e d , i t w o u ld be n o lo n g e r n e c e s s a r y t o s t a f f t h e p a p a l
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
33
c h a p e l -w ith p r e d omina n t l y f o r e i g n t a l e n t . To i n s u r e t h e f i n a n c i a l in d ep e n d e n c e
e l l i , and s e v e r a l p r i v a t e r e s i d e n c e s , - ^
b o th m u s i c a ll y a n d f i n a n c i a l l y . C o n tr a r y t o t h ^ d e s i r e s o f J u l i u s I I , h o w e v e r,
s t a t u s o f t h e J u l i a n C h a p e l d e c lin e d d u r in g t h e p o n t i f i c a t e s o f A d r ie n V I (1 5 2 2 -
en c e o f t h e p o p e , d u r in g t h e l a t t e r b e c a u s e o f t h e s a c k in g o f Rome, Paul I H ,
h o p in g t o r e s t o r e t h e C a p p e lla G i u l ia t o i t s fo rm e r p o s i t i o n , r e v e r s e d t h e p o l i
c i e s o f a t t r i t i o n p r a c t i c e d d u r in g t h e tw o p r e c e d in g p o n t i f i c a t e s . In th e f o l
l i s t e d i n th e r e g i s t e r . On A u g u st 1 , 1 5 7 8 , G regory X I I I p u b l is h e d a b u l l r e
a t t h e J u l i a n c h a p e l w e re l a t e r t r a n s f e r r e d t o t h e p a p a l c h o i r , t h e p u r p o s e o f
t h e C a p p e lla G i u l i a c e a s e d t o b e c o n s id e r e d p r i m a r i l y t h a t o f a t r a i n i n g s c h o o l.
1598 t o a c t a s a r e p o s i t o r y f o r t h e m a n u s c r ip ts a n d bo o k s c o l l e c t e d b y th e
c h o i r s in c e May, 1539,
A t t h e o u t s e t , t h e C a p p e lla G i u l ia in c lu d e d two a d m i n i s t r a t i v e p o s i t i o n s ,
bc y s an d t h e tw e lv e s i n g e r s . The p r im a ry d u t i e s o f t h e tw o m a g i s t r i w e re
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
3k
e a r l y m a g i s t r i w e re c o n s id e r e d t o be i d e n t i c a l i n s t a t u s t o t h e c a n t o r i ; no
p r i v i l e g e s o r m o n e ta ry re w a rd s a c c ru e d t o them upon a p p o in tm e n t t o m a g is te r*
b o s c o (H?li6-15)lt7), u h o s e s a l a r y w as i n c r e a s e d b y tw o s c u d i upon h i s a c c e p ta n c e
d i c a p p e l l a w as P a l e s t r i n a i n 1551* A f t e r t h a t t h e m a e s tro w as in d e e d t h e
m u s ic a l d i r e c t o r o f t h e c h o i r , w h ile t h e p o s t o f m a g i s te r i n d i c a t e d a t e a c h i n g
when G regory Z I I I p ro m u lg a te d t h e re fo rm s o f 1 5 7 8 , t h e c h o i r t h e r e a f t e r in c l u d i n g
many o f th e s p e c i a l c e re m o n ie s h e l d i n S t . P e t e r ’ s , f o r ex a m p le , c e l e b r a t i o n o f
Mass on t h e a n n iv e r s a r y o f J u l i u s I I , F e b r u a r y 2 0 , ^
T a b le V I I l i s t s t h e m a g i s t r i puero ru m and t h e m a e s t r i d i c a p p e l l a a t t h e
a l s o com posers o f c y c l i c m a d r ig a ls .- ^ U n f o r tu n a t e l y , n o r e l i a b l e l i s t o f t h e
t o q u e s ti o n , so t h a t t h e l i s t re m a in s a p r o v i s i o n a l o n e .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
35
F£a b Ve y j I
F la n d ru s , Ja co b u s
( A r c a d e lt) A p r i l 1 , 1539-November 3 0 , 1539 M a g is te r p u ero ru m
M a ll a p e r t , R ubinus December 1 , 1 5 3 9 -tIa n u aiy 3 1 , 15U5 M a g is te r p u ero ru m
B a p t i s t a , Jo h a n n es F e b r u a r y 1 , l 5 1 ; 5 - f e c h 3 1 , l$h6 M a g is te r p u ero ru m
F e r ra b o s c o , Domenico F e b r u a r y , l5 i|6 -D ecem b er, 15U7 M a g is te r p u ero ru m
R o u s s e l, F r a n c o is F e b r u a r y 1 2 , l5 1 ;8 -F e b ru a ry 2 6 , 1550 M a g is te r p u ero ru m
M a ll a p e r t , R ubinus F e b ru ary 2 6 , l5 5 0 -S e p te m b e r, 1551 M a g is te r p u ero ru m
P a l e s t r i n a , Gio*
P ie rlu ig i da S e p tem b e r, 1 5 5 1 -Ja m ia ry 1 3 , 1555 M a estro d i c a p p e l l a
A n im u cc ia , G io v a n n i J a n u a r y , 1555-M arch 2 0 , 1571 M a estro d i c a p p e l l a
P a l e s t r i n a , G io.
P ie r lu ig i da A p r i l , 1 5 7 1 -F e b ru a ry 2 , 15911- M a estro d i c a p p e l l a
G i o v a n e l l i , R u g g ie ro March 1 5 , I 5 9 k - A p r i l, 1599 M a estro d i c a p p e l l a
F a b r i , S te fa n o
th e e l d e r A p r i l 2 6 , 1599-1602 M a estro d i c a p p e l l a
P a c e l l i , A s p r ilio March 2 , 1602-1603 M a e s tro d i c a p p e l l a
S o r ia n o , F ra n c e s c o J a n u a ry 1 , 1603-1620? M a estro d i c a p p e l l a
Table YIII
THE CANTORI AT THE CAPPELIA GIULIA WHO PUBLISHED CYCLIC MADRIGAIS
BETh-cjH/H 15Uo and l6 lli
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36
a n d , l i k e t h e l a t t e r , t h e C a p p e lla P i a in c l u d e d c a n t o r i , p u e r i , t h e m a e s tro d i
c a p p e l l a , a n d a m a g i s te r p u e ro ru m . The p o s t o f m a e s tro d i c a p p e l l a a t th e
L a te r a n w as a p r e s t i g i o u s o n e , f r e q u e n t l y s o u g h t t y w e ll-k n o s m c o m p o se rs.
T a b le IX l i s t s th e m a e s t r i d i c a p p e l l a fro m 1035 t o 1 6 1 9 .1 ®
----------------------
THE MAESTRI D I CAPPELIA AT SAN GIOVANNI IN LATERANO
__________________ BETWEEN 1535 AND 1619__________________
b e e n e s t a b l i s h e d b y 1 5 3 7 , b u t , u n f o r t u n a t e l y , t h e r e c o r d s o f S a n ta M aria M ag g io re
a r e m is s in g f o r t h e y e a r s p r i o r t o 1 5 3 7 . The o r g a n i z a ti o n o f t h e C a p p e lla
G i u l ia w as u s e d a s a m o d el, a n d , l i k e t h e J u l i a n C h a p e l, t h e C a p p e lla L ib e r i a n a
in c lu d e d t h e m a e s tro d i c a p p e l l a , t h e m a g i s te r p u e ro ru m , t h e c a n t o r i , and t h e
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37
1538 t o 1629.
_ _
THE MAESTRI D I CAPPELLA. AT SANTA. MARIA. M6.GGI0RE BETWEEN 1538 AMD 1629
P a t te r n e d a f t e r t h e C a p p e lla G i u l i a , t h e m u s ic a l c h a p e l a t S an l u i g i d e i
F r a n c e s i 20 w as e s t a b l i s h e d a t t h e b e g in n in g o f t h e s i x t e e n t h c e n t u r y . 2 1 From
t h e a r c h i v a l r e c o r d s o f t h e F re n ch N a t io n a l C h u rch j t h e r e a f t e r t h e names o f
s i n g e r s a r e e n te r e d r e g u l a r l y . I n l $ l h a t e n o r i s t a an d a s i n g e r b y t h e name o f
D e s id e r iu s B a b e l a r e r e g i s t e r e d . I n t h e f o llo w in g y e a r B a b e l i s d e s ig n a t e d a s
b o th a s i n g e r and t h e m a e s tro d i c a p p e l l a , t h e l a t t e r p o s i t i o n i n c l u d i n g t h e
r e s p o n s i b i l i t y o f t h e s c h o la pu ero ru m c a n tu s . The b o y s , a p p r e n t ic e d t o th e
w as a d d e d . The n e x t i n c r e a s e i n t h e s i z e o f t h e c h o i r o c c u rr e d when G io v an n i
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m a e s tro d i c a p p e l l a , t h e s i z e o f t h e c h o i r w as ex p an d ed t o i n c l u d e s i x t e e n
s in g e rs . S h o r t l y t h e r e a f t e r , a se co n d o r g a n i s t w as h i r e d , w h o , a s p a r t o f h i s
r e m u n e ra tio n , w as t o r e c e i v e f r e e lo d g in g i n th e h o u se a d ja c e n t t o t h e c h a p e l .
N a l d i , an d P a o lo B e l la s i o .
D u rin g t h e f i r s t s e v e n t y - f i v e y e a r s t h e g r e a t e s t p a r t o f t h e F re n c h Na
t i o n a l C h u rc h ’ s w e a lth h a d b e e n d e v o te d t o m e e tin g c o n s t r u c t i o n a l c o s t s . By
p a p e r , i n s t r u m e n t s , c h i l d r e n ’ s c l o t h i n g , a n d so f o r t h , i n t h e f i n a n c i a l r e c o r d s .
From i t s i n a u s p i c io u s b e g in n in g c a . l5 lU , t h e m u s ic a l c h a p e l a t San L u ig i d e i
F r a n c e s i h a d become a v e r y im p r e s s iv e i n s t i t u t i o n t y 1 6 0 0 . The c h u rc h w as q u i t e
C a p p e lla S i s t i n a . As f o r c o m p o s itio n a l t a l e n t , t h e m a e s t r i d i c a p p e l l a ( s e e
The German C o l l e g e , ^3 p r o to t y p e o f t h e T r id e n t in e s e m i n a r i e s , w as a u th o r i z e d
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T a b le jll
THE MAESTRI D I CAPPELLA AT SAN LUIGI DEI FRANCESI FROM 1536 TO 1608
c o l l e g e w as s o e ste e m e d t h a t I g n a t i u s Loyola* t h e F o u n d e r an d G e n e r a l o f t h e
S o c i e t y o f J e s u s * be g a n p la n n in g t h e e s ta b l is h m e n t o f s i m i l a r i n s t i t u t i o n s ;
t i a l l y i t w as d e c id e d t h a t th e e x p e n se s an d t h e t u i t i o n o f t h e c l e r i c s w e re t o
r e s u l t e d i n t h e r e v i s i o n o f t h e f u n d in g o f t h e c o l l e g e . T h e r e a f te r n o n - c l e r i c a l
t h e n o n - c l e r i c a l s tu d e n t s w e re c a l l e d , s t a r t e d f lo c k i n g t o Rome t o s tu d y a t t h e
h u n d re d p e r y e a r* t h e s e m in a ria n s t w e n ty - f iv e . I n 1573 G re g o ry X I I I r e - e s t a b l i s h e d
a nd endowed t h e c o l l e g e . T h e r e a f te r t h e I t a l i a n - s p e a k i n g c o n v i t t o r i w e re
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a t t h e German C o l le g e , b u t t h e i r numbers w e re re d u c e d .
i t w as i n t h a t y e a r t h a t m usic became a s e r i o u s l y c u l t i v a t e d p a r t o f t h e c u r r i
cu lu m . The i n t e g r a l p a r t w h ic h m usic t h e n c e f o r t h p la y e d i n t h e c e l e b r a t i o n o f
t h e l i t u r g y r e s u l t e d p r i m a r i l y from t h e i n t e r e s t a n d th e e f f o r t s o f M ic h a e l
l a r g e l y t h e w o rk o f l a u r e t a n o , w ere w r i t t e n , th e em p h asis b e in g p la c e d an t h e
two y e a r s , f a c i l i t a t e d by t h e p o p e’s b e q u e s t o f t h e P a la z z o d i S an A p o l l in a r e
1575 t h e a d jo i n i n g c h u rc h o f San A p o l l in a r e , th e s e r v i c e s o f w h ic h w e re t o b e
u n i te d w i t h th e German C o lle g e on A p r i l 1 3 , 1 5 8 0 , th e r e b y i n c r e a s i n g t h e l i t u r g i c a l
o b l i g a t i o n s o f t h e com m unity.
t o t h e m a e s tro d i c a p p e l l a . He was r e q u i r e d t o s u p p ly a l l t h e m u s ic a l n e e d s
w as a l s o r e s p o n s i b l e f o r te a c h in g s i n g i n g , G re g o ria n c h a n t, c o u n t e r p o i n t , an d
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c o m p o s itio n . I n a d d i t i o n t o th e r e g u l a r l y s c h e d u le d m usic l e s s o n s , i t w as
c u s to m a ry t o m eet i n f o r m a l ly t o s in g m a d r ig a ls f o r f u r t h e r v o c a l p r a c t i c e o r
f o r r e c r e a t i o n , ,!GXtre a q u e s to 8 s t a t o s o l i t o d i c a n ta r e a l l e v o l t e a l c u n i
M a d rig a li p e r e s s e r c i t i o 8 p e r s p a s s o o i n ca m e ra d e l M a estro d i C a p p e l la , 8
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a l t r a v e It g u i d i t i o d e l P a d re R e t to r e * ”2® B e s id e s a s a l a r y , t h e m a e s tro r e
c e iv e d room and b o a rd ; in d e e d , h e w as r e q u i r e d t o r e s i d e a t t h e c o l l e g e , s i n c e ,
a s a d e fe n c e o f t h e t r a d i t i o n i n l%9k s t r e s s e d , t h e g r e a t e m p h asis p l a c e d on
th e te a c h i n g and t h e c e l e b r a t i o n o f t h e l i t u r g y demanded h i s c o n t i n u a l p r e s e n c e
f o r r e h e a r s a l s and s e r v i c e s 0
The s tu d e n t s w ere d i v id e d i n t o t h r e e c h o ir s a c c o r d in g t o t h e i r a b i l i t i e s ;
a f o u r t h c h o i r , in c l u d i n g o n ly t h e b e s t t r a i n e d m u s ic ia n s , p r o v id e d t h e m u sic
o f s tu d e n t s a t t h e c o l l e g e ; t h e r e a f t e r , t h e f o u r t h c h o i r drew i n c r e a s i n g l y on
t h e t a l e n t s o f n o n - s t u d e n ts . The m u s ic a l e d u c a tio n n e c e s s a r y i n o r d e r t o p e r
fo rm a l l t h e l i t u r g i c a l m usic p r e s c r i b e d b y t h e r u l e s w as c o n s i d e r a b l e , a n d ,
i n f a c t , r e c o r d s and d i a r i e s i n d i c a t e t h a t a lm o s t h a l f t h e d a y w as consum ed i n
m u sic a l a c ti v it ie s * 2^ As a r e s u l t o f t h e b r i l l i a n t l e v e l o f m u s i c a l p e rfo rm a n c e ,
a ttra c tio n s . Of e v e n g r e a t e r h i s t o r i c a l s i g n i f i c a n c e i s th e f a c t t h a t g ra d u a
t i n g s tu d e n t s t r a n s m i t t e d t h e c o n c e r n f o r t h e l i t u r g y an d a k n o w led g e o f m u s ic a l
l i t e r a t u r e , w h e re v e r t h e y becam e a c t i v e .
a s s in g e r s o r a p p r e n t ic e d a s c h o ir b o y s a t t h e c o l l e g e s A n n ib a le Qrgas ( J u l y 1 ,
1 5 9 ^ -c a . May 1 9 , 16 0 7 , s i n g e r ) ; S te f a n o L a n d i (May 8 , 1 5 9 5 -1 6 0 2 , b e y s o p r a n o ) ;
G io v a n n i F e l i c e Sances (November 1 6 , 1 6 0 9 - A p r il 1 , l6 lU , b e y s o p r a n o ) ; F r a n c e s c o
F o g g ia ( c a . 1611-1613* boy so p ra n o )*
One o f t h e g o a ls e n d o rs e d b y t h e C o u n c il o f T r e n t w as t h e f o r m a tio n o f
s e m in a r ie s f o r t h e s t i m u l a t i o n a n d t h e im provem ent o f c l e r i c a l e d u c a t i o n . A
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T ab le X II
THE MAESTRI D I CAPPELLA. AT THE GERMAN COLLEGE BETWEEN 1571 AND 1619
V i c t o r i a , Tomas L u is d e * O c to b e r 2 h , 1 5 7 1 -1577
M a r t i n i , F ra n c e s c o c a , S ep tem b er 2 0 , 1 5 7 7 -c a . May 3 1 , 1578
S t a b i l e , A n n ib a le c a , J u l y , l 5 7 8 - c a 0 F e b r u a r y , 1590
F a b r i , S te f a n o t h e e ld e r May 1 1 , l5 9 0 ~ c a , M arch 3 1 , 1591
G i o v a n e l l i , R u g g ie ro A p r i l 1 , 1591-159U
P a c e ll i, A s p r ilio c a . May 1 9 , 159 5 -M arch , 1602
A g a z z a r i , A g o s tin o c a . M arch 1 , 1602-O c to b e r 1 , 1603
C a t a la n o , O tta v io December 1 . 1 6 0 3 -c a . May 8 , 1608
C i f r a , A n to n io c a . Ju n e 11., 1608-1609
C a t a la n o , O tta v io c a . A p r i l , 1 6 2 1 - A n r il 2 9 , 1613
Org a s , A n n ib a le c a . O c to b e r 1 2 , 1 6 1 3 - c a . May 1 6 , 1619
d i r e c t r e s u l t o f t h a t d e c is i o n w as t h e fo u n d in g o f t h e S e m in a rio Romano i n th e
F e b r u a r y 1 , 1 5 6 5 ®2 ^ ?o b o ls te r f in a n c ia l r e s o u rc e s o f th e sc h o o l c o n v it t o r i
s e m in a ria n s d u r in g t h e m orning r e c r e a t i o n a l p e r i o d . I n t h e a f te r n o o n t h o s e
s tu d e n t s c a p a b le o f l e a r n i n g t o p l a y in s tr u m e n ts w e re t o r e c e i v e a d d i t i o n a l
a lm o s t i d e n t i c a l t o t h a t p r a c t i c e d a t t h e German C o l le g e , On Sundays a n d o t h e r
f e a s t d a y s a l l s tu d e n t s w e re t o p a r t i c i p a t e i n t h e s in g i n g o f Mass and V e s p e r s ,
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an d on S a tu r d a y e v e n in g s t h e l i t a n i e s w e re t o be s u n g . D u rin g t h e f i r s t d e c a d e
a n d t h e n c e f o r t h t h e s tu d e n ts * l i t u r g i c a l r e s p o n s i b i l i t i e s w e re t r a n s f e r r e d t o
o f t h e m a e s tro d i c a p p e l l a , and t h e r e g u l a t i o n s g o v e rn in g t h e fo rm e r a p p e a r i n
th e re c o rd s f o r th a t y e a r. The o r g a n i s t a w as t o be p r e s e n t a t a l l l i t u r g i c a l
f u n c t i o n s r e q u i r i n g m u sic , and h e w as t o a i d th e m u s ic a l d i r e c t o r i n th e t e a c h i n g
o f s in g i n g and im p r o v is a tio n . F o r th e n e x t f i f t y y e a rs th e c h a ra c te r o f th e
d u r in g t h e s i x t e e n t h c e n tu r y ; T a b le X I I I l i s t s th e m a e s t r i d i c a p p e l l a em ployed
T a b le X iH
THE MAESTRI D I CAPPELLA. AT THE SEMINARIO ROMANO BETWEEN 1566 AMD 1616
1 5 66-1571
V i c t o r i a , Tomas L u is de 1 5 7 1 -n o t l a t e r t h a n June 2 5 , 1573
L a n z a , P i e t r o P a o lo 1 5 73-1576
V ic u a ro , P a o lo 1577-7
J a c o b e t t i , P i e t r o Amieo 1579-1583
C a p o c c i, F e l i c i a n o 1583-1586
P e e t r i n o , Giacomo d a M a lin e s 1 5 8 6 -c a . J u n e , 1589
P a c i o t t i , P i e t r o P a o lo d a Roma c a . J u n e , 1589-1591
Bonom io, P i e t r o 1592-159U
M a r t i n i , F ra n c e s c o 159^-1602
O d d i, F la m in io
A n t o n e l l i , A bundio d a F a b r ic a ) 1602-1603 C?1
C i f r a , A n to n io )
A g a z z a r i , A g o s tin o 1603-1608
O rg a s , A n n ib a le 1608-1610
A n e r io , G io v a n n i F ra n c e s c o 1611
M a ss e n z io , Domenico 1612-1616
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o f t h e e d u c a t i o n a l p ro g ra m , i t w as n o t em p h a size d t o t h e same d e g re e t h a t i t
t h e t e a c h i n g d u t i e s o f th e m a e s tro d i c a p p e l l a w e re n o t s t r e s s e d . S in c e m u sic
a c t i v i t y a r e fo u n d i n t h e r e c o r d s f o r t h e e a r l y y e a r s o f t h e s c h o o l fs e x i s t e n c e .
( t h e r e w e re a p p a r e n t ly n o m a e s t r i d i c a p p e l l a b e tw e en 1589 a n d 1 6 1 0 ) . ^
L eandro May 5 , 1 5 7 9 -?
B artolom eo S e p te m b e r, 1 5 7 9 -A u g u st <js 1581
G io a c ch in o c a . O c to b e r 1 , l 5 8 1 - c a . J u n e , 1583
A n e r io , F e l i c e c a . J u n e , l5 8 3 - c a . May 3 1 , 1585
P a c i o t t i , P i e t r o P a o lo d a Roma 1585-7
L u m bardi, G io v a n n i B a t t i s t a 1 5 8 7 -b e fo re J u n e , 1588
G i a v a n e l l i , R u g g ie ro J u n e 2 5 , 1588-1589
B a r s o t t i , O ra z io 1610
The im p a c t t h a t t h e r i g o r o u s l y o r g a n iz e d p ro g ra m s p o n s o re d b y t h e J e s u i t s
h a d on c l e r i c a l e d u c a t i o n , sa d i n d i r e c t l y an l i t u r g i c a l m u sic , c a n h a r d l y b e
o v e r e n p h a siz e d . E q u a lly c h a r a c t e r i s t i c o f t h e i n t e l l e c t u a l an d r e l i g i o u s
c li m a t e i n Rome d u r in g t h e seco n d h a l f o f th e s i x t e e n t h c e n t u r y w as t h e g ro w th
o f t h e o r a t o r i e s , i n f o r m a l m ee tin g s o f laym en an d p r i e s t s d e v o te d t o t h e d i s c u s
s i o n o f e t h i c a l p ro b le m s , r e c i t a t i o n o f s p i r i t u a l e x e r c i s e s , a n d s in g in g o f l a u d e .
(1515 -1 5 9 5 ) d u r in g t h e l 5 5 0 Js , a n d o f f i c i a l l y r e c o g n iz e d b y G re g o ry X I I I i n 1575
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c o l l e c t i o n s o f la u d e and m a d r i g a l i s p i r i t u a l i f o r u s e a t t h e C a n g re g a z io n e , t h e
m ost im p o r ta n t o f w h ic h f o r t h e h i s t o r y o f th e c y c l i c m a d r ig a l b e in g th e Tempio
A n e r io l a t e r s e r v e d i n a s i m i l a r c a p a c ity * A lb e r to C a m e tti h a s s u g g e s te d t h a t
w e re d i r e c t l y in v o lv e d w i t h th e C o n g regazione o r n o t , c l e a r l y t h e p ro g ra m o f
s p i r i t u a l e x e r c i s e s , w i t h i t s em p h a sis on th e s in g i n g o f l a u d e an d m a d r i g a l i
s p i r i t u a l i , h a d im p o r ta n t r a m i f i c a t i o n s f o r t h e l a t e s i x t e e n t h - c e n t u r y I t a l i a n
m a d r i g a l , p r o v id i n g th e im p e tu s f o r t h e s e t t i n g o f c o n t r a f a c t a a n d q u a s i -
d e v o ti o n a l t e x t s , many o f w h ic h w e re m u lti- s tr o p h iC o
d u r in g t h e s i x t e e n t h c e n tu r y h e ld c h u r c h - r e l a te d p o s i t i o n s . L uca M a re n z io ,
C in z io A ld o b r a n d ia i, w as t h e one n o t a b l e e x c e p tio n * T h is i s n o t t o s a y t h a t
s e c u l a r p a tr o n a g e i n Rome w as uncommon; in f a c t , su c h a s c e n e a s a l l u d e d t o by
S e b a s ti a n R a v a l i n t h e d e d ic a t io n o f h i s f i r s t b ook o f f i v e - p a r t m a d r ig a ls ^
w as p r o b a b ly a v e r y t y p i c a l c n e . But th e s t r u c t u r e o f t h e p a tr o n a g e s y s te m was
h e a v i l y w e ig h te d on t h e s i d e o f t h e C hurch, an d m ost o f t h e p e rm a n e n t p o s ts
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g a th e r in g p l a c e s f o r t h e a r t i s t s an d th e i n t e l l e c t u a l s ; w i t h i n t h e s e c i r c l e s
a e s t h e t i c p ro b le m s o f a s e c u l a r n a t u r e w e re d i s c u s s e d . U n f o r tu n a t e l y , much
"a c ca d e m ie ” re m a in s u n ta p p e d b y m u s i c o lo g i s ts , a n d i t m e r i ts a s e p a r a te s tu d y .
F o r t h e p r e s e n t , s e c u l a r p a tr o n s w i l l b e m e n tio n e d , w h e re r e l e v a n t , i n t h e
b i o g r a p h i c a l s k e tc h e s t h a t f o ll o w .
The A r c a d e lt G a ie ra tic a a
J a c q u e s A r c a d e l t , G io v a n n i A n im u cc ia , G ia c h es de P o n te , an d A n to n io B a rre
w e re a l l a c t i v e d u r in g t h e l 51| 0 *s an d t h e 1 5 5 0 ’ s , a l l s p e n t p a r t o f t h e i r c a r e e r
s p e c i f i c d a t e s o f b i r t h a r e known f o r n o n e o f t h e f o u r , an d o n ly i n th e c a s e o f
A nim uccia i s a s p e c i f i c d e a th d a te r e c o r d e d , i t i s p r o b a b le t h a t A r c a d e lt w as
Rome a r e m ore p l e n t i f u l .
A r c a d e lt* s e x a c t d a te o f d e a th i s e q u a ll y d i s p u t e d , b u t i t s a g re e d t h a t h e
1537 5 s in c e i n J a n u a r y o f t h a t y e a r one J a c o b u s F la n d ru s i s l i s t e d a s a t e n o r
A r c a d e lt h e ld t h e p o s t o f m a g i s te r p u e ro r u n i n t h e same i n s t i t u t i o n . Upon
l e a v i n g t h e C a p p e lla G i u l ia , A r c a d e lt w as a d m itte d t o t h e S i s t i n e C h a p e l, w h e r e ,
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F l o r e n c e , p r e c e d e d p r o b a b ly b y a b r i e f s t a y i n V e n ic e , A f t e r l e a v in g Rome
A r c a d e lt r e t u r n e d t o n o r th e r n E u ro p e , e n t e r i n g t h e s e r v i c e o f C a r d in a l C h a rle s
th e r q y a l c h a p e l , an a f f i l i a t i o n w h ic h b e g a n i n 1 5 5 7 Ar c a d e l t !s o u tp u t a s
su c h w o uld b e s u p e r f lu o u s . I t s u f f i c e s t o n o te t h a t h i s one c y c li c m a d r ig a l,
A r c a d e lt h a d l e f t Rome,
A nim uccia w as b o m a t t h e b e g in n in g o f t h e s i x t e e n t h c e n tu r y i n F lo r e n c e ;
m a e s tro d i c a p p e l l a a t t h e J u l i a n C h a p e l, a p o s i t i o n w h ic h h e r e t a i n e d u n t i l
c i a ’s s e c u l a r c o m p o s itio n s d a te fro m h i s F l o r e n t in e p e r i o d , I t a l i a n - t e x t e d
c y c l i c m a d r ig a ls w e re p u b lis h e d i n I 5 b 7 i n h i s P rim o l i b r o d i m a d r i g a l i a
q u a t t r o a c in q u e e t a s e i v o c i , a n te d a t in g h i s Roman p e r i o d b y s e v e r a l y e a r s .
P o n te , a p r i e s t , w as b o m somewhere i n F ra n c e a t t h e b e g in n in g o f t h e s i x
in g P o n te *s w h e re a b o u ts l i s t h im a s m a e s tro d i c a p p e l l a a t th e F re n c h N a tio n a l
s i b l e t h a t P o n te h e ld t h e p o s i t i o n p r i o r t o 1 5 3 6 , b u t t h e c h u rc h r e c o r d s f o r
1531 a n d 1533-1535 h a v e b e e n l o s t . F u r th e r b i o g r a p h i c a l d a t a i s l a c k i n g .
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and d a te d th e d e d ic a t io n s o f h i s m a d r ig a l bo o k s fro m V e n ic e , t h a t do es n o t
n e c e s s a r i l y i n d i c a t e p h y s i c a l p r e s e n c e i n t h e c it y * On th e o t h e r h a n d , t h e
e x ta n t o u tp u t i s q u i t e s m a l l, c o n s i s t i n g o f t h e C in q u a n ta S ta n z e d e l B oabo, two
c a l d ’ a r o s t w e re w e ll-k n o w n b y P o n te ’s c o n te m p o ra r ie s . ^ A H o f P o n te ’s com
p o s i t i o n s w e re p u b lis h e d a f t e r h e h a d d e p a r t e d Rome.
p o s s i b l y b o m i n P ro v e n c e .^ ? The f i r s t document c o n c e rn in g B a r rS ’ s a c t i v i t i e s
i s fo u n d i n t h e c h a p e l r e g i s t e r o f t h e C a p p e lla G i u l i a , w h ere h e i s l i s t e d a s
o f w h ic h c o n ta in e d c y c l i c m a d r i g a l s . M ost o f t h e s e c o l l e c t i o n s w e re r e p r i n t e d
o f G irolam o S c o t to o r A n to n io G ardano i n V e n ic e . T ra c e s o f B a r r e ’s a c t i v i t y
The P a l e s t r i n a G e n e ra tio n
F ra n c e s c o R o s s e l l i , G io v a n n i P i e r l u i g i da P a l e s t r i n a , A le s s a n d ro M il le -
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apd F ra n c e s c o A d r ia n ! w e re a l l b o m d u r in g t h e se c o n d a n d t h i r d d e c a d e s o f t h e
( d , 1 6 0 3 ), a l l h a d d ie d b e f o r e t h e t u r n o f t h e n e x t c e n t u r y . As w i t h th e p r e
l i f e i n Rome, w h i l e o t h e r s re m a in e d o n ly two o r t h r e e y e a r s .
n e i t h e r b i r t h n o r d e a th d a t e s h a v e b e e n r e c o r d e d , t h a t h e came fro m F ra n c e c a n
b e a s c e r t a i n e d fro m a p a s s a g e r e c o r d in g h i s a p p o in tm e n t a s m a e s tro d i c a p p e l l a
a t S an L u ig i d e i F r a n c e s i , ” dnum F ra n c is c u m R o u s s e l g a llu m ad p re s e n tu m S , t i
th e f a c t t h a t P a l e s t r i n a p a i d t r i b u t e t o R o s s e l l i i n h i s Prim o l i b r o d e m a d ri
g a l i a q u a t t r o v o c i o f 1555* c o n s id e r e d t h a t P a l e s t r i n a h a d s t u d i e d w i t h Ros
c e m i n g R o s s e l l i «s a p p o in tm e n t a t San L u ig i d e i F r a n c e s i i n d i c a t e s t h a t a t
R o s s e l l i d u r in g th e i n te r im , a r e n o t known a t t h i s t i m e . R o s s e l l i rem a in e d a t
in g i n F r a n c e . A c c o rd in g t o B a i n i , ^ 0 R o s s e l l i h e l d t h e p o s t o f m a g i s te r puerorum
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L a s s o ’s Prim o l i b r o de m a d r i g a l i a q u a t t r o v o c i . U n d o u b te d ly t h e w o rk w as w r i t
in t h a t y e a r.
P a l e s t r i n a was b o m i n l$ 2 ii o r 1525 i n t h e to w n o f P a l e s t r i n a ; h e d i e d on
S a n ta M a ria M a g g io re . S e v e r a l men h a v e b e e n s u g g e s te d a s r e s p o n s i b l e f o r h i s
e a r l y m u s ic a l e d u c a t i o n . H is s t u d i e s m o st l i k e l y b e g a n u n d e r R obin M a ll a p e r t ,
c a n t o re a t t h e l o c a l c a t h e d r a l u n t i l 1 5 5 1 , when t h e n e w ly e l e c t e d p o p e , J u l i u s
I I I , a p p o in te d P a l e s t r i n a m a e s tro d i c a p p e l l a a t t h e J u l i a n C h a p e l. On Ja n u
a r y 13 , 1 5 5 5 , J u l i u s I I I a p p o in te d P a l e s t r i n a t o b e a s i n g e r i n t h e P o n t i f i c a l
C h o i r , w hereupon P a l e s t r i n a r e l i n q u i s h e d h i s o ld p o s t a t th e C a p p e lla G i u l ia .
C h a p e l, no r e c o r d o f h i s o f f i c i a l a p p o in tm e n t t o t h a t p o s i t i o n h a s b e e n fo u n d
i n th e a rc h iv e s . £3 J u l i u s I I I d ie d on March 2 3 , l5 5 5 o H is s u c c e s s o r s , H a r-
c e l l u s I I a nd P a u l IV, w e re d e v o te d t o t h e t a s k o f r e fo rm in g c h u rc h d i s c i p l i n e ,
a n d , among o t h e r r e g u l a t i o n s , P a u l IV i s s u e d a s ta t e m e n t e x c lu d in g m a r r ie d mem
t h e p o s t o f m a e s tro d i c a p p e l l a a t San G io v an n i i n L a te r a n o . P a l e s t r i n a ’s
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p o s t a t t h e L a te r a n c o n tin u e d u n t i l F e b r u a r y , 1 5 6 1 , when h e r e t u r n e d t o S a n ta
M a ria M a g g io re , t h i s t i n e a s m a e s tro d i c a p p e l l a , a p o s i t i o n w h ic h h e a b an d o n ed
c o n c e r t s g iv e n i n t h e v i l l a o f h i s p a t r o n , C a r d in a l I p p o l i t o d ’E s t e . Sometime
A f t e r A n im u cc ia ’s d e a th i n 1571* P a l e s t r i n a w as a g a in a p p o in te d m a e s tro d i
boo k s and t o c o r r e c t t h e m is ta k e s a c c u m u la te d th ro u g h s c r i b a l an d p u b l is h e r s *
u n t i l s e v e r a l y e a rs a f t e r t h e i r d e a t h s , an d t h e r e v i s e d e d i t i o n t h a t w as pub
l i s h e d i n l 6 lU , t h e E d i t i o M e d ic a e a, r e p r e s e n te d t h e e f f o r t s o f F e l i c e A n e rio
an d F ra n c e s c o S o r ia n o , r a t h e r th a n t h e id e a s o f P a l e s t r i n a and Z o i lo 0' ^
P a l e s t r i n a h a s r e c e i v e d m ore a t t e n t i o n fro m m u s i c o lo g i s ts t h a n a n y o t h e r s i x
t e e n t h - c e n t u r y com poser, so t h a t f u r t h e r d i s c u s s i o n o f h i s l i f e an d c r e a t i v e
o u tp u t i s s u p e r f l u o u s . ^ . P alestrin a w r o te e i g h t c y c l i c m a d r i g a l s , a l l o f w h ich
The a c t i v i t i e s o f M i i l e v i U e a r e n o t w e l l d o cu m en ted . He w as b o m i n
1 5 2 1 , m ost l i k e l y i n P a r i s 5 h e d i e d on t h e 7 t h o r t h e 8 t h o f S e p te m b e r, 1 5 8 9 ,
in F e rra ra . I n 1530 A le s s a n d r o ’s f a t h e r , J e a n M i H e v i l l e , w as h i r e d b y t h e
d ’E s t e a s a m u s ic ia n a t t h e i r c o u r t i n F e r r a r a ; A le s s a n d r o acco m p an ied h i s
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52
1581; M i l l e v i l l e w as a p p o in te d o r g a n i s t t o t h e Duke o f F e r r a r a . U n f o r tu n a t e l y ,
no f u r t h e r docum ents h a v e b e e n d is c o v e r e d c o n c e rn in g h i s c a r e e r . H is e x ta n t
and s i n g l e m a d r ig a ls i n c o l l e c t i o n s a n d m a n u s c r ip ts . H is tw o c y c l i c m a d r ig a ls
w e re p u b l is h e d , w h i l e h e w as em ployed a s a n o r g a n i s t i n F e r ra r a *
D iego d i Campo, C a r d in a l P i e t r o A ld o b r a n d in i, an d C a r d in a l F l a v io O r s in i*
w as i n E n g la n d a s a member o f th e c h o i r o f P h i l i p I I o f S p a in . D u rin g h i s s t a y
w e n t f i r s t t o A ntw erp, a n d th e n t o I t a l y ^ i t i s im p o s s ib le , h o w e v e r, t o e s t a b l i s h
a r e s ig n e d i n N a p le s , F lo r e n c e , an d G enoa. H is lo n g e s t s t a y w as p re s u m a b ly i n
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53
M ay-imin-ian I I i n V ie n n a . The re m a in d e r o f h i s c a r e e r w as s p e n t i n th e em p lo y
Of t h e tw e n ty -o n e c y c l i c m a d r ig a ls p u b l is h e d b y Monte* f i v e w e re m ost l i k e l y
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5U
i n h i s m u s ic a l t a s t e s , p u b l is h in g c h a n s o n s , m a d r i g a l s , German s o n g s , and s a c r e d
h i s e le v e n c y c l i c m a d r ig a ls w as w r i t t e n w h i l e h e w o rk e d t h e r e , S tan d o m i un
g i o m o , w h ic h a c c o r d in g t o E i n s t e i n w as p r o b a b ly w r i t t e n c a . 1553 f o r a
u n t i l 1557 *,6 1
Z o i lo , b o rn in 1537* s p e n t t h e f i r s t f o r t y - s e v e n y e a r s o f h i s l i f e i n
1 5 5 8 , t o F e b r u a r y , 15 6 1 . On O c to b e r 5* 1 5 6 1 , Z o i lo s u c c e e d e d F irm in L e b e l a s
m u s i c a l d i r e c t o r a t t h e c h u rc h o f San L u ig i d e i F r a n c e s i , a p o s t w h ich h e
1 5 7 0 , he s e r v e d a s m a e s tro d i c a p p e l l a a t t h e L a te r a n b a s i l i c a . On J u l y 5 o f
d u t i e s a s a p a p a l s i n g e r on J u l y 5* 1577* r e c e i v i n g a p e n s io n f o r h i s p a s t
se rv ic e s . T h e r e a f te r Z o ilo d e v o te d h i m s e lf t o c o m p o s itio n , s u p p ly in g s e v e r a l
on t h e r e v i s i o n o f t h e G raduale Romanum, a t a s k re m a in in g u n f in i s h e d a t h i s
m o te t s , r e s p o n s o r i e s , an d two p u b l is h e d b o o k s o f m a d r ig a ls . H is one c y c li c
m a d r ig a l, L u c i b e a t e , w as p u b lis h e d w h i l e h e w as w o rk in g a t S an L u i g i d e i
F ra n c e s i.
w i t h i n t h e b o r d e r s o f A ncona; he d i e d a t t h e ag e o f t h i r t y - s i x on A u g u st 1 6 ,
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p a r t m a d r ig a ls , two books o f f i v e - p a r t m a d r i g a l s , a n d tw o p a i r e d m a d r ig a ls i n
i n Rome.
The M a re n z io G e n e r a tio n
M a re n z io , R in a ld o d e l M el, G io v a n n i de M acque, A rc a n g e lo C i i v e l l o , F u lv io N o v e l li ,
Don R em igio, F e l i c e A n e r io , F la m in io O d d i, R u g g ie ro G io v a n e ll i, P e t e r P h i l i p p s ,
a n d G io v an n i F ra n c e s c o A n e r io . The g ro u p r e p r e s e n te d a w id e d i v e r s i t y o f i n
te x tu re . As f o r th e o r d e r i n w h ic h t h e y a r e d i s c u s s e d , an a tte m p t h a s b e e n
made t o p r e s e n t them a c c o r d in g t o t h e d e c a d e s i n w h ic h t h e y f l o u r i d i e d , r a t h e r
t h a n c h r o n o l o g i c a l ly b y d a t e o f b i r t h . The fo rm e r seem ed p r e f e r a b l e g iv e n t h e
b r o a d ra n g e o f l o n g e v i t y .
A lth o u g h th e p l a c e o f B e i ia s i o * s b i r t h (V erona), i s k n o w n ,^ n e i t h e r t h e
y e a r i n w h ic h he w as b o m , n o r t h a t i n w hich, h e d ie d h a s b e e n r e c o r d e d . T h at
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56
fo rm e r i n D o lc i a f f e t t i m a d r ig a li a c in q u e v o c i d i d i v e r s i . . . m u s ic i d i Roma
p u b l is h e d b y G irolam o S c o t to i n 1 5 8 2 , an d t h e l a t t e r i n Le G jp je m a d r i g a l i a
d e g l * i l l u s t r i s s . S i g n o r i F i la r m o n i c i L V erona?}. B e i i a s i o h a d p r o b a b ly d ie d
by 1595* s in c e h i s Q u in to l i b r o d e m a d r i g a l i a c in q u e v o c i , p u b lis h e d i n
w h i l e B e i ia s i o w as p r o b a b ly l i v i n g i n Rome. U n f o r tu n a t e l y , t h e r e i s n o w ay o f
f i r s t p u b l is h e d .
in f o r m a tio n a v a i l a b l e t o th e a u th o r p r o v id e s n o c l e a r p i c t u r e o f t h e c o u r s e o f
h is c a re e r. He a p p e a rs t o hav e s p e n t m o st o f h i s e a r l y l i f e i n n o r th e r n I t a l y ,
Padua. O th e r n o r th e r n c i t i e s i n w i i c h h i s p r e s e n c e w as n o te d w e re Cremona,
w o rk s c o n s i s t o f s i x books o f m a d r i g a l s | t h e s a c r e d w o rk s , w h ic h a b s o rb e d h i s
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57
tw e n ty y e a r s .
h i s t o r i c a l l y f o r h i s e f f o r t s i n f o u n d in g t h e C o n f r a t e r n i t y d e i M u s i c i s t i d e Urbe
i n 1531;, r e c e i v e d p a p a l a p p r o v a l i n 1 5 8 5 ; m ee tin g s t h e r e a f t e r w e re h e l d i n t h e
p u b l is h e d , w h ile h e w as a s s o c i a t e d w i t h t h e L a te r a n .
g a l i a c in q u e v o c i o f 1575* i n w h ic h h e p a y s t r i b u t e t o h i s fo rm e r t e a c h e r * ^
G io v a n n i i n L a te r a n o . I n a d d i t i o n t o h i s d u t ie s a t t h e L a t e r a n , a f t e r
P a l e s t r i n a 's d e a t h , D ra g o n i w as a p p o in te d by C a r d in a l d e l Monte t o a s s i s t G. M.
D ra g o n i *s e x t a n t w o rk s , a l l w r i t t e n w h ile he w as i n Rome, in c l u d e f i v e b o o k s
s i n g l e p i e c e s i n c o l l e c t i o n s and m a n u s c r ip t s .
G. M. N a n in o , l i k e D r a g o n i, s p e n t m ost o f h i s l i f e i n Rome. B om i n T i v o l i ,
c a . 15U5* N anino r e c e i v e d h i s f i r s t m u s ic a l t r a i n i n g a s a c h o ir b o y a t t h e
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58
C a th e d r a l o f V a l le r a n o , A f t e r h i s v o ic e c h a n g e d , G io v a n n i M a ria came t o Rome
s tu d i e d w i t h P a l e s t r i n a * N a n in o ’s f i r s t m u s ic a l p o s t w as t h a t o f m a e s tro d i
L u ig i d e i F r a n c e s i . On O cto b er 3 0 , 1577* N an in o r e l i n q u i s h e d h i s d u t i e s a t
S an L u i g i d e i F r a n c e s i i n o r d e r t o j o i n t h e S i s t i n e C h a p e l, w h e re h e rem a in e d
f o r th e r e s t of h is l i f e .6 6 A lth o u g h N anino no l o n g e r h e l d a n o f f i c i a l p o s t
a t t h e F re n c h N a t io n a l C hurch, h e c o n tin u e d t o a s s i s t t h e r e r e g u l a r l y on s p e c i a l
p a r t i c i p a t e d i n a c o m p e titio n i n v o lv in g i m p r o v is a tio n on a g iv e n th em e ; h e d e
f e a t e d t h e S p a n ia r d , S e b a s tia n R a v a l . ^ N an in o d ie d a t t h e ag e o f s i x t y - t h r e e ,
m o te t s , a n d s in g l e p i e c e s i n c o l l e c t i o n s a n d m a n u s c r ip ts .
h a v e b e e n d i s c o v e r e d , h i s w o rk s a p p e a re d i n c o l l e c t i o n s w i t h th o s e o f A n e r io ,
C r i v e l l o , G i o v a n e li i, M a re n z io , G, M, N a n in o , and S t a b i l e , an d t h e d e d ic a t io n s
M o s c a g lia w r o te m a d r ig a l v e r s e .
R a v a l w as b o m c a . 1550, p e rh a p s i n C a ta g e n a ; he d i e d i n O c to b e r, l 6 0 l|, i n
P a le rm o . H is y o u th w as s p e n t a t arm s f i g h t i n g w ith P h i l i p I I i n F l a n d e r s ;
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59
R a v a l l a t e r s e r v e d M arc’ A n to n io C o lo n n a , V ic e ro y o f S i c i l y , i n th e same m i l i
p a r t i n th e s ie g e o f M a a s t r i c h t. He w as s e v e r e l y wounded d u r in g th e b a t t l e ,
w here h e rem a in e d i n t h e p r o t e c t i o n o f C a r d in a l A . P e r r e t t i an d t h e C o lo n n a
f a m i ly , u n t i l h e w as d e f e a t e d b y G0 N anino i n a m u s ic a l c o m p e titio n i n v o lv in g
c a p p e l l a a t t h e c h u rc h o f S an P e d r o . He s ta y e d i n P alerm o f o r th e r e s t o f h i s
h e l e f t Rome f o r P a le rm o .
e i t h e r t h e town o f L o d i, o r P ia c e n z a . T h e re i s some r e c o r d o f h i s h a v in g b e e n
p r a e f e c tu s i n e c c l e s i a S . M a ria d e P o p u lo . The f a c t t h a t th e d e d ic a t io n o f
a r y 3 0 , 1571* p r o v id e s f u r t h e r e v id e n c e o f h i s p r e s e n c e .? 0 T h e r e a f te r M assain o
a p p e a rs t o h a v e t r a v e l e d i n t h e n o r t h , fro m one c i t y t o a n o th e r , h o ld in g t h e
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60
P e r m o n ti b o s c h i, w e re p u b lis h e d i n 1571,? t h e y e a r h e i s r e c o r d e d a s h a v in g
l i v e d i n Rome,
P e l l i o , a N e t h e r la n d e r , w as b o r a s h o r t l y a f t e r 1550; h e d i e d a t t h e e n d
d e i F ra n c e s i, I n t h e i n t e r i m P e l l i o l i v e d i n V e n ic e i n t h e s e r v i c e o f P a d re D,
S e r a f i n o F o n ta n a , Vfhether P e l l i o r e t u r n e d t o V e n ic e a f t e r h i s s e c o n d p e r i o d
i n f a c t , t h e r e a r e no r e c o r d s o f h i s a c t i v i t y a f t e r 1 5 8 3 , P e l l i o p u b l is h e d two
l a t t e r , p u b lis h e d w h ile P e l l i o w as s t i l l l i v i n g i n V e n ic e , i n c l u d e n i n e c y c l e s ,
a s c i e n t i s t , and h i s m u s ic a l e f f o r t s d e f i n i t e l y w e re o f s e c o n d a ry i n t e r e s t . At
P e e t r i n o , who p r o b a b ly s p e n t th e l a t t e r y e a r s o f h i s l i f e i n Rome, w as
t h e G ra f o f M o n tf o r t, a nephew o f J a c o b F u g g e r, I t i s n o t c e r t a i n when
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s a c r e d m a d r ig a ls , one book o f m o te t s , a n d s i n g l e p i e c e s i n a n t h o l o g i e s . H is
M a re n z io , whose l i f e f a l l s e n t i r e l y w i t h i n t h e se co n d h a l f o f t h e s ix
p r i v a t e c o rr e s p o n d e n c e , w h ic h h a s b e e n p r e s e r v e d i n t h e p a p a l a r c h i v e s , p r o v id e s
e n te r e d M adruzzo’s h o u s e h o ld i s n o t kncwnj h o w e v e r, h i s s e r v i c e w o u ld h a v e b e e n
p a tr o n o f T o rq u a to T a s s o , w h e re M aren zio re m a in e d u n t i l t h e p r e l a t e ’s d e a th
on December 3 0 , 1 5 8 6 . 7 3 L i t t l e i s known a b o u t M a re n z io Ss a c t i v i t i e s d u r in g
h i s a p p o in tm e n t t o t h e c o u r t o f F e rd in a n d de M e d ic i i n S e p te m b e r, 1 5 8 8 . Toward
t h e s p r i n g o f 1596. A lth o u g h h e d id n o t h o ld a s p e c i f i c p o s t d u r in g t h i s
p e r i o d , h e seem s t o ha v e e n jo y e d t h e p r o t e c t i o n o f s e v e r a l Roman c a r d i n a l s
a n d p w r e r f u l l o c a l f a m i l i e s , e s p e c i a l l y o f V i r g i n i o O r s i n i , Duke o f B ra c c ia n o ,
an d O r s i n i ’s w i f e F l a v ia P e r e t t i ; a n a p a rtm e n t i n t h e V i l l a O r s in i w as p la c e d
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62
C in z io A ld o b r a n d in i, w ho, upon a p p o in tm e n t t o t h e c a r d i n a l a t e on F e b r u a r y 1 ,
M a re n z io w as in d u c e d t o t r a v e l t o P o la n d , w h e re h e j o i n e d t h e c o u r t o f
s o jo u r n i n P o la n d a r e n o t known; b y S ep tem b er 1 ? , 1 5 9 8 , h e h a d r e t u r n e d t o
t o a s s i s t i n t h e r e f o r m o f t h e G re g o r ia n c h a n t. A lth o u g h t h e g r e a t e s t p o r t i o n
o f M a re n z io ’ s w orks a r e s e t t i n g s o f m a d r ig a l p o e t r y a n d t h e l i g h t e r I t a l i a n
v e r s e f o rm s , h e p u b lis h e d s e v e r a l bo o k s o f m o te ts a n d w r o te s e v e r a l M a g n if ic a t s .
M a re n z io s e t s i x c y c l e s , a l l o f w h ic h w e re p u b l is h e d w h i l e h e w as w o rk in g i n
Rome.
M el w as b o m c a . l5 5 k i n M a lin e s ; h e d i e d c a . 1598 ( i n M a li n e s ? ) . M el
r e c e i v e d h i s e a r l y m u s ic a l e d u c a tio n a t t h e c h o i r s c h o o l o f S t . Rombaut i n th e
t h e r o y a l c o u r t i n L is b o n . A f t e r t h e d e a th o f C a r d in a l H e in r ic h o f P o r tu g a l i n
e n t e r e d t h e s e r v i c e o f C a r d in a l G a b r ie le P a l e o t t o . From A p r i l , 1 5 8 3 , t o
p u b l is h e d . The re m a in in g y e a rs o f M e l’s l i f e f o u n d h im f r e q u e n t l y c h a n g in g h i s
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63
w h i l e h e w as a c t u a l l y l i v i n g i n Rome s N in fe n o i , R i s e r l e p ia g g e , T re s e n l e
N a p le s . 3h 1563 h e was l i s t e d a s a c h o ir b o y a t th e I m p e r i a l C h a p e l i n V ie n n a .
a t t h e F re n c h N a t io n a l C hurch c a n be d e te rm in e d b y h i s d e s ig n a t io n o f h i m s e l f
a s d is c e p o l o d i M. F i l i p p o de M onte i n th e t i t l e o f h i s P rim o l i b r o d e m a d r i g a l i
t o M a re n z io , P a l e s t r i n a , Z o i lo , t h e tw o N a n in o s , S t a b i l e , S o r ia n o , D ra g o n i,
q u a in te d w i t h t h e s e m en, b u t a r e a l member o f t h e i n n e r c i r c l e , s i n c e h e c o l l a
b o r a te d w i t h M a re n z io , G. M. N a n in o , M o s c a g lia , S o r ia n o , an d Z o ilo i n s e t t i n g
Macque w as l i v i n g i n N a p le s , h a v in g e n te r e d t h e s e r v i c e o f P r in c e F a b r i z i o
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6U
A rp a , P i e r r e D alem , a n d T o rq u a to T a s s o , a l l o f whom j o in e d t o g e t h e r t o fo rm
S a n ta A n n u n z ia ta ( S c ip io n e S t e l l a h e l d t h e p o s i t i o n o f f i r s t o r g a n i s t , a n d N o la
m u s ic a l d i r e c t o r a t t h e R o y a l C h a p e l, a p o s i t i o n w h ic h h e r e t a i n e d u n t i l h i s
m a d r ig a ls i n c o l l e c t i o n s , a n d o rg a n an d l u t e a rra n g e m e n ts o f m a d r ig a ls an d
About C r i v e l l o *s e a r l y y e a r s n o t h in g i s known o t h e r t h a n h i s p l a c e o f
a c t i v i t i e s i s a n e n t r y i n t h e r e c o r d s o f S t . P e t e r ’s , w h e re on A u g u st 1 , 1 5 7 8 ,
1617 r e c o r d s o f C r i v e l l o c e a s e , and i t i s p r o b a b le t h a t h e d i e d i n t h a t y e a r*
w h ic h tim e C r i v e l l o w as s i n g i n g a t t h e J u l i a n C h a p e l.
p a r e n t l y f l o u r i s h e d a t t h e e n d o f t h e s i x t e e n t h c e n tu r y , and s i n c e h i s c y c le
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65
t i o n o f m a d r i g a l i s p i r i t u a l i in te n d e d f o r p e rfo rm a n c e a t t h e C o n g re g a zio n e d e l l 1
w o r k s , th e p a i r e d m a d r ig a l L a s c ia l a b e l l a Roma, w h ic h w as composed f o r a p e r
t h e Ternpio A im onico.
th e c h o ir m a s te r t h e r e . I n 1575 F e l ic e w as a s o p ra n o a t t h e C a p p e lla G i u l i a ,
t h e n u n d e r P a l e s t r i n a ’s d i r e c t i o n , an d i n 1 5 7 7 , w hen h i s v o i c e h a d c h a n g e d , h e
w as t r a n s f e r r e d t o t h e c o n t r a l t o s e c t i o n o f t h e c h o i r . F o r th e y e a r s 1 5 7 9 -
he h e ld no o f f i c i a l a p p o in tm e n t fro m t h e tim e t h a t h e l e f t t h e F re n c h N a t io n a l
C o l le g e . A f t e r t h e d e a th o f P a l e s t r i n a , h e w as a p p o in te d b y C lem ent V I I I t o
t a i n e d u n t i l h i s d e a th . A n o th e r p o s i t i o n t h a t w as l e f t v a c a n t a t P a l e s t r i n a ’s
d e a th w as t h a t o f d i r e c t o r o f th e S o d a l i t a s m usicorum su b V i s i t a t i o n i s S . M arin e
v i r g i n i s ac S . G r e g o r ii e t S . C a e c il i a e i n v o c a t io n i b u s , a so c a e ty o f fam ous
Roman c h u rc h m u s ic ia n s c r e a t e d b y G re g o ry X I I I i n 1581; f o r t h e p u rp o se s o f f u r
t h e r i n g t h e aim s o f t h e C o u n c il o f T r e n t , e d u c a tin g c h u rc h m u s ic ia n s , an d p r o
m o tin g e v e n in g c o n c e r t s i n t h e c h u rc h o f T r i n i t y d e i P e l l e g r i n i . ^ 1 I n 1589
F e l i c e e d i t e d I n G i o ie , a c o l l e c t i o n o f s a c r e d m a d r ig a ls b y members o f t h e
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66
s o c i e t y , and i n l$ 9 k he f u r t h e r c o n tr i b u te d h i s s e r v i c e s assu m in g t h e d i r e c t o r
s h ip l e f t v a c a n t b y P a l e s t r i n a . B e s id e s h i s d u t i e s a t t h e V a t ic a n , A n e rio was
w r o te s e v e r a l w o rk s . O ther r e s p o n s i b i l i t i e s in c lu d e d t h e c o l l a b o r a t i o n w i t h
S o r ia n o on th e re fo rm o f t h e c h a n t , th e c u lm in a tio n o f w h ic h w as t h e p u b l ic a
t i o n o f t h e E d i ti o M edicaea i n l 6 l i u ^2 A n e rio * s w o rk s in c l u d e t h r e e b oo k s o f
s e c u l a r m a d r ig a ls , t h r e e books o f s a c r e d m a d r i g a l s , tw o b o oks o f s a c r e d c o n
th e s e v e n te e n th c e n tu r y , w as em ployed a s a p a p a l s i n g e r c a . 1 6 1 1 . I t is
p r e s e r v e d i n t h e C a p p e lla S i s t i n a m a n u s c r ip ts . U n f o r tu n a t e l y , n o o t h e r r e c o r d s
a r e a v a i l a b l e c o n c e rn in g O d d i’s c a r e e r .
G i o v a n e ll i te r m in a te d h i s c o n t r a c t w i t h t h e German C o l le g e , an d on t h e f i f t e e n t h
o f t h a t m onth h e su c ce e d e d P a l e s t r i n a a t t h e C a p p e lla G i u l i a , w h e re G i o v a n e ll i
rem a in e d u n t i l h i s ap p o in tm en t t o t h e C a p p e lla S i s t i n a i n 15 9 9 . G i o v a n e ll i w as
a dv a n ce d t o th e p o s i t i o n o f p u n t a t o re i n 1 6 0 7 , C am erlengo i n 1 6 1 0 , an d m a e s tro
p r o tem pore i n l 6 l l * . ^ G i o v a n e ll i h a s b e e n c o n s id e r e d im p o r ta n t p r i m a r i l y f o r
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67
c o m p o s itio n s , w h ic h in c lu d e s i x b o o k s o f m a d r i g a l s , o n e book o f v i l l a ne l l e , a n d
s i n g l e m a d r ig a ls i n c o l l e c t i o n s a n d m a n u s c r ip t s , G i o v a n e l l i 's t h r e e c y c le s
w e re a l l p u b l is h e d w h ile h e w a s a t S an L u i g i d e i F r a n c e s i .
A f t e r s p e n d in g h i s e a r l y y e a r s a s a c h o ir b o y a t S t . P a u l ’s u n d e r t h e t u t e
15 8 2 , h e s u c c e s s f u l l y o b ta in e d a p o s i t i o n a s o r g a n i s t a t t h e E n g lis h C o lle g e ,
t r a v e l s t o S p a i n , F r a n c e , an d F l a n d e r s . The r e m a in d e r o f P h i l i p s ' l i f e w as
h i s d e a th i n 1628 a s f i r s t o r g a n i s t a t t h e r o y a l c o u r t i n B r u s s e l s .^ 4- H is com
p o s i t i o n s i n c l u d e t h r e e books o f m a d r i g a l s , s a c r e d p i e c e s , and k e y b o a rd w o rk s .
as c o u rt o rg a n is t in B ru s s e ls .
G. F . A n e r io , t h e y o u n g e r b r o t h e r o f F e l i c e , w as b o r n i n Rome, c a . 1 5 6 7 ; h e
d i e d i n Rome i n 1 6 2 1 . G io v a n n i F r a n c e s c o w as a c h o ir b o y u n d e r P a l e s t r i n a a t S t .
b e f o r e s u c c e e d in g S o ria n o a s m a e s tro d i c a p p e l l a a t S an G io v an n i i n L a te r a n o ,
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w as m a e s tro d i c a p p e l l a a t t h e J e s u i t c h u rc h y S a n ta M a ria d e i M onti* Much o f
A n e r io *s l i f e h a d b e e n s p e n t u n d e r t h e i n f l u e n c e o f t h e J e s u i t s , a n d i n 1616 h e
O r a to r i o i n S a n ta M aria i n V a l l i c e H a 0
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F i l i p p o N i c o l e t t i , P a o lo Q u a g l i a t i , A s p r i l i o P a c e l l i , S t e f a n o B e m a r d i,
A g o s tin o A g a z z a r i , A bundio A n t o n e ll i d a F a b r ic a , a n d A n to n io C i f r a w e re a l l
a c t i v e d u r in g t h e f i r s t tw o o r t h r e e d e c a d e s o f t h e s e v e n te e n th c e n tu ry * W ith
th e e x c e p t i o n o f N i c o l e t t i a n d Q u a g l i a t i , a l l w e re b o m w i t h i n t h e l a s t t h i r d
o f t h e s i x t e e n t h c e n tu r y . A lth o u g h N i c o l e t t i * s a n d Q u a g l i a t i 's d a t e s o f b i r t h
p o s e r s a c t u a l l y s h a re d m ore a r t i s t i c a l l y w i t h C i f r a and A g a z z a ri th a n w i t h
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a n i n t e r e s t i n m onodic e x p r e s s io n a n d c o n c e r t a t o t e c h n i q u e s . P o ly p h o n ic com
p o s i t i o n s form o n ly a s m a ll c o rp u s o f t h e i r w o rk ; t h e i r m ost s i g n i f i c a n t a c h ie v e
m ents w e r e i n th e g e n re s o f e a r l y o p e r a , t h e o r a t o r i o , t h e c a n t a t a , a n d p o ly -
c h o r a l s a c r e d m u sic .
1 6 2 0 , s tu d i e d m usic a s a b o y i n B o lo g n a u n d e r C a r t a r i , t h e m a e s tro d i c a p p e l l a
i s known a b o u t N i c o l e t t i * s a c t i v i t i e s b e f o r e h e w as a p p o in te d m a e s tro d i c a p p e l l a
1 5 9 3 , b u t t h e r e i s no e v id e n c e t o docum ent h i s a r r i v a l . He w as s t i l l l i v i n g i n
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c o n ta in e d t w o - p a r t m a d r ig a ls , an d a s su c h h a v e n o t "been c o n s id e r e d i n t h e p r e s
l i s h e d w h i l e N i c o l e t t i was s t i l l l i v i n g i n R o v ig o .
h i s m u s ic a l e d u c a t i o n . Q u a g l ia t i w as a s w e ll-k n o w n a s a n o r g a n i s t a s a com
t o 1618 h e w as r e s p o n s i b le f o r p l a y in g f o r H o ly Week s e r v i c e s i n th e O r a to r i o
th e l a t e r y e a r s he a l s o s e rv e d t h e L u d o v is i f a m i l y , a n d f i v e o f t h e c o m p o s itio n s
i n l a s f e r a a rm o n io sa o f 1623 w e re w r i t t e n t o c e l e b r a t e t h e w ed d in g o f N ic o lo
L u d o v is i an d I s a b e l l a , t h e e l d e r d a u g h te r o f C a r lo and E le o n o ra G e su a ld o .
f o rm s . I n h i s Prim o l i b r o de m a d r i g a l i a q u a t t r o v o c i c o n c e r t a t i p e r c a n t a r ca n
p u b lis h e d i n 1 608, Q u a g l ia t i t r i e d t o r e c o n c i l e t h e d i f f e r e n c e s b e tw e en t h e p o ly
c o m p o s itio n s in c lu d e org an p i e c e s , m o te t s , c a n z c n i s p i r i t u a l i , a n d c a n z o n e t t e .
The c y c l i c m a d r ig a l I t u o i c a p p e l l i w as w r i t t e n w h i l e Q u a g l ia t i w as i n t h e
em ploy o f C a r d in a l F a m e s e .
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70
P a c e l l i was b o r a i n V a s c ia n o i n 1 5 7 0 ; h e w o rk ed i n P o la n d f o r t h e l a s t
m u s ic a l d i r e c t o r a t t h e J u l i a n C h a p e l, E a r ly i n 1603 P a c e l l i l e f t Rome f o r
P o la n d , w h e re h e became d i r e c t o r o f t h e c h a p e l o f S ig ism o n d o I I I , a p o s t w h ic h
h e r e t a i n e d u n t i l h i s d e a th , ^ 8 p a c e l l i * s tw o c y c l e s , I I d x d r a p e r s i an d
B e r n a rd ! w as b o m i n V ero n a d u r in g t h e l a s t q u a r t e r o f t h e s i x t e e n t h
c e n tu r y ; h e d i e d i n S a lz b u r g i n 1 6 3 6 , B e rn a rd ! s tu d i e d m u sic u n d e r B a c c u s i,
V e rc n a . The d i r e c t o r s o f t h e C a th e d r a l o f V e ro n a , d e s i r i n g t h a t h e p u r s u e h i s
w h i l e h e w as s tu d y in g i n Rome,
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A g a z z a ri w as n o t i f i e d o f h i s ap p o in tm en t o f m a e s tro d i c a p p e l l a a t t h e German
r e t u r n t o S ie n a c a . 1630. I n t h a t y e a r h e w as a p p o in te d m a e s tro d i c a p p e l l a o f
t h e c a t h e d r a l i n S i e n a , a p o s t h e s e rv e d u n t i l h i s d e a t h . A g a z z a ri i s p r o b a b ly
c o n te m p o ra r ie s . One o f h i s t h r e e c y c l i c m a d r i g a l s , V e r g in e e g e n i t r i c e , was
se c o n d h a l f o f t h e s i x t e e n th c e n tu r y $ h e d ie d c a . 16U7* i n 1608 A n t c n e l l i w as
i n Damaso a s l a t e a s I6 k 7 * °° A n t o n e ll i * s w o rk s in c lu d e one bo o k o f m o te t s ,
m a e s tro d i c a p p e l l a i n Benevento*
C i f r a w as b o m i n 1581; n e a r T e r ra c in a $ h e d i e d on O c to b e r 2 , 16 2 9 , i n
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72
C o l le g e , o n ly t o r e t u r n t o L o r e to on Ju n e 2 3 , 1626* C i f r a w as s t i l l l i v i n g i n
L o r e to when h e d i e d i n 1629* H is w o rk s in c lu d e f i v e bo o k s o f m a d r i g a l s , e i g h t
M e il, G. M. U a n in o , P a l e s t r i n a , and Z o i lo , w o rk ed f o r a lm o s t t h e i r e n t i r e l i v e s
tw o o r t h r e e y e a r s .
T a b le XV l i s t s a l l t h e c y c l i c m a d r ig a ls p u b lis h e d b y t h e f o r t y - o n e c o m p o se rs,
d a te o f p u b l i c a t i o n ( th e d a t e s o f f i r s t and s u c c e s s iv e e d i t i o n s a r e n o te d w i t h i n
o f v o i c e s ) u n d e r e a ch c o m p o s e r’s nam e. Of t h e h u n d re d an d f o r t y - t h r e e s e t t i n g s ,
p o s e r s w e re a c t u a l l y l i v i n g i n Rome. F o r ex a m p le , a l l f i v e o f C h a m a te ro ’s
c y c l i c m a d r ig a ls w e re p u b l is h e d tw e n ty y e a r s b e f o r e h e a r r i v e d i n Rome, w h e r e a s ,
M a re n z io , who f o r m ost o f h i s c r e a t i v e l i f e e n jo y e d t h e p a tr o n a g e o f i n f l u e n t i a l
Roman c a r d i n a l s , p u b l is h e d a l l o f h i s c y c l i c s e t t i n g s w h i l e h e w as r e s i d i n g
th e re . The t e x t s o f o n ly t h o s e c y c le s p u b lis h e d d u r in g t h e p e r i o d i n w h ic h i t
t h e f o llo w in g c h a p t e r .
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73
T ab le XV
A d ria n !, F ra n ce sc o c
A l l a d o l e 1 om bra. 7 s t. a6 0 (1568)<>
A g a z z a r i, A g o s tin o .
T o m a s t i a l a t u a . l i s t . a 6 . (1 5 9 6 , l 6 0 0 ) e
Se g ic i t 1 hct p u n to . l i s t . a5« (1 6 0 0 , 1 6 0 2 , 16 0 8 , 1 6 0 8 ).
* V e rg in e e g e n i t r i c e . l i s t . a 3 . ( 1 6 0 7 ).
A nerio, F e lic e .
* F e r i t o f u i . 6 s t . a 5 . (1 5 8 7 )*
-*Gitt d i s f a t t o h a l e . 7 s t . a l |- 8 . (1 5 9 0 , 1 5 9 9 ).
A n e r io , G io v a n n i F r a n c e s c o .
A n im u cc ia , G io v a n n i.
A n t o n e l l i , A bundio d a F a b r i c a .
F i g l i a d i p r im a v e r a . 6s t . a5. ( l 6ili).
A rc a d e lt, J a c q u e s.
C h ia re f r e s c h 1 e d o l c i a c q u e . 5 s t. a 3 -5 . (1 5 5 5 , 15 5 5 , 1 5 5 5 , 1 5 6 1 ) .
B arr& , A n to n io .
*Amor ch e d e b b 1 i o . 6 s t . a ll. (1 5 5 2 ).
* S o r g i s u p e rb o . 5 s t . a 5 . ( 1 5 5 5 )o
*Amor l a b e l l a f a c e . 7s t . a 3 -7 . (1 5 5 5 , 15 5 5 , 1555, 1 5 6 1 ).
*Dunque f i a v e r . l i s t . a ll. ( 1 5 5 5 , 1 5 5 7 , 1559, 1 5 6 2 , 1565, 1 5 6 9 , 1 5 7 8 ,
1 5 8 2 , I 5 8 li).
B e l l a s i o , P a o lo 0
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
7U
B e m a r d i , S te f a n o .
C h am atero , I p p o l i t o .
La v e r l 1 a u r o r a . 6 s t . a lt. (1 5 6 1 ).
A q u a lu n q u e a n im a l. 6 s t . a $ . (1569)*
L* a e r g r a v a t o . 6 s i . a lt. ( 1 5 6 9 ).
Non ha t a n ti anim ali. 6 s t . a5. (1569).
Porgetemi la l i r a . 6 s t . a5. (l569)o
C i f r a , A n to n io .
C r i v e l l o , A rc a n g e lo .
D r a g o n i, G io v an n i A ndrea.
G i o v a n e ll i, R u g g ie ro .
Wimmi caprar n o v ello . U st. alt. (1585, 1587a 1589a 1589a 1598a 1602, 1613).
*Qui cantfc M eliseo0 U st. aU. (1585, 1587a 1589a 1589a 1598, 1602, 1613).
*Deh r i s o l v i an ci un t r a t t o . 7 s t. aU-8. (1589a 1590, 1592, 1596, 1603).
L a s s o , O rlando d i 0
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75
M acque, G io v an n i de*
La v e r 1* a u r o r a . 6 s t. a U. (1586).
S p e s s o i l c a n to a d a m a re . l i s t . a 3 . (1595)*
I t u o i cap p elli* lis t. a5. (1613).
M a re n z io , L uca 0
•x-Giunto & l a toniba. lis t . a5. (158U, 1589, 1593, 159U, 1607, 1609).
■fcNon fu mai cervo. ? s t. a5. (158U, 1588, 1588, 1610, 1610).
-x-Sola a n g i o l e t t a , 6 s t . a5. (1585, 1588, 1593, 159U, 1 6 0 1 , 1605, 1609).
* B a c i s o a v i e c a r i . 5 s t . a 6 . (1591, l59li, 1595* 1595, 1608, 1610).
*G iovane d o nna. 7 s t . a 6 . (1595, 1608, 1609, 1610).
*Se q u e l d o l o r . l O s t. a6 . (1 5 9 5 , 1 6 0 8 , 1 6 0 9 , 1 6 1 0 ).
M a rin o , A le s s a n d r o .
*A c a s o un g i o m o . l i s t . a 5 . (1 5 7 1 ).
-x-Quando p e r d a r a l mondo. 7 s t . a 6 . (1597).
M a ssa in o , T i b u r t i o .
*A c a s o u n g i o m o . l i s t . a 5 . ( 1 5 7 1 ).
-x-Per m o n ti b o s c h i. 6 s t . a 5 . (1 5 7 1 ).
D anzava com m a n ie ra . l i s t . a 5 . (1 5 7 8 ).
La ver 1* aurora. 6 s t. a5. (159U).
M el, R in a ld o d e l .
M i l l e v i l l e , A le s s a n d r o .
P e rc h e m en te . l O s t . aU. (158U).
Vergine b e lla che d i s o l v e s t it a . l i s t . aU. (158U)•
M onte, P h i li p p e d e .
■*L* aere gravato. 6 s t. aU. (1562, 1586).
«M ia benigna fortu n e. 1 2 s t . aU. (1 5 6 2 , 1 5 8 6 ) .
-x-Dolor la g r im e ag l* o c c h i. 6 s t . a 5 . ( 1 5 6 8 ) .
*L a d olce v i s t a . 5 s t . aU. (1568, 1569, 1585)*
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76
-xDanzava c o n m a n ie ra . U s t. aU. (1 5 6 9 , 1 5 8 5 ).
Quando a l g r a t o s p i r a r . 6 s t . a 5 . (1 5 7 1 , 1 576, 1581)®
P o i ch e l a s s o m* & t o l t o . 6 s t . a 5 . (1 5 7 5 , 1 5 8 8 ).
S pent* e r a n n e l mio c o r . 6 s t . a5® (1 5 7 5 , 1 5 8 8 ).
C o p p ia g e n t i l . 7 s t . a 7 . (1 580, 1592)®
Se v o i d e s te * U s t. a 6 . (1 580, 1 5 9 2 ).
G ia h a v e a 1* e t e m a man. 8 s t . a 5 . (1 5 8 1 ).
P u n to g i £ f u i . i ; s t . a 5 . (1 5 8 7 ).
V irg o v e t u s t a t i s . 7 s t . a 7 . (1 5 8 9 ).
S ta n c o g i£ d i s o l e a . 6 s t . a 6 . (1 5 9 0 ).
Ecco ch* i o v e g g io . 7 s t . a 6 . (1591)*
A ll* h o r ch e 1* a l b a . 6 s t . a 7 , (1 5 9 9 )*
GiS. f tt c h i m* hebbe c a r a . U st. a 7 . (1599)®
Deh p rim a che t u . U s t. a 7 ® ( 1 6 0 0 ) .
Q u e sto mi r e s t a . U s t. a 7 . ( 1 6 0 0 ).
Ma non d i minor fr e g g io . 5 s t. a5. (1 6 0 1 ).
M o s c a g lia , G io v a n n i B a t t i s t a .
*Q ui v i d i C l o r i . U s t. a 5 . (1 5 8 5 ).
N a l d i, Rom olo.
N a n in o , G io v a n n i M a ria .
-x-Erano i c a p e i d* o r , U s t. a 3 . (1 5 9 3 , 1 5 9 9 ).
-x-Ai d o l c i e v a g h i c o n c e n t i . U st. a 3 . (1 5 9 5 ).
*Alma V e rg in g e n t i l e . 7 s t . a 3 . (1 5 9 9 ).
N i c o le t ti - F ilip p o .
S t a n o t t e m i. U s t. a 5 . (1 5 7 8 ).
M entre p o c o . U s t. a 5 . (1 5 8 5 ).
N o v e l li , F u l v io .
*E p u r p a r t i r conviem m i. 5 s t. a3 . ( 1 5 9 9 ).
O d d i, F la m in io .
-x-Come in fe rm o . 5 s t . aU® ( 1 6 0 8 ) .
-xCome vago a u g e lle tto . 5 s t. aU. (1608).
■ x S v eg liati anim a t r i s t a . 5 s t . aU. (1608).
P a c e ll i, A s p r ilio .
P a l e s t r i n a , G io v a n n i P i e r l u i g i da.
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77
P e e trin o , Jaco p o ,
P e l l i o , C -iovanni,
Come v a g o a u g e l e t t o . 5 s t . a 5 . ( 1 5 7 8 ) .
De l a tu a g r a t i a . U st. a5. (1578).
10 sfc sommo M o to re . U st. a 5. (1 5 7 8 ).
Odi d a l c i e l o . l i s t . a 5 . ( 1 5 7 8 ).
S in a quando s i g n o r . U s t . a 5 . ( 1 5 7 8 ) .
De 1* e g re i n f e m e . 5 s t . a6. (158U).
Deh fr a contante m ie . U st. a6. (158U).
11 tuo aiu to 5 S ig n o r e . 5 s t . a6. (158U ).
Quando a i c o r s i e r d e l S o l . 6 s t . a 6 . (158U).
P h ilip s , P e te r.
F i l l i l e g g i a d r 1 e b e l l e . 8 s t . a 8 . (1 5 9 8 , 1 5 9 9 , 1 6 1 5 ).
C hi v u o l v e d e re un b o s c o . U s t. a 6 . ( 1 6 0 3 , 1 6 1 5 ).
P o n te , G ia c h es d e .
Q u a g l ia t i, Paolo*
■
k-I tu o i e a p p e lli. U st. aU. (1608).
R a v a l, S e b a s ti a n .
R em igio, Don.
Romano, A le s s a n d r o .
R o s s e lli, F ra n ce sc o .
*G iovane donna. 6 s t . aU. (1560, 1560, 1562, 1562, 1565, 1569, 1573, 1576,
1588).
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78
Z o i lo , A n n ib a le o
* L u c i b e a te . 5 s t . a lu (1 5 6 3 ).
C om posite s e t t i n g s .
*M entre t i f u i s i g r a t o . 6 s t . a 5 . (1 5 8 2 , 1 5 8 5 , 1 5 9 0 , l$ 9 k 9 1 6 1 1 ) .
->Ninfa che d a l su perb* A d r i a t i c o . 1 2 s t . a 5 . (1 5 9 0 , 1 6 1 0 ).
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79
F o o tn o te s
1 . D o lc i A f f e t t i [ 1 5 8 2 ^ in c l u d e s m a d r ig a ls by t h e f o llo w in g c o m p o se rs:
P a o lo B e l l a s i o , A rc a n g e lo B erg am asco , G io v a n n i A ndrea D ra g o n i, G io . B a t t . L o c a -
t e l l o , G io , de M acque, Luca M a re n z io , G io. B a t t . M o s c a g lia , G io v an n i Miaria
N a n in o , G io v a n n i P i e r l u i g i d a P a l e s t r i n a , N ic o lo P e rv u e , B artolom eo R oy, F ra n
c e s c o S o r ia n o , A n n ib a le S t a b i l e , I p p o l i t o T a r t a g l i n o , an d A n n ib a le Z o i lo . The
c o m p o site c y c le M entre t i f u i s i g r a t o o c c u p ie s t h e p o s i t i o n o f p rim a c y . The
re m a in in g m a d r ig a ls a r e s i n g l e p i e c e s .
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80
8 . F o r f u r t h e r in f o r m a tio n c o n c e rn in g t h e p a p a l c h a p e l i n A v ig n o n , s e e
I b i d . , 2 0 5 -2 1 8 .
9 . The r e o r g a n i z a t i o n o f t h e S i s t i n e C h a p e l w as c a r r i e d o u t i n a s e r i e s o f
f o u r b u l l s p ro m u lg a te d b y S i x tu s 3V: E t s i c u n e t i s e c c l e s i a s t i c i s (Ju n e 2 0 ,
llj.73) 5 Romani P o n t i f i c i s p r o v i d e n t i a ( J a n u a r y 2 , l h 7 6 ) ; De s o l i t a S e d is
a p o s t o l i c a e ( A p r il 1 0 , Ik o O ); bum i n t r a N o s tra e m e n tis (Ju n e 3 , l h 8 3 ) . The
b u l l s a r e p r e s e r v e d i n C a p p e lla S i s t i n a God. ? 0 l , f f . LO, 2 2 , 3 5 ’ , an d 38
r e s p e c tiv e ly .
1 0 . No r e c e n t h i s t o r i c a l s t u d i e s o f t h e S i s t i n e C h a p e l h a v e b e e n p ub
l i s h e d . The in fo r m a tio n a b o u t t h e h i s t o r y o f t h e i n s t i t u t i o n , th e s i z e o f t h e
c h o i r , th e d u t i e s o f i t s m em bers, a n d t h e p e r s o n n e l d u r in g t h e s i x t e e n t h c e n
t u r y h a s b e e n e x t r a c t e d from t h e f o llo w in g a r t i c l e s an d m o n o g rap h s: G iu sep p e
B a i n i , Memorie s t o r i c o - c r i t i c h e d e l l a v i t a e d e l l e o p e re d i G io v a n n i P i e r l u i g i
d a P a l e s t r i n a , 2 v o l s . (Rome: 1 8 2 8 ); R a f f a e l e C a s i m i r i , ” 1 * D i a r i i S1 s t i n i ’ , "
H ote d* A r c h iv io p e r l a s t o r i a m u s ic a le , I (1 9 2 U ), 8 5 -9 9 , 1 U 9-162, 2 6 7 -2 7 k ; I I I
T W e j , 1 -1 6 , 169-a927"257-^7^S 17 (192*7), 2 5 6 -2 6 6 ; IX ( 1 9 3 2 ), 5 3 - 6 0 , 1 5 0 -1 5 9 ,
2 6 0 -2 6 6 ; X ( 1 9 3 3 ), U 5-57, lk 9 - l 6 U , 2 6 1 -2 7 6 , 326-3U 3; X I ( 1 9 3 k ), 7 6 - 9 2 , 300-3155
X II ( 1 9 3 5 ), 5 5 -7 0 , 1 2 6 - l i a , 2 k 9 -2 6 k ; X I I I ( 1 9 3 6 ), 5 9 - 7 6 , I k 7 - l 5 6 , 201-21k ; XI7
( 1 9 3 7 ), 1 9 -3 3 , 7 3 -8 8 , 1 2 8 - lk 3 , 2 9 8 - 3 1 3 ;X 7 ( 1 9 3 8 ), k 2 - k 6 , 1 2 9 -1 3 9 , 2 0 0 -2 2 0 ,
2 8 1 -2 8 7 ; X7I ( 1 9 3 9 ), 7U-995 XVII ( I 9 k 0 ) , 65-715 E n r ic o C e l a n i, ” 1 C a n t o r i d e l l a
C a p p e lla P a n t i f i c i a n e i s e c o l i X 7 I - X 7 I I I ,n R i v i s t a M u s ic a le I t a l i a n a , XI7 ( 1 9 0 7 ),
8 3 -1 0 k , 752-7905 XVI ( 1 9 0 9 ), 5 5 -1 1 1 ; F . X. H a b e r l, nWiTFTeliii d ^ a y 7 ^ V i e r t e l
j a h r s c h r i f t f u r M u s ik w is s e n s c h a ft, I (1 8 8 5 ) 5 k 6 7 -k 7 l5 F . X. H a b e r l, ’’D ie rfcm ische
*s c h o la cantorum * u nd d i e p S p s t li c h e n K a p e lls S n g e r b i s z u r M itte d e s 1 6 . J a h r
h u n d e r t s ," V i e r t e l j a h r s c h r i f t f u r M u s ik w is s e n s c h a f t, I I I (1 8 8 7 ), 1 8 9 -2 9 6 ; F . X.
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81
11*. F o r f u r t h e r in fo rm a tio n c o n c e r n in g c h u rc h e s i n s i x t e e n t h - c e n t u r y
Rome, s e e M, A r m e l l in i , Le C h iese d i Roma d a l l e l o r o o r i g i n i s i n e a l s e c o l o XVI
(Rome: 1 8 8 7 ). The p r i v a t e r e s id e n c e s a r e d i s c u s s e d i n A iia n e D u c r o t, " H i s -
t o i r e de l a C a p p e lla G i u l ia au XVIe S i ^ c l e d e p u is s a f o n d a t i o n p a r J u le s I I
(1513) ju sq u * Il s a R e s t a u r a ti o n p a r G re g o ir e X I I I ( 1 5 7 8 )," M elanges d * a rc h £ o -
l o g i e e t d ' h i s t o i r e ( 1 9 6 3 ), 181-185, 531-53U .
1 5 , F o r f u r t h e r in fo rm a tio n c o n c e r n in g t h e s p e c i a l o c c a s io n s a t w h ic h t h e
c h o i r p a r t i c i p a t e d , s e e A rian e D u c r o t, " H i s t o i r e d e l a C a p p e lla G i u l i a a u XVIe
S i e c l e d e p u is s a f o n d a t i o n p a r J u l e s I I (1 5 1 3 ) ju sq u * a s a R e s t a u r a ti o n p a r
G re g o ire X I I I (1 5 7 3 )," Melange d*a r c h e o lo g ie e t d«h i s t o i r e (1 9 6 3 ), 5 1 0 -5 1 2 .
1 6 , F o r l i s t s o f a l l th e s in g e r s who a p p e a r i n t h e r e g i s t e r s o f t h e Cap
p e l l a G i u l ia fro m 1513 t o 1578, se e I b i d . , 179-22*0, 2*67-599.
1 8 , The h i s t o r y o f t h e C a p p e lla P i a h a s n o t a t t r a c t e d th e a t t e n t i o n o f
m u s i c o lo g i s ts , and t h e r e i s a t p r e s e n t v e r y l i t t l e p u b l is h e d in fo r m a tio n a b o u t
t h e h i s t o r y a n d a c t i v i t i e s o f th e c h a p e lo The m o st i n f o r m a tiv e s c u r c e , a l b e i t
n o t e n t i r e l y r e l i a b l e , i s B a in i’s M em orie, w h e re p a s s i n g comments r e f e r t o t h e
m em bership o f th e c h a p e l d u rin g th e s i x t e e n t h c e n t u r y . T a b le IX i s b a s e d on
t h e s e com m ents, and w here p o s s ib l e t h e in fo r m a t io n h a s b e e n su p p le m e n te d b y
m ore r e c e n t e v id e n c e . I t m ust be e m p h a s iz e d , h o w e v e r, t h a t t h e l i s t i s a p r o
v isio n a l one,
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82
20* C on c e rn in g t h e f o u n d in g a n d t h e b u i l d i n g o f San L u i g i d e i F r a n c e s ! ,
s e e M. A r m e l l in i , l £ C h le s e d i Roma, I , p . 532-53U .
2 1 , The summary o f f a c t s c o n c e r n in g S an L u ig i d e i F r a n c e s ! a n d t h e l i s t i n g
o f t h e m a e s t r i d i c a p p e l l a t h e r e em ployed a r e b a s e d on t h e f o llo w in g a r t i c l e s :
A0 C a m e tti, ^La s c u o la d e i ‘P u e r i c a n tu s * d i San L u i g i d e i F r a n c e s i i n Roma e i
s u o i p r i n c i p a l ! a l l i e v i (1 5 9 1 -1 6 2 3 ) ,” R i v i s t a M u .ic a le I t a l i a n a , XXII (1 9 1 5 )#
593-6 1 |l; A* C a m e tti, " F irm in io L e b e l, M a e s tro i n S e L u ig i d e i F r a n c e s i a Roma
(25 o t to b r e 15U5-30 s e tte m b r e 1 5 6 1 ) ,” R i v i s t a M u s ic a le I t a l i a n a , XXXII (1 9 2 5 ),
196-20 5 j H e r m a n a l t h e r F r e y , ”D ie Kapellm e i s t e r an d e r f r a n z S s is c h e n N a t io n a l -
k i r c h e San L u ig i d e i F r a n c e s i i n Rom im 1 6 . J a h r h u n d e r t , ” A r c h iv f S r M usik
w i s s e n s c h a f t , XXII (1 9 6 5 ), 272-2935 X X III ( 1 9 6 6 ), 3 2 -6 0 .
22* F o r f u r t h e r in fo r m a t io n c o n c e r n in g t h e p r e s e n c e o f i n s t r u m e n t a l i s t s ,
s e e I b id * , 6 0 .
2 3 . The resum e o f f a c t s c o n c e r n in g t h e fo u n d in g a n d t h e e a r l y h i s t o r y o f
t h e German C o lle g e i s b a s e d on t h e f o ll o w i n g s t u d i e s : A n d re a s S te in h u b e r ,
G e s c h ic h te d e s K o lleg iu m Germanikum H m g a rik u m i n Rom, 2nd e d . , r e v . ( F r e ib u r g
im R re is g a u : l d o b j 3 I , p . Pel ' l i c c T a J ~Ta p r e p a r e s lo n e e d am m issione
d e i c h i e r i c i a i s a n t i o r d i n i n e l l a Roma d e l s e c o l o Xfrx (feome: 1 9 5 6 ) , p . 1 7 9 -
1 8 5 , 32U-33Y 5 ""Thomas C u lle y , S . D ocu m en tary H i s t o r y o f th e l i t u r g i c a l
m usic a t t h e German C o lle g e i n R o m e 1 5 7 3 -1 6 3 1 1 ,CJnpub." Rh*D. d i s s e r t a t i o n ,
H arvard"”U n iv e r s i ty , 1963, p . 1 - 1 1 . I n a d d i t i o n t o h i s t o r i c a l m a t e r i a l , th e
m u s ic a l a c t i v i t y o f th e German C o lle g e i s d i s c u s s e d i n t h e f o ll o w i n g a r t i c l e s :
R a f f a e le C a s i m i r i , ” »I1 V i t t o r i a T N uovi d o c u m e n ti p e r u n a b i o g r a f i a s i n c e r a d i
Tommaso L udovico de V i c t o r i a , ” N o te d ’A r c h iv io p e r l a s t o r i a m u s ic a le , XI ( 1 9 3 1 ),
111-1975 R a f f a e le C a s i m i r i , ”D i s c ip l 1 n a m u sic a e maslTri d i c a p p e l l a dopo i l
C o n c ilio d i T re n to n e i m a g g io r i i s t i t u t i e c c l e s i a s t i c ! d e Roma,” N ote d JA r c h iv io
p e r l a s t o r i a m u s ic a le , X II ( 1 9 3 5 ) , 1 - 2 6 , 73-815 XV ( 1 9 3 8 ), l - l U n ^ H / 97 -1 3 2 7
3 5 5 -1 3 6 , 225-2li75 XVI (1 9 3 9 ), 1-95 XIX (1 9 U 2 ), 1 0 2 -1 2 9 , 159-1685 XX ( 1 9 l 3 ) , 1-175
Thomas C u lle y , S . J c , ”The I n f l u e n c e o f t h e German C o lle g e i n Rome on M usic
i n G erm an-speaking C o u n tr ie s d u r in g t h e S i x t e e n t h an d S e v e n te e n th C e n t u r i e s , ”
A n a le c ta M u s ic o lo g ic a , V I I ( 1 9 6 9 ) , 1-35*
2 5 . The l i s t s o f t h e n i n e r e g u l a t i o n s g o v e rn in g t h e m a e s tro d i c a p p e l l a
a nd t h e m u s ic a l s c h e d u le i n r e g a r d t o s i n g i n g a r e q u o te d b y t u l l e y i n th e l i s t
o f docum ents appended t o h i s a r t i c l e , ” The I n f l u e n c e o f th e German C o lle g e i n
Rome on M usic i n G e rn a n -s p e a k in g C o u n tr ie s d u r in g t h e S i x te e n t h an d S e v e n te e n th
C e n t u r i e s , ” A n a le c ta M u s ic o lo g ic a , V I I ( 1 9 6 9 ) , 32-31;.
26. I b i d . , 3U.
27. I b i d . , 1 6 -2 3 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
83
2 9 . F o r s p e c i f i c d e t a i l s c o n c e rn in g t h e e s ta b lis h m e n t o f t h e S e m in a rio
Romano, s e e P io P a s c h in i , Le O r i g in ! d e l S e m in a rio Romano (Rome: T ip , P o lig lo
V a t ic a n a , 1933)*
31o A d e t a i l e d d i s c u s s io n o f th e m u sic r e q u i r e d f o r t h e v a r i o u s l i t u r g i c a l
f u n c t i o n s c e l e b r a t e d a t t h e C h ie s a d e l Ges{L i s bey o n d t h e scope o f t h e p r e s e n t
s tu d y ; f o r f u r t h e r i n fo r m a tio n r e g a r d in g t h i s p o i n t , s e e I b i d , , p , 1 2 -1 7 .
3 5 . F o r f u r t h e r i n fo r m a tio n c o n c e rn in g t h e a c t i v i t i e s o f A n c in a , s e e
P i e r o D am ilano, G io v e n a le A n c in a : m u s i c is t a f i l i p p i n o ( F lo r e n c e : Leo S .
O ls c h k i, 1 9 5 6 ).
3 9 . c a . l $ l h i s f i r s t s u g g e s te d a s t h e d a te o f A r c a d e l t ’s b i r t h b y Edmond
v a n d e r S t r e a t e n , l a M usique aux Pay s-B as a v a n t l e XIXC S i ^ c l e , p h o t o - r e p r i n t o f
t h e B r u s s e ls 1 8 6 7 - 1 8 6 8 e d i t i o n w i t h a new i n t r o d u c t i o n b y Edward E . Low insky, 8
v o l s . bound a s 1; (New Y ork: D over P u b l i c a t i o n s , 1 9 6 9 )* V I , p . 3 5 9 . The d a te
i s a c c e p te d b y R o b e rt E i t n e r , B jo g r a p h is c h -B ib lio g r a p h is c h e s Q u e lle n -L e x ik o n
d e r M usiker und M u sik g e leh rten ~ *5 e r c h r i s ^ T ic h e r Z e itr e c h n u n g b i s z u r M itte d e s
n e u n z e h n ie n J a h r R u n d e r ts , r e p r i n t 1 o£ t h e L e ip z ig I 9 0 0 e d i t i o n ( G ra z : A kadem ische
ftr u c k u . V e r l a g s a n s t a l t , 1959)* I* p , 1 8 5 . Most o f t h e a r t i c l e s i n t h e M onat-
s h e f t e f tl r M u s ik g e s c h ic h te and o t h e r e a r l y j o u r n a l s draw t h e i r b i o g r a p h i c a l i n -
i o rm a tio n fro m E itn e r* is Que H e n - L e x ik o n . A lth o u g h t h e d a te i s c o n s id e r e d p o s
s i b l y to o l a t e b y J o s e p h Sckmxdt-Gferg, A rcad e I t , J a k o b ," i n D ie U usik i n
G e s c h ic h te und G egenw art, e d i t e d b y F r i e d r i c h Blume (K a s s e ls “ 'B S re u re 'ite r,
r 9 h 9 - l 9 5 i) * J-* p . 6 o 3 , Schmidt~Gc5rg d o es n o t r e a l l y d e a l w i t h t h e p ro b le m .
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81*
la . I b i d . , p . 321.
1*2. T h a t Ja co b u s F ia n d ru s i s in d e e d A r c a d e lt i s s u g g e s te d by A ria n e D u c ro t,
" H i s t o i r e d e l a C a p p e lla G i u l ia au ZVIe S ife c le d e p u is s a f o n d a t i o n p a r J u l e s I I
(15 1 3 ) ju sq u * II s a R e s t a u r a ti o n p a r G r ig o ir e X I I I (1 5 7 8 )," M elanges d ^ c h l o -
l o g i e e t d»h i s t o i r e ( 1 9 6 3 ) , 195>.
1*1*. F o r f u r t h e r b i o g r a p h i c a l m a t e r i a l , s e e R o b e rt E i t n e r , " J a c o b A rc h a -
d e l t , " M o n a ts h e fte f u r M u s ik g e s c h ic h te , XIX ( 1 8 8 7 ), 121-125$ W a lte r K l e f i s c h ,
A r c a d e li a l s M a d H g a li s t, ' Kin f e e i t r a g z u r G e s c h ic h te d e r w e l t l i c h e n V okalm usik
d e r R e n a is s a n c e i n i t a l i e n (Ifiisic a r e s e r r a t a / , In a u g u ra l-D i s s e r t a t io n d e r Uni
v e r s i t y Kffln (K 8ln: b u c h d ru c k e re i O rih e n , 1 9 3 8 ) , p . 7 - 1 8 ; E i n s t e i n , I t a l i a n
M a d rig a l, I , P . 1 5 9 -1 6 5 .
50. B a i n i, M em orie, I , p . 3 2 .
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83
3U. F o r f u l l d e t a i l s c o n c e rn in g t h e p o s t- T r id e n t in e re f o r m s o f th e c h a n t,
in c l u d i n g t h e f a c t s r e g a r d in g P a l e s t r i n a 's c o m m issio n , s e e R a p h a e l M o li to r , D ie
H a c h - T r id e n tin is c h e C h o ra l-R e fo rm z u Rom: E in B e i tr a g z u r M usikg e s c h ic h te d e s
Xifrl, und f f i l l , J a h r h u n d e r ts , 2 v o l s , , p h o t o - r e p r i n t o f t h e L e ip z ig 1901-1902
e d i t i o n (’H ild e s h e im : G eorg 01ms, 196 7 ) 0
. 3 6 . F o r f u r t h e r b i o g r a p h i c a l d a t a , s e e G. v a n D o o r s la e r , La V ie e t l e s
oe u v re s de P h i li p p e d e Monte ( B r u s s e l s : M a rc e l Hayez., 1 9 2 1 ); G. v a n D o o r s la e r ,
11La' C h a p e lle urns, d e T 'e m p e r e u r R udolphe I I , " A c ta M u s ic o lo g ic a , V ( 1 9 3 3 ), lit-8-
161; J . van H u ff e l , " P h . de M o n te," P ro c e e d in g s o f t h e x io y al M u s ic a l A s s o c ia
t i o n , LVII (1 9 3 0 -1 9 3 1 ), 9 9 -1 1 8 ; J . v a n h u f f e l , " "gFr.~5e Monte aFI E g j c a S a c ra T
XXXtTIII ( 1 9 3 1 ) 5 121-11.3; Edmond v a n d e r S t r a e t e n , " P h . d e Monte,*1' i n B io g ra p h ie
N a t io n a l e , XV ( 1 9 h 9 ), 130-1 6 9 ; P i e t N u te n , "De M a d rig a li S p i r i t u a l i v a n F . d e
M onte,*1' Kcnglo V I . A cad, v . W ete n sc h ap p e n , L e t t e m e n Schone S u n s te n v a n B e l g ie ,
XIV (B r u s s e l's ; ""1958).'
37. E i n s t e i n , I t a l i a n M a d rig a l, I I , 3 0 3 -3 0 8 .
3 8 . D anzava c o n m a n ie re ; D o lo r la g r im e ; I n do3.ce v i s t a ; L* a e r e g r a v a to ;
Mia b e n ig n a f o r tu n a .
3 9 . The p ro b le m o f d a ti n g t h e y e a r o f L a s s o 's b i r t h h a s r e s u l t e d i n co n
s id e r a b le c o n tr o v e r s y . F o r a re v ie w o f th e v a r i o u s s u g g e ste d d a t e s and t h e
re a s o n s f o r a c c e p tin g 1332 a s t h e m o st p r o b a b l e , s e e C h a rle s Van d en B o r r e n ,
"En q u e ll e ann6 R o la n d de L a ssu s e s t i l n 6 ? ," B u l l e t i n d e l a S o c i6 t£ " U nion
m u sic o lo g iq u e " , V I (1 9 2 6 ), 31®
6 0 . F o r f u r t h e r b i o g r a p h i c a l in f o r m a t io n , do cu m en ts, c o rr e s p o n d e n c e , e t c . ,
s e e W olfgang B o e t t i c h e r , Aus O rlan d o d i L a s s o s W irk u n g s k re is ( K a s s e l: B a re n -
r e i t e r , 1 9 6 3 ). F o r a c a ta lo g u e o f l a s s o ' s w o rk s w i t h a c o m p le te l i s t o f th e
s o u r c e s , s e e W olfgang B o e t t i c h e r , O rlan d o d i L a sso und s e in e Z e i t ( 1332 b i s
l3 9 ii) : R e p e rto ire - U n te rs u c h u n g e n zu r' Mas I k d e r S p S tr e n a is s a n c e ( K a s s e l:
B M r e n re ite r , 1 9 5 8 ).
6 2 . F o r a b i o g r a p h i c a l summary o f Z o i l o 's c a r e e r an d th e c i t i n g o f p e r
t i n e n t docum ents fro m Roman c h u rc h a r c h i v e s , s e e H erm an-W alther F r e y , "D ie
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
86
65© ” Quando i o mi so n r i s o l u t o c o l p a r e r d e ll * E c c e ll e n ti s s i m o M. G io v an n i
P a l e s t r i n a mio p r e c e t t o r e d i m andar* i n sta m p a q u e s to p rim o l i b r o * . . l e p r i m i t i e
d e lle f a tic h e .”
6 8. F o r f u r t h e r b i o g r a p h i c a l in f o r m a tio n c o n c e r n in g N a n in o , see F . X.
H a b e r l, " G io v a n n i M a ria N a n in o ," K ir c h e n m u s ik a lis c h e s J a h rb u c h (1 8 9 1 ), 81-97$
G iuseppe R a d i c i o t t i , G. M. N a n in o " m u s ic is ta T ib u rt'in o T P e s a ro : 1907)$ R a f f a e l e
C a s i m i r i , " M a u riz io , F e iT c e , e G io v a n n i S ta n c e s c o A n e r io ," R i v i s t a M u sicale
I t a l i a n a , XXVII ( 1 9 2 0 ), 6 0 2 -6 1 0 ; H erm an -W alth er F r e y , "D ie K a p e llm e is te r a n d e r
f ra n z B s is c h e n N a tio n a l k ir c h e San L u i g i d e i F r a n c e s i i n Rom im 1 6 . J a h r h u n d e r t,"
A rc h iv f u r M u s ik w is s e n s c h a ft, XXII ( 1 9 6 5 ), 2 9 1 -2 9 3 .
6 9 . F o r f u r t h e r in f o r m a tio n c o n c e r n in g R a v a l, s e e G iu sep p e R a d i c i o t t i ,
"Due M u s ic i s t i s p a g n o li d e l s e c o lo XVI i n R e la z io n e con l a C o rte d i U rb in o ,"
SammelbSnde d e r i n t e r n a t io n a l e n H u s i k g e s e i l s c h a f t , XIV (1 9 1 2 -3 5 1 3 ), 1 8 5 -1 9 0 ;
R a f f a e le C a s i m i r i , k,S . R a v a l, m u s i c i s t a sp a g n u o lo d e l s e c . XVI," Note d ’A r c h iv io
p e r l a s t o r i a m u s ic a le , V I I I ( 1 9 3 1 ), 1 - 2 0 ; O tta v io T ib y , " S . R a v a l, a 1 6 th '
C e n tu ry S p a n ish M u s ic ia n i n I t a l y , " M u sica D i s c i p l i n a , I I ( 1 9 )48 ) , 217 -2 2 3 ;
O tta v io T ib y , "La M usica n e l l a R e a l C a p p e lla F a l a t i n a d i P a lerm o ," A n u ario
M u s ic a l, V I I ( 1 9 5 2 ), 1 7 7 -1 9 2 .
7 1 . F o r f u r t h e r b i o g r a p h i c a l i n f o r m a t io n , s e e G. v a n D o o r s la e r , " J . P e e -
t r i n u s C om positeur M a lin o is ," B u l l e t i n du C e r c le A rc h 6 o lo g iq u e L i t t ^ r a i r e e t
A r t i s t i q u e de M a lin e s , XXVH (1 9 2 2 ), .
7 2 . F o r f u r t h e r d i s c u s s io n o f t h e l e t t e r s mid a c c o u n ts c o n firm in g
M a re n z io ’ s a p p o in tm en t t o t h e C r i s t o f o ro M adruzzo h o u s e h o ld , s e e Hans E n g e l,
Luca M arenzio ( F lo r e n c e : Leo S . O ls c h k i, 1 9 5 6 ), p . 1 5 -1 6 .
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87
7li. F o r f u r t h e r b i o g r a p h i c a l i n f o r m a t io n , s e e E i n s t e i n , I t a l i a n M a d rig a l,
I I , p . 6 0 8 - 6 8 8 5 E n g e l, M a re n z io ; D en is A r n o ld , M a re n z io , O xford S t u d ie s o f Comr-
p o s e r s , V o l. I I ( London! O xfo rd U n i v e r s i ty P r e s s , 1 9 6 5 ) •
7 6 . M antre t i f u i s i g r a t o i n D o l c i a f f e t t i m a d r i g a l i a c in q u e v o c l d e
d i v e r s i e c c e l l e n t i m u s ic r~ d i Roma (V e n ic e : G ir'olam o S c o t t o , ~ 1 5 8 2 ) . [1 5 8 S ^ .]
77® F o r f u r t h e r b i o g r a p h i c a l in f o r m a t io n , s e e U l i s s e P r o ta - G u i r l e o ,
" N o tiz ie s u l m u s i c is t a b e lg a J e a n M acque," K o n g re ss d e r i n t e m a t i o n a l e n G e s e ll -
s c h a f t f u r M u s H a ris s e n sc h a ft ( L ll t ti c h : 1 9 3 0 ) , 191-197V Suzanne C le r c x , 11J e a n
de ifecque e t I n v o l u t i o n du m a d rig a lism e a l a f i n du XVIe s i S c l e , " i n F e s t
s c h r i f t J o s e p h Schm idt-G & rg zum 6 0 . G e b u r ts ta g (Bonn: B e e th o v e n h a u s , 1957 ) 3
66- 80.
7 9 . The p e rfo rm a n c e d a t e s w e re e n t e r e d b e s id e t h e t i t l e s i n th e T a b le o f
C o n te n ts o f t h e Tempio Arm onico d e l l a B e a tis s im a V e r g in e (Rome: N ic o ld M u ti j,
1599). C15996®]
8 0 . F o r f u r t h e r in fo r m a tio n c o n c e r n in g t h e Tempio A rm onico, s e e Domenico
A la le o n a , S t u d i s u l a s t o r i a d e ll * O r a to r io m u sic a l e i n I t a l i a ( T o rin o : F r a t e l l i
B occa, 1 9 0 8 ) , p .~ J 0 9 .
8 2 . F o r f u r t h e r b i o g r a p h i c a l in f o r m a t io n , s e e F . X. H a b e r l, “F e l i c e
A n e r io ," K ir c h e n m u s ik a lis c h e s J a h rb u c h (1 9 0 3 )* 2 8 - 5 2 5 E n r ic o C e la n i, " I c a n t o r i
d e l l a c a p p e l l a p o n t i f i c i a n e i s e c o l i X V I-X V III,” R i v i s t a M u sic a le I t a l i a n a , XIV
(1 9 0 7 ), 83-10U* 7 5 2 - 7 9 0 5 XVI ( 1 9 0 9 ), 5 5 - 1 1 1 5 L u i g i T o r c h i, "N ei P a r e n t a l !
(161U-191U) d i F e l i c e A n e rio e d i C a r lo G e s u a ld o , P r in c i p e d i V e n o s a ,” R i v i s t a
M u sic a le I t a l i a n a , XXI (1 9 1 k ), ii-92—5 0 8 5 A. C a m e tt i, "N uovi c o n t r i b u t i a l l e
b i o g r a f i e d i M a u riz io e F e l i c e A n e r io ,” R i v i s t a M u s ic a le I t a l i a n a , XXII (1 9 1 5 ),
12 2 -1 3 2 . --------------------------------------------
8 3 . F o r f u r t h e r b i o g r a p h i c a l i n f o r m a t io n , s e e A. G a b r i e l l i , R u g g ie ro
G i o v a n e ll i, n e l l a v i t a e n e l l e o p ere ( V e l l e t r i : 1 9 2 6 ) 5 C a r l W in te r, R u g g ie ro
G jg v a n e U i, S c t i r i f i e n r e l h e ' Hes Msr." S e m in a rs d e r U n i v e r s i t& t IfSnchen, V o l.' I
(Mttnchen: 1935)5 H erm an-W alther F r e y , "D ie K a p e l lm e is t e r a n d e r f r a n z o s is c h e n
U a t io n a lk ir e h e San L u ig i d e i F r a n c e s ! i n Rom im 1 6 . J a h r h u n d e r t , ” A rc h iv f u r
M a s ik w is s e n s c h a ft, X X III (1 9 6 6 ), 3 9 -5 6 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
8Uo Fo r f u r t h e r b i o g r a p h i c a l in f o r m a tio n , s e e C. W. H ughes, " P e t e r P h i l i p s ,
a n E n g lis h M u sic ian i n th e N e th e r l a n d s ," P a p e rs o f th e A m erican M a s ic o lo g ic a l
S o c i e t y f o r 19h0 (19U 6), 35 —^ 8 5 A. G0 P e t t i , ’ },P e i e r P h i l i p s , Composer a n d ~ O r -
g a n i s t , " R e c u s a n t H i s to r y , I 7 ( 1 9 5 8 ), U8-60o
85* F o r f u r t h e r b i o g r a p h i c a l d e t a i l s , s e e R o b e rt E i t n e r , " G io v a n n i
F r a n c e s c o A n e r io ," M o n a ts h e fte f tl r Mas ik g e s c h i c h t e , XIX (1 8 8 7 ), 1 7 - 2 1 5 F . X.
H a b e r l, " G io v a n n i F ra n c e s c o A n e r io ," K irc h e n m u s ik a lis c h e s Ja h rb u c h (1 8 8 6 ), 5 l -
6 6 5 H elm ut F e d e r h o f e r , " E in B e i tr a g z u r B io g ra p h ie v on G io v an n i F ra n c e s c o
A n e r io ," D ie M u sik fo rs c h u n g , I I ( I 9 I4.9 ) , 2 1 0 -2 1 3 .
8 8 . F o r f u r t h e r b i o g r a p h i c a l in fo r m a t io n , s e e M. G l i h s k i , A s p r i l i o
P a c e l l i i n s i g n e M a estro d i C a p p e lla d e l l a C o rte R e a le d e l l a P o lo n ia (C ittS . d e l
V a tic a n o! B iB X ioteca A p o s to lic a V a t ic a n a , l '9 h l ) .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
89
CHAPTER I I I
The p o e t r y o f t h e s ix t e e n t h - c e n t u r y c y c l i c m a d r ig a l in c l u d e s a w ide v a r i e t y
s e s t i n e , s o n e t t i , c a n z o n i, o t ta v e r im e , o d e s , m is c e lla n e o u s f o rm s , and o c c a s io n
a l l y p r o s e e x t r a c t s , a l l p r o v id e d t e x t u a l m a t e r i a l f o r t h e c y c l i c m a d r i g a l .
D e s p ite t h e d i s s i m i l a r i t i e s i n m e t r i c a l s t r u c t u r e and rh y m in g p a t t e r n s , t h e
w h ile i t i s t r u e t h a t some s i x t e e n t h - c e n t u r y m a d r i g a l i s t s a p p e a r t o h a v e c h o s e n
w h a t b l u r r e d i n t h e s e t t i n g t h e r e o f , o t h e r co m p o sers c l e a r l y i n d i c a t e d t h e i r
a w a re n ess o f th e v a r i o u s s tr u c tu r a l ty p e s i n t h e t i t l e s to t h e i r p u b l i c a t i o n s .^
t i o n s , i s n o t a s t r o p h i c form , a l l t h e v e r s e t y p e s s e t a s c y c l i c m a d r ig a ls
b a n a t f l j a n d t h e s e s t i n a a r e s u c c e s s iv e i n c o n s t r u c t i o n , e a c h s tr o p h e l i n k e d
c o n s tr u c ti o n i n th e c a n z o n e , t h e o t t a v a r im a , th e o d e , a n d t h e m is c e lla n e o u s
fo rm s , on th e o th e r h a n d , a re a d d i t i v e , e a c h s tr o p h e b e in g m o d e lle d s t r u c t u r a l l y
s t r u c t u r a l c h a r a c t e r i s t i c s o f e a c h o f t h e v e r s e form s w i l l b e d i s c u s s e d i n th e
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90
The T e rz a Rima
s u b j e c t m a t t e r i s l a r g e l y a t t r i b u t a b l e t o D ante A l i g h i e r i , who u t i l i z e d h e n a e c a -
s y l l a b i c t h r e e - v e r s e s tr o p h e s w i t h i n t e r l o c k i n g rhym es i n t h e D iv in a Commedia*
The t e r z a r im a —a l s o known a s t h e t e r z i n a d a n te s c a o r t h e c a p i t o l i t e m a r i i ,
th e m a n u s c r ip t c o p ie s o f t h e D iv in e Comedy—w i t h i t s c h a in p a t t e r n
f o r poems d e a li n g w i t h a l l e g o r i c a l s u b je c t s s u c h a s B o c c a c c io ’s L ’ am oroso
v i s i o a e , F e t r a r c h ’s T r i o n f i , F a z io d e g l i U b e r t i ’ s I I d itta m o n d o , M a tte o
P a lm ie r i» s C i t t ^ d i V i t a , and N ic o lo M a c c h i a v e l l i *s A s in o d 1 o r o . D u rin g
th e f i f t e e n t h c e n tu r y c l a s s i c a l e l e g i e s and t h e h e x a m e te r v e r s e o f V e r g i l ’s
S a n n a z a ro w r o te lo n g s e c t i o n s o f t h e A r c a d ia , a c o l l e c t i o n o f e c lo g u e s i n p r o s e
e l e g i e s , b u r le s q u e s , and s a t i r e s * ^
The t e x t s o f t h e f o llo w in g f o u r c y c l i c m a d r ig a ls u t i l i z e t h e s t r u c t u r e o f
t h e t e r z a r im a : G i c v a n e l l i ’s s e t t i n g s o f Dimmi c a p r a r n o v e ll o an d Qui c a n td
M e lis e o ,^ Q u a g l i a t i ’ s s e t t i n g o f I t u o i c a p p e l l i , ^ an d M a re n z io ’s s e t t i n g o f Se
l a s t i s a c a p i t o l o by L u i g i T a n s i i l o . I t u o i c a p p e l l i , M e lis e o ’s s p e e c h co n
t e r z a rim a a s c y c le s
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91
I tu o i c a p e l l i, o F i l l i p i n una c i s t u l a A
s e r b & ti t e g n o , e s p e s s o , q u a n d ’i o v o l g o l i , B
i l c o r mi p a s s a u n a p u n g e n te a r i s t u l a . A
S p e s s o g l i l e g o e s p e s s o , oimfe, d i s c i o g o l i B
e l a s c i o s o p ra l o r q u e s t* o c c h i p i o v e r e j C
p o i con s o s p i r g l i a s c iu g o , e insem e a c c o l g o l i . B
B asse son q u e s te r im e , e s i l i e p o v e r e j C
ma s e *1 p i a n g e r i n c i e l o h a q u a lc h e m e r i t o , D
dov reb b e t a n t a fe* M orte commovere0 C
I o p ia n g o , o F i l l i , i l tu o s p i e t a t o i n t e r i t o j D
e *1 mondo d e l m io m al t u t t o r i n v e r d e s i , E
Deh p e n s a , p r e g o , a l b e l v i v e r p r e t e r i t o , D
s e n e l p a s s a r d i L e te amor n on p e r d e s i . E
m ents b e in g t h e a v e ra g e l e n g t h f o r c y c l i c s e t t i n g s o f t e r z e rim e .
The B a l l a t a
The g e n e s i s o f t h e b a l l a t a , a p o e ti c fo rm o f p o p u l a r r e l i g i o u s o r i g i n s ,
d a te s b a c k t o t h e D u e c e n to , The e a r l i e s t e x am p les o f b a l l a t e w e re a s s o c i a t e d
a n d t h e p e n i t e n t i a l f l a g e l l a n t s p r o f e s s i n g t h e b e l i e f s o f t h e P e r u g ia n h e r m i t,
R a n i e r i F a s a n i, As m ig h t b e e x p e c te d , t h e t e x t s o f t h e b a l l a t e s p i r i t u a l !
d e a l t w i t h e v e n ts i n th e l i f e o f C h r i s t , s t o r i e s o f t h e s a i n t s , an d t h e jo y s
a nd t h e s o rro w s o f t h e V i r g in M ary. T h a t t h e b a l l a t a w as a s s o c i a t e d w i t h
t h e c a n zo n e a n d t h e b a l l a t a , i n w h ic h t h e fo rm e r w as d e s c r i b e d a s s e l f -
s u f f i c i e n t p o e t r y , t h e l a t t e r a s x x n s e lf -s x o f f ic ie n t, r e q u i r i n g t h e p r e s e n c e o f
b a l l a t a , a l s o im p lie d t h a t t h e v e r s e ty p e w as c l o s e l y a s s o c i a t e d w i t h so n g and
d ance. Even t h e te rm in o lo g y a p p li e d b y A n to n io M in tu m o t o d e f i n e t h e b a l l a t a
i n h i s L*A r te p o e ti c a w as t h a t u s e d t o d e s c r i b e m u s ic a l g e n re s .1 0
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92
l i n e o f e a ch o f w h ic h w o u ld rhyme w i t h t h e l a s t l i n e o f t h e r e f r a i n . L in e s o f
s e v e n , e i g h t , n i n e , e le v e n , a n d tw e lv e s y l l a b l e s c o u ld b e f l e x i b l y c o m b in ed .
The f o r m u la t io n o f r u l e s c o n c e rn in g t h e l e n g t h s o f l i n e s a n d t h e p r e f e r r e d rhyme
a d o p te d th e b a l l a t a a s t h e f a v o r e d v e r s e fo rm . The c l a s s i c b a l l a t a , a s w r i t t e n
by t h e s e p o e t s , c o n s is t e d o f t h r e e p a r t s : a r ip r e s a , s o -c a lle d because o f i t s
v o l t a , w h ic h l in k e d th e m u ta z io n i and th e r i p r e s a . The t h r e e p a r t s c o n s t i t u t e d
s t r u c t u r a l l y an th e f i r s t . The t h e o r i s t s en u m e ra te d s e v e r a l t y p e s o f b a l l a t a ,
o n ly t h r e e o f w h ic h a r e e n c o u n te re d w i t h a n y d e g re e o f r e g u l a r i t y : b a lla ta
w as r e s t r i c t e d t o no one p a t t e r n , e x c e p t t h a t t h e tw o v e r s e s o f t h e b a l l a t a
m u ta z io n i and t h e v o l t a w e re o f t e n c o n n e c te d b y means o f a l i n k i n g rh y m e , o r
f e a t u r e , a n d , in d e e d , i t i s one o f t h e m ost im p o r ta n t e le m e n ts d i s t i n g u i s h i n g
d ia g ra m o f P e t r a r c h 1s L a s s a re i l v e lo s e r v e s t o i l l u s t r a t e t h e f o r m :^ -
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
93
M u ta z io n i V o lta
t h e m u ta z io n i , t h e se c o n d p ie d e o f w h ic h may n o t o b se rv e t h e same t e r m i n a l
rhym es o r l o c a t i o n o f s e v e n - and e l e v e n - s y l l a b l e v e r s e s a s th e f i r s t . Y et
Two o f t h e "Roman” c y c l i c m a d r i g a l s , S p i r i t o S a n to an d 0 J e s u d o l c e , a r e
s tr o p h i c b a l l a t e . Both o f t h e m a d r i g a l i s p i r i t u a l ! w e re w r i t t e n by P a l e s t r i n a ,
b o th a r e b a l l a t e g ra n d e ( t h e r e s p e c t i v e r i p r e s e c o n s i s t o f f o u r v e r s e s ) , and
b o th a r e r e g u l a r i n c o n s t r u c t i o n . The o p e n in g s ta n z a s o f S p i r i t o S a n to , a
b a l l a t a o f t e n s tr o p h e s , and 0 J e s u d o l c e , a b a l l a t a o f e i g h t s t r o p h e s , f o ll o w : - ^
R ip re s a : S p i r i t o S a n to amore x
c o n s o la to ri in te m o y
d i q u e l lume s u p e rn o y
S ig n o r i l l u s t r a i l t e n e b r o s o c o r e , X
M u ta z io n i: 0 r a g g i o p ro c e d e n te a
de l e due e t e m e s t e l l e , b
0 s t e l l a p e rm a n e n te , a
t r i n a ed una con q u e ll e b
V o lta : d i t r e s a n te f a c e l i e ; b
A c c e n d i l ’alrna m ia , c
sx c'n’ i o v e d a l a v i a c
che v o g l i a e p o s s a u s c i r d a l t e t r o h o r r o r e , X
R ip re s a : 0 J e s u d o lc e o i n f i n i t o am ore X
in e s tim a b il donoj y
M is e ro che m i s o n o y
che da t e fu g g o e t u m i s e g u i o g n o ra? Z
M u ta z io n i: P e r q u a l m io m e rto o S ig n o r mio b e n ig n o , A
o p e r q u a l m ia bon t i t ; b
s x la rg a m e n te n e l m io c o r m alig n o A
sp a n d i l a tu a p i e t i ? b
V o lta : L*anima m ia , c h e seinpre o f f e s o t !h a 5
s x d o lc e n e n te c h ia m ij c
Or m i p a r ben che m*am i, c
come buon p a d re e n on come S i g n o re , X
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9h
The o n ly -unusual f e a t u r e s o c c u r i n th e r i p r e s a o f 0 J e s u d o l c e , i n w h ic h t h e
w h e re t h e l i n k i n g rhyme i s n o t t h a t o f t h e l a s t l i n e o f t h e r i p r e s a , b u t t h a t
th e c la s s ic b a l l a t a .
The S e s t i n a
The o r i g i n o f th e s e s t i n a d a te s b a c k t o t h e t w e l f t h c e n tu r y , when th e
l i n e s t r o p h e s , n o t b y r e c u r r i n g rhyme sc h em e s, b u t t y r e p e a t i n g t h e s i x w o rd s
t e r m in a t in g e a ch l i n e i n v a r i o u s p e rm u ta tio n s f o r t h e s u c c e s s iv e s t r o p h e s . The
i s n o t t o b e c o n fu s e d w i t h t h e s e s t i n a n a r r a t i v a o r s e s t a rim a (ABA3CC).
D a n i e l ’ s s e s t i n a Lo fe rm v o l e r que *1 c o r m’i n t r a c o n s i s t e d o f a n i n i t i a l
s e s t i n e s e r v e d as th e m odel f o r l a t e r p o e t s , f ix e d t h e s t r u c t u r e i n t h e f o llo w
in g m an n e r: s i x i n d i v i s a b l e s t a n z a s , e a c h c o n s i s t i n g o f s i x h e n d e c a s y lla b ic
h e n d e c a s y l la b i c l i n e s i n w h ic h t h e s i x f i n a l w ords a r e d i s t r i b u t e d b y t h e u s e
t o b e f o r t u i t o u s , b u t t o f o llo w a d e f i n i t e fo rm u la i n w h ic h th e f i n a l w o rd o f
t h e s i x t h v e r s e o f th e f i r s t s tr o p h e becam e t h e f i n a l w o rd o f th e f i r s t l i n e
i n t h e se co n d s tr o p h e , t h e f i n a l w o rd o f t h e f i r s t l i n e o f th e f i r s t s tr o p h e
o f t h e f i f t h l i n e o f t h e f i r s t s tr o p h e becam e t h e f i n a l w o rd o f t h e t h i r d l i n e
i n t h e s e c o n d s tr o p h e , e t c . I n o t h e r w o r d s , t h e fo rm u la (6 + 1 , 5 + 2 , li+3) w as
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95
u s e d t o d e te r m in e t h e d i s t r i b u t i o n o f f i n a l -words i n e a c h s u c c e s s iv e s t r o p h e ,
a f t e r D a n te ’s em ployed th e p r i n c i p l e o f r e t r o g r a d a z io n e a c ro c e i n v e r s a , t h e
p r i n c i p l e was n o t a lw a y s r i g i d l y a d h e re d t o i n t h e i n n e r v e r s e s , a n d c e r t a i n l y
t u r a l p e r f e c t i o n , t h a t p a r t i c u l a r o r d e r w as d e s i r e d , and m o st s e s t i n e co n fo rm ed
t o th e p r o t o t y p e . ^
The s e s t i n a p ro v e d t o be a n e x tr e m e ly p o p u la r v e r s e fo rm f o r t h e s i x t e e n t h -
c e n tu r y com posers o f c y c l i c m a d r i g a l s , a n d a t l e a s t f o u r t e e n s e s t i n e a r e in c lu d e d
C a n z a n ie re w e re th e m ost f r e a u e n t l y s e t , -*-6 b u t s e s t i n e b y S a n n a z a r o , ^ C h r i s t i -
a n i , - ^ a n d anonymous p o e t s ^ w e re a l s o c h o s e n . F iv e c y c l i c s e s t i n e ( P a l e s t r i n a ’ s
s e t t i n g o f S o l a a n g i o l e t t a 2^ ) c o n s i s t o f s i x s e c t i o n s , o r i n t h e c a s e o f t h e
i s i n t e r e s t i n g i n t h a t th e l a s t s tr o p h e i s ex p an d ed t o e i g h t v e r s e s , co m b in in g
r e m a in in g s i x s e s t i n e ( B e l l a s i o ’s s e t t i n g o f C h i § fe rm a to d i m en a r,2 ^ M a re n Z io ’s
s e t t i n g o f G iovane d o n n a ,2 ^ P a c e l l i ^ s s e t t i n g o f I I d l c h ’a p e r s i , 2 ? N a l d i ’s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
i n c lu d in g th e s i x s tr o p h e s and t h e com m iato, A l t o g e t h e r , t h e num ber o f c y c le s
The S o n n et
The o r i g i n o f t h e s o n n e t h a s b e e n a s u b je c t o f g r e a t c o n tr o v e r s y . One
g e n e s i s o f t h e s o n n e t w i t h e x p e rim e n ts i n th e a l t e r a t i o n o f t h e s t r u c t u r e o f
a n d , i n d e e d , among t h e f i r s t poems d e s ig n a te d a s s o n e t t i w e re t h o s e w r i t t e n
by t h e t h i r t e e n t h - c e n t u r y S i c i l i a n p o e t , J a c o p o d a L e n t i n i , who tra n s fo r m e d th e
h e te ro g e n e o u s m ix tu re o f h e p t a s y l l a b i c and h e n d e c a s y l la b i c v e r s e s c h a r a c t e r i s t i c
o f t h e c a nzone s ta n z a , i n t o a fo rm c o n s i s t i n g s o l e l y o f h e n d e c a s y l la b i c l in e s
d iv id e d i n t o th e f r o n t e and t h e s i r i m a 3 th e l a t t e r s u b d iv id e d i n t o tw o t h r e e -
v e r s e v o l t e , a l l o f w h ic h w e re c h a r a c t e r i s t i c s t h a t came t o be a s s o c i a t e d w ith
a c e n tu r y , b e fo r e P e t r a r c h p e rm a n e n tly f i x e d th e s t r u c t u r e . The fo rm , a s
e s t a b l i s h e d by P e t r a r c h , c o n s i s t s o f f o u r t e e n h e n d e c a s y lla b ic v e r s e s d i v id e d
i n t o a n op en in g s e c t i o n o f e i g h t l i n e s ( f r o n t e ) an d a c lo s i n g s e c t i o n o f s i x
i n t o tw o q u a t r a i n s , o r p i e d i : t h e s i r i m a i s s u b d iv id e d i n t o tw o t e r c e t s , o r
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97
p a i r e d m a d r i g a l s , th e p r im a p a r t e in c l u d i n g t h e e i g h t l i n e s o f t h e f r o n t e , t h e
se c o n d a p a r t e in c lu d in g t h e s i x l i n e s o f t h e s i r i m a . T here a r e o n ly a few
e xam ples o f t r i p a r t i t e s e t t i n g s (ii+ l|+ 6 ), and ev en fe w e r exam ples o f fo ur-m ovem ent
c y c le s (U+ii+3+3). The o n ly c y c li c s e t t i n g o f a s o n n e t i n c lu d e d i n t h e r e p e r t o r y
u n d e r c o n s id e r a t i o n i s N a n in o ’s s e t t i n g o f P e t r a r c h 's E ran o i c a p e i d * o r , S in c e
t h e c o n s t r u c t i o n o f E rano i c a p e i d ' o r i s t y p i c a l o f t h e P e t r a r c h a n s o n n e t, i t
w i l l b e q u o te d a n d diagram m ed a s an i l l u s t r a t i o n t h e r e o f : ^
Rhyme
scheme;
e *1 v i s o d i p i e t o s i c o lo r f a r s i , A
non s o s e v e r o o f a l s o , mi p a r e a : B
I 1 che I 'e s c a am orosa a l p e t t o a v e a , B
q u a l m e r a v ig l i a se d i s u b i t o a r s i ? _A„
uno s p i r i t o c e l e s t e , un v iv o s o le D
f u q u e l ch* i J v i d i , e se n on f o s s e o r t a l e , C
p i a g a p e r a l l e n t a r d ’a r c o n o n s a n a . E
The Canzone
As a s t r o p h i c form t h e can zo n e a p p e a rs t o h a v e o r i g i n a t e d in s o u th e r n
F ra n c e d u r in g t h e t w e l f t h c e n tu r y , w h e r e , u n d e r t h e name o f t h e c a n s g , i t be
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
e l e v a t e d t o t h e n o b l e s t o f p o e t i c f o rm s , i n l i t e r a r y e x c e lle n c e r a n k in g ab o v e
t h e s o n n e t an d t h e b a l l a t a , 27 P e t r a r c h , -who s h a r e d D a n te ’s e n th u s ia s m f o r th e
fo rm , in c lu d e d tw e n ty -s e v e n i n h i s C a n z o n ie r e . The c an zo n e c o n tin u e d t o a t t r a c t
te n d e n c y t o a b b r e v i a te t h e m u l t i - s t r o p h i c fo rm t o a s i n g l e s t a n z a , Y et ev en
t h e s i n g l e - s t r o p h e c a n z c n i a d h e re d t o t h e s t r u c t u r a l can o n e s t a b l i s h e d d u r in g
t h e p r e c e d in g c e n t u r i e s .
I n D e l la v o lg a r e e lo q u e n z ia D a n te f o rm u la te d th e r u l e s and th e r e s t r i c t i o n s
r e g a r d in g t h e c o n s t r u c t i o n o f t h e c a n z o n e , 28 w h ic h p r o v id e d t h e b a s ic m a t e r i a l
cam pagna i n t h e f o u r t e e n t h c e n t u r y , an d b y T r i s s i n o an d M in tu ra o i n t h e s i x
( s i n c e s u c c e s s iv e s t a n z a s enqploy t h e s t r u c t u r a l p a t t e r n in tr o d u c e d i n t h e
o p e n in g s t r o p h e ) , w h ic h may b e a s s h o r t a s s e v e n o r a s lo n g a s tw e n ty l i n e s ,
may b e f r e e l y in te r m i n g le d , b u t t h e y m ust be l o c a t e d i n p a r a l l e l p o s i t i o n s i n
i n t o two v o l t e i s o p t i o n a l , a lth o u g h t h e tw i c e - s u b d iv i d e d s t r o p h e , o c c u r r in g
w i t h s u c h f re q u e n c y i n t h e w o rk s o f P e t r a r c h t h a t t h e a rra n g e m e n t was a s s ig n e d
o f t h e s i r i m a i s a f l e x i b l e s u c c e s s io n o f rhym ed c o u p le t s w i t h o r w i t h o u t un
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99
t o l i n k t h e tw o th ro u g h a common rhyme v a r i o u s l y r e f e r r e d t o a s t h e c h ia v e ,
c o n c a te n a z io n e , o r u n i t £ . D ante e v en c o n te n d e d t h a t t h e rhyme o f t h e c h ia v e
i n s ix t e e n t h - c e n t u r y c a n z o n i .39
r i g i d l y o r d e r e d rhymes and v e r s e l e n g t h s o f th e p i e d i an d t h e f r e e p ro so d y
o f th e s i r i m a . I n s p i t e o f t h e t h e o r e t i c a l f o r m u la t io n s , s t r u c t u r a l l i c e n s e s
o r t h e ihym e m ig h t be s h i f t e d to a v e r s e o t h e r th a n t h e f i r s t o f t h e s ir i m a ; t h e
p ro v e d c a p a b le o f a b s o rb in g s e v e r a l v a r i a b l e s w i t h o u t l o s i n g i t s i d e n t i t y .
T h e re w e re no r e s t r i c t i o n s a s t o t h e num ber o f s ta n z a s i n a s t r o p h i c
c a n z o n e , b u t c a n z o n i c o m p risin g b e tw e en f i v e an d s e v e n s tr o p h e s w e re t h e m o st
common. The t r o v a t o r i h a d o f te n c o n c lu d e d t h e i r s t r o p h i c c a n z o n i w i t h a to r n a d o
o f one o r tw o s h o r t e r s t a n z a s , an d t h e p r a c t i c e o f c o n c lu d in g w i t h a s h o rte n e d
f i n a l s ta n z a w as e a g e r ly a d o p te d by t h e R e n a is s a n c e p o e t s , w ho u s e d s e v e r a l
w i t h t h e f i n a l s h o r t s ta n z a o f th e s e s t i n a an d t h e c a n z o n e . U s u a lly t h e rhyme
S tr o p h ic c a n z o n i and s e s t i n e w e re t h e f a v o r e d v e r s e form s f o r c y c li c
t h e fo rm e r, in c lu d in g c a n z o n i by B e m b o ,^ G uarin i , ^3 P e t r a r c h , ^ S a n n a z a r o , ^
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100
s e t t i n g o f V oi mi p o n e s te i n f u o c o ^ t o tw e lv e i n t h e c o m p o site s e t t i n g o f
ch e d a l s u p e r b ’ A d r i a t i c o ) ; t h e r e s t do n o t . The d i s t r i b u t i o n o f v e r s e l e n g t h s
i s re p e a te d a t th e e nd o f t h e s tr o p h e :^ 2
Rhyme
schem e:
F r o n te : Se m ai p i u l ’am oroso e c ie c o a rd o r e A
mi r i s c a l d a p e r d o nna i l f re d d o p e t t o , B
e ' l mio sommo d e s i r e ’l mio d i l e t t o B
a l t r o non s i a n ch e la c r im e e d o l o r e . A
S irim a : Se m ai p i i d o n n a a lb e r g a n e l mio c o r e A
1 ' a l t a g i o i a c ’h o r s e n to , c
s e c a n g ’i n r i o to rm e n to c
e t a l s i a l o mio s t e n t o , c
c h 'i o d i me s t e s s c t-o m 'h ab b ia e t h o r r o r e . A
Alma b e a t a , in c lu d in g th e c a n c a te n a z jo n e b u t n o t a r e p e t i t i o n t h e r e o f , i s t y p i c a l
o f t h e o r g a n i z a ti o n o f many can zo n e s t r o p h e s : ^
Rhyme
schem e:
F r o n te : Alma b e a ta e b e l l a , a
ch e d a ' le g a m i s c i o l t a b
nuda s a l i s t i n e i s u p e m i c h io s t r i , C
ove c o n l a t u a s t e l l a a
t i g o d i insem e a c c o l t a ; b
e l i e t a i v i , sc h e ra e n d o i p e n s i e r n o s t r i , C
S irim a : q u a si un b e l s o l t i m o stri c
t r a l i pixi c h i a r i s p i r t i ; d
e co i v e s tig ii s a n ti e
c a lc h i l e s t e l l e e r r a n ti j e
e t r a p u r e f o n ta n e e s a c r i m i r t i D
p a s c i c e l e s t i g re g g i, f
e i t u o i c a r i p a s to r i in d i c o rr e g g i. F
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
101
Verg-i hr b e lla -, w i t h i t s t h i r t e e n - l i n e s t a n z a s , i s s u b t l y a r r a n g e d s o t h a t t h e
p a t t e r n o f t h e tw o p r e c e d in g l i n e s , t h e a b b r e v i a te d scheme o f t h e se c o n d v o l t a
( E f f ’E) b a la n c in g t h a t o f t h e f i r s t v o l t a ( C d d C ) s ^
Ehyme
schem e:
F r o n te : V e rg in e b e l l a , ch e d i s o l v e s t i t a , A
c o r o n a ta d i s t e l l e , a l sommo S o le B
p i a c e s t i s i c h e *n t e su a lu c e a s c o s e , C
amor m i s p in g e a d i r d i t e p a r o l e ; B
ma non s o ‘n c o m in c ia r s e n z a t u ’ a i t a A
e d i C o lu i c h 1 amando i n t e s i p o s e . C
S i r im a : In v o co l e i che b e n se n p re r i s p o s e , C
c h i l a chiam d con f e d e . d
V e r g in e , s ’ a m ercede d
m i s e r i a e s tre m a d e l*umane c o s e C
giS. m ai t i v o l s e , a l m io p re g o t * i n c h i n a ; E
s o c c o r r i a l a m ia g u e r r a , f
ben ch* *i s i a t e r r a e t u d e l c i e l r e g i n a . E
s t r u c t u r a l l y , one c o u ld n o t b e in te r c h a n g e d f o r a n o th e r . I n A l t r a g i o i a , non
ra th e r ra re . O th e r m ethods o f u n i f y i n g s ta n z a s in c lu d e d t h e r e p e t i t i o n o f e n t i r e
l i n e s , b e g in n in g e a ch s t a n z a w i t h t h e same w o rd , b e g in n in g e a c h s ta n z a w i t h
t h e w o rd o r p h r a s e c o n c lu d in g t h e p r e c e d in g o n e , a n d e m p lo y in g p e rm u ta tio n s o f
th e ihym es o f t h e f i r s t s tr o p h e i n t h e s u c c e e d in g s t r o p h e s . 55 F o r e x am p le,
f o r b o th c a n z o n i a r e i d e n t i c a l , th e schem es f o r e a ch s u c c e s s iv e tw o s tr o p h e s
b e in g d e te r m in e d by t h e p r i n c i p l e , rim e a r e t r o g r a d a z io n e d i r e t t a : s tr o p h e s I
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102
s t r o p h i c u n i f i c a t i o n , o n ly a b o u t h a l f o f th e t e x t s s e t b y com posers o f c y c l i c
m a d r ig a ls a r e e x p l i c i t l y u n i f i e d b y su c h s t r u c t u r a l m ean s 5 -w hatever s e n s e o f
s u c c e s s io n i s p r e s e n t i s d u e , i n m ost c a s e s , t o t h e m eaning o f t h e t e x t .
S e v e r a l t h e o r i e s c o n c e r n in g t h e o r i g i n o f t h e o t ta v a rim a ( a s t r o p h i c
th e b a l l a t a . No one t h e o r y h a s g a in e d w id e s p re a d a c c e p ta n c e , an d t h e p ro b le m
f o u r t e e n t h c e n t u r i e s a s t h e p r e f e r r e d rhyme f o r p o p u la r r e l i g i o u s n a r r a t i v e s
a nd h e r o i c t a l e s o f k n i g h t l y e x p l o i t s , f o r exam p le, I I T r is t a n o r ic c a r d i a n o o f
t o th e d i g n i t y o f a r t . T h e n c e fo r th t h e o t ta v a rim a w as th e f a v o r e d rhyme f o r
I t a l i a n n a r r a t i v e s , su c h p o e ts a s L u ig i ? u l c i , IJ a tte o M aria B o ia rd o , A r i o s t o ,
s e c u l a r dram as i n o t t a v a rim a. 5?
p o p u la r s o u rc e s o f t e x t s f o r s ix t e e n t h - c e n t u r y m a d r i g a l i s t s ; e i g h t c y c le s i n t h e
f o u r (M arino !s s e t t i n g o f T a n s i l l o ’s A c a s o un g i o m o , ^ B a r r e !s s e t t i n g o f
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103
m a j o r it y o f s e t t i n g s o f o t ta v e rim e a r e f o u r o r f i v e s e c t i o n s i n l e n g t h . Ex
c e p t f o r t h e r e p e t i t i o n o f th e rhym e p a t t e r n , t h e r e i s no s t r u c t u r a l u n i f i c a t i o n
i n th e s u c c e s s iv e s t r o p h e s ; due t o t h e n a r r a t i v e c h a r a c t e r o f t h e p o e t r y , how
e v e r , t h e r e i s a d e f i n i t e s e n se o f c o n t i n u i t y an d o r d e r .
One o t ta v a r im a , Da f u o c o c o s i b e l n a s c e i l mio s e t by P a l e s t r i n a , ^ i s
q u i t e u n iq u e i n t h a t th e f o u r t e e n s tr o p h e s a r e d e f i n i t e l y l i n k e d s t r u c t u r a l l y
s o n n e t Pace n o n t r o v o a t t h e e n d o f e a c h s t a n z a . The s t r u c t u r e o f t h e s o n n e t
may be diagram m ed a s f o ll o w s :
A1 B1 A2 ^ A-^B^A^pk C1 D1 E1 C2 D2 E2
th e v e r b a l p a ro d y a s a p p li e d by S a l v i :
FGFGFGAA7
KIHIHIBB"
JKJKJKAA2
IMLMLMSs
kokonoaa|
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^ZfZfZfEE 1
gigighCC ^
ijijijD D 2
k lk lk iE E
i n l i t e r a r y c e n t o n i z a t i o n , b u t s u c h s y s te m a t i c a n d s y m m e tric a l u s e o f p r e - e x i s t e n t
m a t e r i a l i s ex c e p t i o n a l among c y c l i c m a d r ig a l t e x t s .
* A lth o u g h lo w e r- c a s e l e t t e r s u s u a l l y i n d i c a t e h e p t a s y l l a b i c v e r s e , s i n c e t h e r e
a r e i n s u f f i c i e n t l e t t e r s i n th e a lp h a b e t f o r t h e d ia g ra m , th e lo w e r-c a s e l e t
t e r s a r e u s e d h e r e t o i n d i c a t e h e n d e c a s y l la b i c l i n e s w i t h new rh y m es. No rhyme
r e l a t i o n s h i p s betw een 11x" an d " F ,,! f o r exam p le, a r e im p lie d .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
P ro b a b ly t h e m ost do m in a n t s t y l i s t i c i n f l u e n c e i n s i x t e e n t h - c e n t u r y I t a l i a n
p o e t r y "was t h a t e x e r te d by P e t r a r c h th ro u g h th e s t y l i s t i c c a n o n s o f Bembo. At
Other sixteenth -cen tu ry I ta lia n p oets to im itate th e cdes o f a n tiq u ity were
Bene. In most cases each stanza was fou r t o s ix v er ses in le n g th , the rhyme
order of verse lengths and rhyme p attern s) serving as the model fo r th e succeed
in g ones.
f o u r t o s i x ; t h e v e rs e l e n g t h s a n d th e rhym e schem es a re v a r i e d .
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io £
M is c e lla n e o u s Forms
U nder t h e c a te g o r y o f m is c e lla n e o u s fo rm s a r e in c lu d e d a l l t h o s e s tr o p h i c
t e x t s , w h ic h a r e n o t c a p i t o l i , b a l l a t e , s e s t i n e , s o n e t t i , c a n z o n i , o t ta v e r im e ,
b e lo n g t o one o f t h e p re c e d in g t y p e s ; th o s e t h a t do n o t a r e u s u a l l y m a d r i g a l i
s tr o p h e s o f t h r e e , f o u r , and s i x v e r s e s o f se v en a n d e le v e n s y l l a b l e s , e m p lo y in g
s tr o p h e s em ploying th e p a t t e r n ABB/CDD/EFF/etc.) t o b e t e r z e r im e , th e s tr o p h e s
a r e n o t l in k e d b y r e c u r r in g rh y m es, and th e y t h e r e f o r e h a v e n o t b e e n in c lu d e d
g e n t i l e , 76 ±s r e a l l y a s e s t a rim a w i t h t h e s t r o p h i c s t r u c t u r e , aAbBCC. It is
t i n g s o f m is c e lla n e o u s form s a r e a l l p r o d u c ts o f t h e l a t e s i x t e e n t h c e n tu r y ,
a n d t h e t h r e e - p a r t t e x t u r e , th e d i a t o n i c h a rm o n ie s , a i d t h e r e g u l a r p a t t e r n s
o f m u s ic a l r e p e t i t i o n a r e c h a r a c t e r i s t i c s more t y p i c a l o f v i l l a n e l l e , s c h e r z i ,
a n d o t h e r p o p u la r form s o f t h e e a r l y s e v e n te e n th c e n tu i y , t h a n t h e y a r e o f
c y c l i c s e s t i n e , c a n z o n i, b a l l a t e , a n d o t ta v e r im e .
S tr o p h ic v e r s e ty p e s i n I t a l i a n R e n a iss a n c e p o e t r y h a v e b e e n d e s c r i b e d i n
t h e p r e c e d in g p a g e s a c c o r d in g t o t h e s t r u c t u r e o f t h e s i n g l e s tr o p h e a n d i t s
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106
r e l a t i o n s h i p , i f a n y , w i t h t h e s u c c e e d in g s t a n z a s . The f o ll o w i n g p o i n t s have
b e e n c o n s id e r e d i n d e a li n g w ith t h e s t r u c t u r e o f t h e s i n g l e s tr o p h e : (1 ) re
s t r i c t i o n s , i f a n y , a s t o num ber o f v e r s e s ; ( 2 ) d i v i s i o n s a n d s u b d i v i s i o n s , i f
a n y , w i t h i n th e s t r o p h e ; ( 3 ) r u l e s c o n c e rn in g v e r s e l e n g t h s an d t h e o r g a n iz a
t i o n t h e r e o f ; (h ) r u l e s r e g a r d in g th e a rra n g e m e n t o f rh y m e s , r e p e t i t i o n o f w o rd s ,
fo rm s ; i n t h e b a l l a t a , t h e c a n z o n e , an d t h e o d e, h o w ev er, c o n s id e r a b l e fre e d o m
an d t h e ode em ploy i n d i v i s a b l e s tr o p h e s , w h e re a s t h e b a l l a t a , t h e s o n n e t, an d
t h e c a nzone a r e c h a r a c t e r i z e d by d i v i s i o n i n t o tw o o r t h r e e p a r t s , e a ch o f
w h ic h may be f u r t h e r s u b d iv id e d . V e rse l e n g t h s i n t h e t e r z a r im a , t h e s e s t i n a ,
b a l l a t a , t h e c a n z o n e , and t h e o d e p e rm it f l e x i b i l i t y i n t h e d i s t r i b u t i o n o f
h e p t a s y l l a b i c and h e n d e c a s y l la b i c v e r s e s ; h o w e v e r, p a r a l l e l c o n s tr u c ti o n i s
i s r e q u i r e d i n t h e rhyme p a t t e r n s o f t h e m u ta z io n i o f t h e b a l l a t a and t h e f r o n t e
o f t h e s o n n e t, b u t th e sdssses i n t h e r i p r e s a and th e v o l t a o f t h e b a l l a t a ,
t h e s ir i m a o f t h e s o n n e t, a n d t h e f r o n t e and th e s i r i m a o f t h e c an zo n e may be
b u t n o t r e q u i s i t e , in t h e b a l l a t a and th e can zo n e.
s e s t i n a ) a r e r e l a t e d s t r u c t u r a l l y th ro u g h t h e u s e o f c o n n e c tin g rh y m e s, r e f r a i n s ,
o d e , an d t h e m is c e lla n e o u s fo rm s ) a r e n o t r e l a t e d s t r u c t u r a l l y th ro u g h t h e u se
of r e p e a t e d m a t e r i a l . The ca n zo n e s ta n d s m id-w ay b e tw e en t h o s e t y p e s em p lo y in g
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107
s u c c e s s iv e p r o c e s s e s an d th o s e t h a t do n o t . liiihile t h e r e i s n o t h e o r e t i c a l
n e c e s s i t y t o l i n k t h e s ta n z a s o f t h e m u l t i - s t r o p h i c c a n z o n e b y m eans o f r e f r a i n s ,
p ro c e d u re s ,,
C h a p te r I I I h a s b e e n c o n c e rn e d s o l e l y w i t h t h e t e x t u a l a s p e c t s o f t h e
v e r s e ty p e s a r e r e f l e c t e d i n t h e s e t t i n g s t h e r e o f w i l l b e d i s c u s s e d i n t h e
n e x t c h a p te r.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
108
F o o tn o te s
1, To t h e a u t h o r ’s k n ow led g e, t h e o n ly m u s i c o lo g i s t t o d e a l i n a n y d e p th
w i t h t h e s t r u c t u r a l d i f f e r e n c e s among v e r s e ty p e s i n t h e m a d r ig a l i s Don H a r r a n ,
w hose r e c e n t a r t i c l e , ’’V e rse Types i n t h e E a r ly M a d r i g a l,” J o u r n a l o f th e
A m erican M u s ic o lo g ic a l S o c i e t y , XXII (1 9 6 9 )* 2 7 -5 3 * d e a ls w i t h t h e b a l l a t a ,
t h e m a d r i g a l e , a n d t h e c a n z o n e . A lth o u g h M r, H a r r a n ’s s tu d y i s a n i n v a l u a b le
s o u rc e - o ? a n ? o r m a t i o n , h i s d i s c u s s i o n i s l i m i t e d t o t h e c h a r a c t e r i s t i c s o f t h e
s in g le s tr o p h e ,
2 , T i t l e s f r e q u e n t l y c a l l e d a t t e n t i o n t o t h e i n c l u s i o n o f c y c l i c c a n z o n i.
The f o ll o w i n g a r e some e x a m p le s : H i p p o l it o B a c c u s i, I I Secondo l i b r o d e m a d r i-
g a l i a s e i v o c i c o n u n a Canzcne n e l l a g r a n v i t t o r i a c e n t r a i T u rc h i (V e n ic e :
G irolam o Sc o t t o , 1 5 7 2 ) ; V incenzo Be1 1 ’h a v e r , i l £ rim o l£ B ro ~ d e ~ m a d rig a Ii a
c in q u e v o c i c o n u n a Canzone (V e n ic e s A n to n io G a rd a n o ,” 1 5 6 ? ) 3 Giovan d e C a s tr o ,
C a n z c n i M a d r ig a li e t ^ A o te tti a t r e v o c i (A n tw erp : P h a le s e & B e l le r o , 1 5 8 2 ) 3
G io v a n n i Giacomo C -a s to ld i, S a c re L o d i a d i v e r s i S a n t i c o n u n a can zo n e a l
G lo r io s o S e r a f i c o S . F r a n c e s c o ,, ea c in q u e v o c i (V e n ic e : R i c c ia r d o A m adino,
1 5 8 7 ); G io v a n n i &asco7~~Le Canzon e t ^ d r i g a l x a s e i v o c i c o n uno D ia lo g o a
s e t t e (V e n ic e : A n to n io G ardano, I p 6 2 ) ; j ja t ti o T R a i r p o I li n i , l l t r i a o hibro~~de
l a M usic a s o p r a d i a lc u n e C an zo n i d e l D iv in P o e ta M. F r a n c e s c o F e t r a r c a (L ic n e :
Toe oho k o d e m o , s . a , ) ; Secondo I n b r o d e l l e Muse, a q u a t i r o v o c i , ’a d r i g a i i
A r i o s i , de d i v e r s i , . . c o n doe c a n z o n i d i G ia n n e tto ~ "(Rome: A n to n io B a r rS , 155 8 )•
" i a l o g h i , e c c h i , p a s t o r a l i , s e s t i n e , an d t e r z i n e a r e a l s o p o i n te d o u t : A g o s tin o
A g a z z a r i, I I Prim o l i b r o cTe m a d r i g a l i a c in q u e v o c i c o n un D ia lo g o a s e i , & u n ’
P a s t o r a l e a o t t o (V e n ic e : A ng elo G ardano, 1600 )3 h i o v a n n i B a t t i s t a l^ o s to , l3T~
P rim o l f o r o d e m a d r i g a l i a c in q u e v o c i con un Ecco a d i e c i (V e n ic e : L* H ereSe
d i G irolam o S c o t to , l57 & ); G io v a n n i B a t t i s t a G o s te n a , l l Secondo l i b r o d i c a n -
z o n e tt e a q u a t t r o v o c i , , . c c n u n a S e s t i n a d i Simone M o lin a ro (V e n ic e : Giacomo
V i n c e n t i , 15S9) : V a le rio Bona, I I Secondo~~Iibro d e l l e c a n z o n e t te a t r e v o c i
c c n 1 ’ a g g io n ta d i d o d e c i T e r c e t t i (V enice': E i c c i a r d b A m adino, 1 ^9^ 5 •
U. F o r f u r t h e r i n fo r m a tio n c o n c e r n in g t h e h i s t o r y o f t h e t e r z a r im a , s e e
T. C a s i n i , " P e r l a g e n e s i d e l l a t e r z i n a e d e l l a con m ed ia d a n te s c a ," M is c e l
l a n e a d i s t u d i s t o r i c i i n ono re d i G. S f o r z a (L u c ca : 1920), 689-697; F ra n c e s c o
F l a a i n i , N o t i z i a s t o r i c o a e i v e r s i e m e t r i i t a l i a n i d a l m edioevo a i te m p i n o s t r i
(L iv o r n o : R . G i u s t i , 1919 )* p . 9 k , P i e r Enea G u a r n e rio , M anuale S i v e r s i f i c a -
z io n e i t a l i a n a (M ila n o : V a l l a r d i , 1893)* p , 99; F ra n c e s c o i ’O v id io , V e r s i f i -
c a z io n e i t a l i a n a e_ a r t e r i t m i c a m e d ie v a le (M ilan o : B l r ic o H o e p li, I 9 I 0 ) , p . 215.
3 . I n , S d r u c c i o l i d i R u g g ie ro G i o v a n e l l i . . . H Prim o l i b r o de m a d r i g a l i a
q u a t t r o v o c i (V e n ic e : Giacomo V in e s i t i , 1589)*
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
109
7 . I n , I I S e s to l i b r o de m a d r i g a l i a s e i v o c i d i Luca M arenzio (V e n ic e :
A ngelo G ardano, 1 5 9 5 )•
8. Q u a g l i a t i , Prim o l i b r o d e m a d r i g a l i a q u a t t r o .
1 0 . A th o ro u g h d i s c u s s io n o f t h e te r m in o lo g y a n d d e f i n i t i o n s em ployed by
v a r i o u s s ix t e e n t h - c e n t u r y t h e o r i s t s t o d e s c r i b e v e r s e t y p e s i s beyond t h e s c o p e
o f t h e p r e s e n t s tu d y . F o r f u r t h e r in f o r m a tio n c o n c e r n in g t h e s e p ro b le m s a n d an
e x h a u s tiv e l i s t o f s i x t e e n t h - c e n t u r y t h e o r i s t s and t r e a t i s e s d e a li n g w i t h t h e
s u b j e c t , s e e B ernhard W einberg , A H i s to r y o f L i t e r a r y C r i t i c i s m i n th e I t a l i a n
R e n a is s a n c e , 2 v o l s . (C h ica g o : U n i v e r s i ty o f C h icag o P r e s s , 1 9 6 l7 . The t e r
m in o lo g y u s e d t o d e s c r i b e t h e b a l l a t a i n t h e f o llo w in g p a ra g r a p h s i s t h a t
em ployed b y M in tu m o .
1 3 . I n , I I Prim o l i b r o d e m a d r i g a l i a c in q u e v o c i d i G io . P e t r »A lo y s io
P r e n e s t in o (V e n ic e : A ngelo Gardano," 1 5 8 1 ).
lit* A lo w e r- c a s e l e t t e r fo llo w e d b y a n a p o s tr o p h e i s u s e d t o i n d i c a t e
i n t e r n a l rh y m e , t h e s u b d iv i s io n o f th e h e n d e c a s y l la b i c v e r s e o c c u rr in g u s u a l l y
a f t e r th e f i f t h s y lla b le .
15. F o r f u r t h e r i n fo r m a tio n c o n c e rn in g t h e h i s t o r y o f t h e s e s t i n a , s e e
ugo A n g e lo C a n e llo , La V i t a e l e o p e re d e l t r o v a t o r e A m a ld o D a n ie llo ( H a ll e :
M. N ie m e y e r, 1 8 8 3 ), p . 1 8 -£ 5 7 F . J . D a v id so n , "The O r ig in o f t h e S e s t i n a ,"
M odem Language N o te s , XXV ( 1 9 1 0 ), 1 8 -2 0 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
110
26. I n , EL Q u in to l i b r o d e m a d r i g a l i a c in q u e v o c i d i R in a ld o d e l Mel
( V e n ic e : A ngelo G ardano, 159 UTT
27. I n , I I Secondo l i b r o d e m a d r ig a li a c in q u e v o c i d i P a u lo B e l la s i o
( V e n ic e : Hieronym o S c o t to , 1 5 8 2 J.
3 0 . I n , I I P rim o l i b r o d e m a d r i g a l i a c in q u e v o c i d i Romolo N a ld i (V e n ic e :
A n g e lo G ardano, 1 5 8 9 ) .
3 1 . I n , M a d r ig a li s p i r i t u a l i d i Luca M a re n z io a c in q u e v o c i . . . l i b r o p rim o
( Rome: A le s s a n d ro G ardano, l58i+)o
3 2 . I n , I I Prim o l i b r o d e m a d r i g a l i s p i r i t u a l i a s e i v o c i d i A le s sa n d ro
M arino (V e n ic e : R ic c ia r d o Amadino, 1 5 9 7 ). ~
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
I ll
38. I b i d . , Sook I I , C h a p te r i v - x i i i , p . 7 6 7 -7 8 9 .
h i . F o r f u r t h e r in fo r m a tio n c o n c e r n in g t h e h i s t o r y an d t h e fo rm o f t h e
com m iato , s e e L eandro B ia d e n e , "L a fo rm a m e t r ic a d e l comm iato n e l l a can zo n e
i t a l i a n a d e i s e c o l i x i i i e x i v ," M is c e lla n e a d i f j l o l o g i a e d i l i n g u i s t i c s i n
m em oria d i N. C aix e U. A. C a n e llo ( F ir e n z e : T u c c e s s o r i Le M o n n ier, 1 8 8 6 ) ,
3 5 7 -3 7 0 .
h2. V oi m i p o n e s te i n f u o c o fro m G l i A s o la n i ( I , x v i ) , s e t by P a l e s t r i n a .
h3. B aci s o a v i e c a r i , s e t b y M a re n z io .
h 8 . I n , Novi F r u t t i M usicals, m a d r i g a l i a c in a u e v o c i d i d i v e r s i (V e n ic e :
Giacomo V i n c e n H T 'l O T J T H O T . 53}
h9. I n , I I P rn a o l i b r o d e m a d r i g a l i a q u a t t r o v o c i d i G io . A ndrea D ra g o n i
(V e n ic e : G irolam o S c o t t o , 1 5 B I). ~
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112
5 1 . I n , M a d rig a l! s p i r i t u a l ! a q u a t t r o v o c i d i F la m in io O d d i, l i b r o p rim o
(Romes B artholom eo f c a n n e tti, 1 6 0 5 )•
5U* I n , I I Prim o l i b r o de m a d r i g a l i a c in q u e v o c i d i G io , P e t r A l o y s io
P r e n e s tin o (V e n ic e : A ngelo G ard an o , 1 5 8 1 ). F o r t h e c o m p le te t e x t , s e e p . 1 9 3 -1 9 5 .
56. T , O r t o la n i , S tu d io r i a s s u n t i v o s u l l o s tr a m b o tto ( F e l t r e : 1 8 9 8 ), p .
33-la.
57. f o r f u r t h e r in fo r m a tio n c o n c e rn in g t h e h i s t o r y o f t h e o t t a v a rim a ,
s e e A. R o n c a g lia , ’’P e r l a s t o r i a d e l l ’ o t ta v a r im a ," C u ltu r a n e o l a t i n a , ZXV
(1 9 6 5 ), 1 - 1 0 .
5 8 . I n , I I Prim o l i b r o d e m a d r i g a l i a c in q u e v o c i d i Don A le s sa n d ro
M arino (V e n ic e : L i f i g l i u o l i - ca. A n to n io G ard an o , 1 5 ? 1 ).
6 2 . I n , M a d rig a li s p i r i t u a l ! a c in q u e v o c i d i G io . P i e t r o L u ig i P r e n e s tin o
(Rome: F ra n ce sc o C o a ttin o , 15 9 b ) • ~~
6 5 . I n , M a d rig a li s p i r i t u a l ! a q u a tt r o v o c i d i F la m in io O ddi, l i b r o
prim o (Rome: B artholom eo Z a n n e tb i," ”l 6 0 8 ) •
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113
67, I n , I I Prim o l i b r o d e m a d r i g a l i a c in q u e v o c i d i S te f a n o B e m a r d i
(V e n ic e : R i c c ia r d o Am adino, l S i l ) . r
6 8 * I n , D o lc i A f f e t t i m a d r i g a l i a c in q u e v o c i d e d i v e r s i e c c e l l e n t i
m u s ic i d i Roma (V e n ic e : G irolam o S c o t t o , 1582)o
6 9 , The s e t t i n g i s b y G. F* A n e r ic , a n d i t i s p u b l is h e d i n , Tempio
A rm onico d e l l a B e a tis s im a V e rg in e (Rome: N ic o ld M u ti j, 1599)© tl^ 9 9 o ^ 3
7 2 , The s e t t i n g i s by N a n in o , a n d i t i s p u b l is h e d i n , L o d i d e l l a M u sica
a t r e v o c i d i d i v e r s i (Rome: Simone V e r o v io , 1 5 9 5 ) , L1595• ^5 P o r t h e Com-
p le te te x t, see p , 231 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
I lk
CHAPTER IV
w hich in c l u d e s a p p ro x im a te ly f i v e h u n d red m a d r ig a ls , m o st o f w h ic h h a v e
n o t y e t be e n p u b l is h e d i n m odem e d i t i o n s , i s to o l a r g e f o r e a c h c y c le t o
b e a n a ly z e d i n d e t a i l i n th e p r e s e n t s tu d y . N o r, s i n c e th e a p p l i c a t i o n
o f m u s ic a l e le m e n ts i n th e m a j o r it y o f c y c le s o f a p a r t i c u l a r v e r s e ty p e
( e s p e c i a l l y t h e s e s t i n a and th e m is c e lla n e o u s t h r e e - an d f o u r - v e r s e fo rm s)
w as h a n d le d i n a s i m i l a r f a s h io n b y a l l th e c o m p o se rs, w ould an e x te n s i v e
a n a l y s i s o f e a c h c y c le be n e c e s s a r y i n o r d e r t o d e m o n s tra te t h e p r e s e n c e
form i n s i x t e e n r e p r e s e n t a t i v e c y c l e s . The s e l e c t e d r e p e r t o r y w h ic h
i n c l u d e s c y c l i c m a d r ig a ls b y G. F . A n e rio , B a r r e , D ra g o n i, G i o v a n e ll i,
M a re n s io , M e l, G. M. N a n in o , P a c e l l i , and P a l e s t r i n a p r e s e n t s f o u r ex am p les
f o r e a c h o f t h e s t r o p h i c v e r s e ty p e s m o st f r e q u e n t l y s e t b y Roman co m p o sers:
t h e s e s t i n a , t h e c a n z o n e , th e o t t a v a rim a , a n d th e m is c e lla n e o u s fo rm s
c o n s i s t i n g o f t h r e e - and f o u r - v e r s e s tr o p h e s .
S e s ti n e
The s e s t i n a , one o f th e s t r o p h i c v e r s e ty p e s m o st o f te n s e t c y c l i c a l l y ,
a t t r a c t e d m a d r i g a l i s t s th ro u g h o u t th e C in q u e c e n to . Berchem* s s e t t i n g o f
t h e s i x s ta n z a s o f A l l a d o l e 1 om bra, i n c lu d e d by Doni i n h i s D ia lo g o d e l l a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
115
ra n g e d c h r o n o l o g i c a l ly from P a l e s t r i n a ’ s E c c * o s c u r a t i i c h i a r i r a g g i
p u b l is h e d i n 1555 t o P a c e l l i ’ s I I dx c h ' a p e r s i p u b l is h e d i n 1 6 0 1 .
s e t t i n g o f E c c 1 o s c u r a t i i c h i a r i r a g g i , D ra g o n i1s s e t t i n g o f Gi^L c o m in c ia v a
a s v a r i e d a sa m p lin g a s p o s s i b l e from t h e v ie w p o in t o f c h ro n o lo g y an d
m u s ic a l s t y l e .
Of t h e e i g h t c y c l i c m a d r ig a ls p u b lis h e d b y P a l e s t r i n a , E c c * o s c u r a t i i
c h i a r i r a g g i was n o t o n ly t h e f i r s t to a p p e a r i n p r i n t , b u t i t w as a l s o
t h e o n ly s e s t i n a ; th e se v en o t h e r s i n c lu d e d two b a l l a t e , ^ t h r e e c a n z o n i,^
s t a t e d t h a t t h e c y c le w as s u i t a b l e o n ly f o r a m em o rial s e r v i c e p e rfo rm e d
u n d e r t h e a u s p ic e s o f an academy,® and in d e e d i t i s t r u e t h a t t h e m a j o r it y
f o r s p e c i f i c o c c a s io n s su c h a s w eddings a n d f u n e r a l s . The t e x t o f th e
s i x s ta n z a s a s s e t by P a l e s t r i n a f o llo w s :
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
116
Ecc* o s c u r a t i i c h i a r i r a g g i a l s o l e ,
e t e n e b r o s i o r v e g g io i s e t t e c o l l i :
i l d o lc e r i s o S f a t t o am aro p i a n t o ,
e m est* a l l 1 A ppenin r i v o l g e i l c o r s o ,
i l Tebr* a l t i e r , p o i c h l 1* o r re n d a m o rte ,
l 1 a l t a c o lo im a s u a p o s t 1 h a s o t t e r r a .
R a ra b e l t a n on m ai pi& v i s t a i n t e r r a ,
c h e f e a c o l su o a p p a r i r g ilt sco rn * a l s o l e ,
enrpia s o r t e m* h a t o l t o . 0 c ru d a m o rte ,
p e r d ar p e rp e tu a n o tte a q u e s ti c o l l i
h a i t r o n c a t o s u a v i t a a mezzo * 1 c o r s o ;
l a s c i a n d o amor e * 1 mondo i n d o g l ia e p i a n t o .
P r iv o d i f e d e o l t r a 1 ’ u s a to c o r s o ,
d ig iu n o d i p i e t i vag o d i m o rte ,
t i s c o rg o d u ro c u o re a t o r r e a l s o l e
l a c h i a r a l u c e , p e rch * e t e m o p i a n t o
v e r s i d a g l ’ o c c h i l a s a n g u ig n a t e r r a
e n e r e s t i n d e ’ L a z i i i n f am i i c o l l i .
Ma v o i f i o r i t i e d o n o r a t i c o l l i ,
che d i m em oria e t e r n a a v e te i l c o r s o ,
m ill* a n n i e m i l l e d ’ o g n i f a t t ’ i n t e r r a
d e h l s e r b a t e , v i p r e g o i n a s p r a m o rte
a d i m e p o i con d o lo ro s o p i a n t o ;
s x , ch* a p ie tS . diveng* o s c u ro i l s o l e .
E c c * o s c u r a t i i c h i a r i r a g g i i s t h e o n ly c y c le w r i t t e n by P a l e s t r i n a
f i r s t f i v e movements a r e w r i t t e n f o r f o u r v o i c e s ; t h e number i s in c r e a s e d
t o f i v e i n t h e u l ti m a p a r t e . The i n c r e a s e i n d e n s i t y p ro d u c e s a t e x t u r a l
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
117
w riting o f the time: Soprano/ A lto / Tenor/ Bass and Soprano/ALto/ Tenor/
Tenor/ Bass. The follow ing v o ca l ranges are employed fo r the r e sp ectiv e
parts: Canto (A-d! ) , Alto (E -a ), Quinto (C -e), Tenore (C -f), and Basso
ten th , and the Basso a p erfect tw e lfth . The combination o f c le f s and the
(Soprano/ Mezzo/ A lto / Baritone and T reble/ Mezzo/ A lto / Tenor) were
Time and key signatures are u su a lly the same fo r each stanza o f a
in the c o lle c tio n , Rime dai s o sp ir m iei and Lontan d a lla mia d iv a , employ
the a li a breve sign ature. A ll movements o f the cy cle are w ritten in the
the to n ic or the dominant of the Phrygian mode. The cad en tial patterns
w ith authentic cadences, and one concludes w ith a p lagal cadence. A modem
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
118
e d i t i o n o f E c c 1 o s c u r a t i i c h i a r i r a g g i t r a n s c r i b e d b y R a f f a e l e C a s im iri
o
i s a v a i l a b l e i n t h e C om plete Works o f P a l e s t r i n a * The comments i n th e
f o llo w in g p a ra g r a p h s a r e b a s e d on t h a t e d i t i o n , a n d a l l e x am p les a n d
I t was c u s to m a ry f o r t h e e a r l y m a d r i g a l i s t s t o s e t e a c h v e r s e o f th e
poem t o a s i n g l e m u s ic a l p h r a s e , q u a l i t a t i v e a c c e n ts o f t h e s y l l a b l e s
u s u a l l y b e in g r e t a i n e d i n t h e s e t t i n g t h e r e o f . L a t e r m a d r i g a l i s t s te n d e d
l i n e s o f t h e s e s t i n a s ta n z a u s u a l l y p e r m i t t e d a d i v i s i o n o f t h e v e r s e ,
i n t o f i v e - a n d s i x - o r f o u r - a n d s e v e n - s y l l a b l e s e g m e n ts. The t e x t u a l
d i v is io n s w e re o f t e n r e f l e c t e d i n t h e m u s ic a l s e t t i n g , a lth o u g h n o t t o
t h e e x t e n t t h a t t h e s e t t i n g o b l i t e r a t e d t h e i d e n t i t y o f t h e h e n d e c a s y lla b ic
v e rse . O c c a s io n a lly m u s ic a l p h r a s e s s e t t e x t u n i t s l a r g e r o r s m a l le r t h a n
l i n e t o t h e f i r s t p a r t o f t h e f o ll o w i n g l i n e . The co m b in in g o f t h e f i n a l
p a r t o f t h e l i n e w ith an e n t i r e s u b s e q u e n t l i n e i s f a r l e s s common.
W ith t h e e x c e p tio n o f t h e t h i r d an d t h e f o u r t h v e r s e s o f t h e f i f t h
s ta n z a o f E c c 1 o s c u r a t i i c h i a r i r a g g i , i n w h ic h l i n e t h r e e a n d t h e f i r s t
f i v e s y l l a b l e s o f l i n e f o u r a r e s e t a s on e p h r a s e ( s e e m e a s u re s H i- 1 9 ) ,
e a c h h e n d e c a s y l la b i c v e r s e o f t h e s e s t i n a i s t r e a t e d b y P a l e s t r i n a a s a
b a s ic t e x tu a l u n i t . G ram m atical d i v i s i o n s o f t h e v e r s e , h o w e v e r, a r e o f t e n
i n d i c a t e d b y r e p e t i t i o n o f t e x t u a l f r a g m e n ts , c o n t r a s t i n g o f m o tiv e s , a n d
t h e s e t t i n g o f t h e h e n d e c a s y l la b i c v e r s e t o a s i n g l e m u s ic a l p h r a s e , a l l
o c c u r a t t h e b e g in n in g s o f s ta n z a s ( t h e f i r s t , th e f o u r t h , t h e f i f t h , a n d
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txoonple 1. Palestrina7 Ecc* osc-um tl LfcViari r a g g i .
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th e s i x t h r e s p e c t i v e l y ) , a l l a r e i m i t a t e d i n t h e o t h e r v o ic e p a r t s , and
u n i t , how ever, i s l i m i t e d n e i t h e r t o t h e b e g in n in g s o f s t a n z a s , n o r
to p o in ts o f im ita tio n . F o r ex a m p le , th e s e t t i n g o f t h e se co n d l i n e
o f t h e f i r s t s ta n z a i s b a s i c a l l y hom ophonic (m e a su re s 6 - 1 0 ) . ^ I n m o st
c a s e s t h e t e x t and t h e m u sic a r e s t a t e d o n ly o n c e ; th e s i x t h l i n e s o f th e
te x t u r a l v a r i a ti o n to u n d e rlin e th e d iv is io n o f th e p o e tic l in e in to
f i f t h s y l l a b l e , a d i v i s i o n w h ich i s r e f l e c t e d by t e x t u a l an d m u s ic a l r e p e t i
s i x t h s y l l a b l e i s r e v e a l e d m o t i v i c a l l y a n d t e x t u r a l l y a s t h e n o t e s o f th e
t e n o r p a r t i n m ea su res 2 1 - 2 3 a r e t r e a t e d i m i t a t i v e l y i n m ea su res 2 3 - 2 6 .
c o n s t r u c t i o n th ro u g h t h e u s e o f c o n t r a s t i n g m e lo d ic i d e a s , rh y th m ic v a lu e s ,
ho w ever, a s t o d e s tr o y t h e i d e n t i t y o f t h e s e c t i o n , whose c o h e s iv e n e s s
i s d e te rm in e d t o a l a r g e e x t e n t b y th e i n t e r l o c k i n g o f v o ic e p a r t s a s v a r i o u s
The m a j o r i t y o f s i x t e e n t h - c e n t u r y I t a l i a n m a d r ig a ls w ere d iv id e d i n t o
u n i t o f t e x t —u s u a l l y t h e v e r s e . S in c e t h e s e s t i n a s ta n z a co m p rise s s i x
h e n d e c a s y l la b i c l i n e s , t h e s e t t i n g o f e a c h s ta n z a u s u a l l y c o n s is t e d o f s i x
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m a t e r i a l s w h ic h m ig h t b e p r e s e n t e d h o m o p h o n ic a lly , i m i t a t i v e l y , o r i n f r e e
c o u n te r p o in t by a l l o r v a r y in g c o m b in a tio n s o f v o i c e s . I n t h e 1 5 5 0’ s and
em ployed t o s e t s u c c e s s iv e l i n e s o f t e x t . T h e r e a f t e r , c h o rd a l d e c la m a tio n
i n w h ich t h e p r i n c i p l e s o f i m i t a t i o n w e re a p p li e d t o s h o r t f o u r - a n d f i v e -
u n l ik e t h a t o f t h e dev e lo p m e n t s e c t i o n o f a c l a s s i c s t r i n g q u a r t e t .
— i s th e m o st f r e q u e n t l y e n c o u n te r e d m ethod o f s e c t i o n a l c o n s t r u c t i o n .
The a rra n g e m e n t o f p h r a s e s a ro u n d an i m i t a t i v e s u b j e c t v a r i e d c o n s id e r a b l y
from s e c t i o n t o s e c t i o n . V o ic e e n tr a n c e s te n d e d t o b e g ro u p e d i n c l u s t e r s
v i c e v e r s a , even a d ja c e n t s e c t i o n s em p lo y in g c o n t r a s t i n g te c h n iq u e s
te n d e d t o o v e r l a p .
The s e c t i o n s i n P a l e s t r i n a ’ s s e t t i n g o f E c c * o s c u r a t i i c h i a r i r a g g i
s ta t e m e n t o f t h e e n t i r e h e n d e c a s y l la b i c v e r s e ; ( 2 ) a d i v i s i o n o f t h e l i n e
b o th o f w h ic h may b e r e p e a t e d a n t i p h o n a l l y ; ( 3 ) th e s e t t i n g o f t h e e n t i r e
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122
o f p o r ti o n s o f t h e t e x t . The r e p e t i t i o n o f t e x t u a l seg m en ts u s u a ll y
S e c tio n s t r e a t e d h o m o p h o n ic a lly i n t h e i r e n t i r e t y a c c o u n t f o r o n ly a b o u t
o n e - f if th o f th e c y c le . A p p ro x im a tely o n e - t h i r d o f t h e v e r s e s a r e s e t i n
appended t o th e i n i t i a l s e v e n l i n k i n g t h e f i r s t p a r t o f th e v e r s e w i t h th e
re m a in in g p a r t o f th e l i n e , " i n d o g l ia e p i a n t o ," w h ic h i s t r e a t e d i n a
se co n d p o i n t o f i m i t a t i o n , a lth o u g h o n ly th e o p e n in g o f th e seco n d s u b j e c t
i s tre a te d s t r i c t l y . The s i x t h v e r s e o f t h e s i x t h s ta n z a i s h a n d le d i n
a s im ila r f a s h io n . I n Example 8 th e f i r s t f i v e s y l l a b l e s a r e t r e a t e d
i m i t a t i v e l y , an d t h e re m a in in g s i x a r e t r e a t e d i n c h o r d a l d e c la m a t i o n .^
v o i c e s f o r t h e re m a in in g s i x s y l l a b l e s o f t e x t . The l a s t s i x s y l l a b l e s
a r e then r e s t a t e d i n f o u r - p a r t i m i t a t i v e c o u n te r p o in t , th e b a s s i n tr o d u c in g
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123
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t h e m e lo d ic m a t e r i a l i s c h a r a c t e r i s t i c o f th e m a j o r i t y o f i m i t a t i v e
one o r two rh y th m ic v a lu e s o f te n r e s u l t s i n n o t e - a g a i n s t - n o t e c o u n te r p o in t
p r e s e n t e d i n b o th hom ophonic a n d c o n tr a p u n ta l d r e s s . I n f a c t , t h e o n ly
t h i s s u b s e c t io n a l l e v e l i n w h ich t h e s u rr o u n d in g v o i c e s a r e v a r i e d upon
r e p e t it i o n o f th e i d e a . ^ A lth o u g h t h e s e c t i o n s o f t h e c y c le o v e rla p
( f o r exa m p le , t h e f i v e - p a r t m a d r ig a ls o f C ip r ia n o de R o r e ) , no n e o f t h e
s e c tio n s i s s h a rp ly d e lin e a te d by la r g e -s c a le r e p e t it i o n , r e s t s in a l l
v o i c e s , o r ch a n g es o f m e te r .
e a c h o f w hich w as c o n c lu d e d w i t h a d e f i n i t i v e c a d en c e on t h e f i n a l o r
w e re u s e d t o i n d i c a t e t h e movement’ s r e l a t i o n s h i p t o th e w h o le . The
one s t a n z a t o th e n e x t) p r e s e n t s an i n t e r e s t i n g p ro b le m . The r e s u l t s o f
t h e a u t h o r ’ s a n a ly s e s o f c y c l i c s e s t i n e p ro v e l a r g e l y n e g a ti v e i n t h i s
r e s p e c t.
None o f t h e te c h n iq u e s o f m e lo d ic u n i f i c a t i o n s u c h a s th e u s e o f a
c a n tu s f ir m u s o r t h e s y s te m a t i c r e f e r e n c e t o a p r e - e x i s t e n t m odel em ployed
i n P a l e s t r i n a ’ s s a c r e d w orks a r e a p p li e d i n E c c ' o s c u r a t i i c h i a r i r a g g i .
W h ile i t i s t r u e t h a t th e i n i t i a l p h r a s e s o f t h e f i r s t , th e s e c o n d , an d
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130
th e f i f t h s ta n z a s a r e r h y th m ic a l ly s i m i l a r , t h e te c h n iq u e o f th e h ead
o f v o i c e s o r i n th e same s t y l e : t h e f i r s t v e r s e s o f t h e f i r s t , th e f o u r t h ,
th e f i f t h , and th e s i x t h s ta n z a s a r e s e t i n p o i n t s o f i m i t a t i o n ; th e
b e g in n in g o f t h e f i r s t v e r s e o f t h e se co n d s t a n z a i s s e t i n f o u r - p a r t
c h o r d s , a n d t h e se co n d h a l f o f t h e s e c t i o n i s c o n tin u e d c o n tr a p u n ta l ly ;
th e f i r s t v e r s e o f t h e t h i r d s ta n z a i s s e t h o m o p h o n ic a lly i n a n tip h o n a l
and p o ly p h o n ic s e c t i o n s , no one p a t t e r n o f t e x t u r a l o r g a n i z a ti o n i s
way c o u ld i t be c o n s id e r e d a c o n s c io u s ly e x p l o i t e d d e v ic e . As f o r m o tiv ic
u n i f i c a t i o n o f th e s e p a r a t e m ovem ents; t h e s e r e l a t i o n s h i p s a r e o f t h e s o r t
t h a t one w ould f i n d i n a n y m id - s ix t e e n t h - c e n t u r y I t a l i a n m a d r ig a l w r i t t e n
i n t h e P h ry g ia n mode.
i n e a c h s tr o p h e , w ould seem t o p r o v id e an e x c e l l e n t o p p o r tu n i ty f o r m u s ic a l
u n d e r l i n in g o f th e s t r u c t u r a l a s p e c t s o f t h e t e x t . T h a t a m u s ic a l i n t e r
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t h e s i x r e s p e c t i v e s e t t i n g s o f t h e v e r s e s e n d in g w i t h t h e w ord " s o l e . ”
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t h e s i x s ta n z a s o f E c c ’ o s c u r a t i i c h i a r i r a g g i do fo rm one u n i t i n c o n t r a s t
o f f o u r - p a r t m a d r ig a ls ; t h e fo rm e r a r e d i s t i n g u i s h e d fro m t h e l a t t e r by
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131
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135
Of t h e s i x c y c l i c m a d r ig a ls p u b l is h e d b y D rag o n i G ia c o m in c ia v a i l s o l ,
w r i t t e n d u rin g t h e e a r l y y e a r s o f h i s c a r e e r , w as t h e o n ly s e s t i n a ; th e
a u th o r h a s been u n a b le t o a t t r i b u t e th e s e s t i n a t e x t w h ic h i s s t y l i s t i c a l l y
s i m i l a r t o s e s t i n e w r i t t e n b y S a n n a z a ro . The poem c o n s i s t s o f s i x s tr o p h e s ,
o f i n t e r n a l rhyme th e s i x t h v e r s e f u n c t i o n s a s b o th th e f i n a l l i n e o f th e
D ra g o n i f o llo w s :
Gill c o m in c ia v a i l s o l d a sommi c o l l i ,
c o 1 i r a g g i a d e riv a r l a neve e ’ 1 g h ia c c io ,
e t a l te m p e s ta a n c o r fre m iv a i n c i e l o .
Ch’ a u g e l n o n s i v e d e a , n e f o g l i a i n p i a n t a ,
quando con l a r u g ia d a a p ren d o 1 ' a lb a ;
v i d i n a s c e r un f i o r p r e s s ' un b e l f o n t e .
F resco d o lc e , soava e p u ro f o n te ,
ch e v e rd e g g i a r f a i sem pre i n o s t r i c o l l i .
Q ual g r a t i a h a v e s t i i n q u e l l a f e l i c e a lb a
ch e 1 ' onde t u e r e s t r i n s e in d u ro g h i a c c i o ,
p e r m e r a v ig l i a d e l l a n o b i l p i a n t a
ch e s i poco c u ra v a a l ' h o r d e l c i e l o .
Non f u r l e s t e l l e m a i, s i c h ia v e i n c i e l o ,
n e s i l i e t e l e N in fe i n a lc u n f o n t e ,
come q u e l d i c h e u s c io l a b e l l a p i a n t a .
Che r a l e g r b c o l suo c o lo r e i c o l l i ,
n e cadde i n t e r r a m a i, s i d o lc e g h i a c c i o
com' i n q u e l l a s e r e n a e g e n t i l a l b a .
Ma l a s s o , v e d ro m ai v e n i r q u e l l 1 a l b a ,
ch e s e n z a n u b i un d i s i m o s t r i i l c i e l o ,
e n e l b e l p e t t o rom pa i l f re d d o g h i a c c i o .
Che t r a h e d e g l 1 o c c h i l i e t i s i l a r g o f o n t e ,
che doppfc 1 * h a v e r c e rc o e p i a n i e c o l l i ,
p re n d a alm en so n n o a p i e d i q u a lc h e p i a n t a .
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136
F a r p o te s s * i o v iv a c e h o r q u e s ta p i a n t a ,
con l e la g r im e m ie c h 1 i n a n z i 1 * a l b a .
A n d re i t u t t i rig a n d o i n to r n o i c o l l i ,
e con c a l d i s o s p i r p re g a n d o i l c i e l o .
Ch' i v i m i tr a s f o r m a s s e i n v iv o f o n t e ,
n e m i i n d u r a s s e m a i, p r u in a o g h i a c c i o .
Ma t u , c h e n ’ e l c o lo r c a n g i p e r g h i a c c i o ,
n e s e c c h i m ai d i v i n a im m o rta l p i a n t a .
A che non s p a n d i s o p r a d e l m io f o n t e ,
l e t u e r a d i c i a che p a r 1 ’ a l b a i n 1 ' a lb a
m i f a i con g r i d i a n d a r n o ia n d o i l c i e l o .
V o rrei la s c ia r e i c o l l i e ’ 1 t r i s t o g h ia c c io ,
e g ir a l c ie l con p i u s p e d i t a p i a n t a ,
p e r a r r i v a r con 1 ' alb * a l v e ro f o n te .
GiA c o m in c ia v a i l s o l i s t h e o n ly c y c le p u b l is h e d by D ra g o n i i n w h ich
s ta n z a s a r e w r i t t e n f o r f i v e v o i c e s ; t h e Q uin t o , o m itte d i n t h e Q u in ta p a r t e ,
i s resum ed i n th e S e s ta p a r t e . The i n c r e a s e i n d e n s i t y i n t h e S e s ta p a r t e ,
r e s u l t i n g from th e p r e v io u s th in n i n g o f t h e s o n o r i t y i n t h e Q u in ta p a r t e ,
p r o d u c e s a t e x t u r a l c lim a x s i m i l a r t o t h a t i n E cc 1 o s c u r a t i i c h i a r i r a g g i .
t h e ra n g e o f a m in o r s e v e n th ; t h e C anto a n d t h e B asso sp a n a p e r f e c t o c ta v e
an d a p e r f e c t e le v e n t h r e s p e c t i v e l y . The c o m b in a tio n o f c l e f s an d th e
v o c a l r a n g e s o f G ia c o m in c ia v a i l s o l d i f f e r s l i g h t l y fro m t h e o t h e r
t w e n ty - f iv e m a d r ig a ls c o m p risin g th e c o l l e c t i o n . W h ile i t i s t r u e t h a t
m o st o f t h e m a d r ig a ls em ploy t h e h i g h e r r e g i s t e r s , t h e b a s s p a r t s a r e
i n t h e re m a in in g m a d r ig a ls : T r e b le / M ezzo/ A l t o / B a r ito n e an d S o p ra n o / A l t o /
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f o r th e n o ta tio n o f th e f i f t h v o ic e .
A e o lia n mode w i t h e a c h s ta n z a c o n c lu d in g on e i t h e r t h e f i n a l A ( t h e f i r s t ,
t h e t h i r d , and t h e s i x t h m o v em en ts), o r on t h e su b d o m in a n t D ( t h e s e c o n d ,
w e re m ore common: t h e f i r s t an d t h e s i x t h s ta n z a s c o n c lu d e w i t h p l a g a l
c a d e n c e s , and t h e t h i r d s t a n z a c o n c lu d e s w i t h a n a u t h e n t i c c a d e n c e . The
t h r e e s ta n z a s e n d in g on t h e su b d o m in a n t em ploy a u t h e n t i c c a d e n c e s . Most
o f t h e o t h e r m a d r ig a ls i n t h e Second Book a r e w r i t t e n i n t h e M ix o ly d ia n ,
c o n c lu d e d w ith a u th e n t ic c a d e n c e s . I n t h e two p a i r e d m a d r i g a l s , Di c o s i
on t h e do m in an t o f t h e mode, r e s o l u t i o n t o t h e t o n ic o c c u r r in g i n t h e
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r e f e r t o t h e c o rre s p o n d in g s e m ib re v e s o f t h e o r i g i n a l p r i n t .
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th e in flu e n c e o f P a le s tr in a . Y e t D r a g o n i's a p p ro a c h t o s e t t i n g t h e h e n d e ca -
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20
•the s e m a n tic d i v i s i o n s o f th e p o e t i c l i n e ; w i t h s i x e x c e p tio n s D rag o n i
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D r a g o n i's te n d e n c y t o s e t t h e e n t i r e v e r s e t o a s i n g l e m u s ic a l p h r a s e
a f f e c t s t h e s e c t i o n a l o r g a n i z a ti o n o f th e s e t t i n g . P o i n ts o f i m i t a t i o n
a p p li e d t o a c e r t a i n d e g re e i n S e e ' o s c u r a t i i c h i a r i r a g g i . R e p e titio n
on t h e s u b s e c t io n a l l e v e l was a l s o eschew ed b y D ra g o n i. P e r h a p s t h e m o st
i n t e r e s t i n g a s p e c t o f D ra g o n i 1s s t y l e i s t h e te n d e n c y t o e x p an d s e c t i o n s
t h ro u g h a n ti p h o n a l t e c h n i q u e s . I n Example 12 t h e se co n d v e r s e o f t h e
t h i r d s t a n z a i s s t a t e d tw ic e i n c h o r d a l d e c la m a tio n , f i r s t b y t h e lo w er
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t h e a p p l i c a t i o n o f a n ti p h o n a l te c h n iq u e s t o i m i t a t i v e s e c t i o n s . D ra g o n i
th a n P a l e s t r i n a , an d t h a t f a c t o r ad d e d to th e te n d e n c y t o s e t t h e e n t i r e
v e r s e i n a s i n g l e m u s ic a l p h r a s e r e s u l t e d i n m ore s h a r p l y d e f i n e d s e c t i o n a l
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c l a r i t y w i t h w hich D ra g o n i d i s t i n g u i s h e d e a c h o f t h e f i r s t t h r e e v e r s e s o f
t h e s i x t h s ta n z a . F o r ex a m p le , i n t h e f i r s t v e r s e th e f i v e - p a r t hom ophonic
t e x t u r e , t h e i n t r o d u c t i o n o f c o l o r a t i o n a t t h e en d o f t h e l i n e , an d r e s t s
s e tt in g o f th e second v e rs e . The i m i t a t i v e e n tr a n c e s i n t h e t h i r d s e c t i o n
have b een o r g a n iz e d i n su c h a w ay t h a t t h e f i n a l c a d en c e s o f e a c h p a r t
a lm o s t c o in c i d e . Such d i s t i n c t i o n o f a d ja c e n t s e c t i o n s c o n t r a s t s w i t h
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opv-cc d e l m io f o r.-fce .
L ik e P a l e s t r i n a , D ra g o n i a p p e a r s t o h ave b e e n - u n in te r e s te d i n
a p p ly in g t h e te c h n iq u e s o f th e m a ti c u n i f i c a t i o n em ployed i n co n te m p o ra ry
s a c re d c o m p o s itio n s t o a m u lti-m o v e m e n t s e c u l a r w o rk . M e lo d ic r e p e t i t i o n
i s n o n - e x i s t e n t , m o tiv ic r e l a t i o n s h i p s a r e p u r e l y f o r t u i t o u s , s e t t i n g s
o f v e r s e s e n d in g w i t h t h e same w o rd s b e a r n o m u s ic a l re s e m b la n c e , and
te x tu r a l p a tte rn s a re n o t d is c e r n ib le . D e s p ite t h e l i s t o f n e g a t i v e s ,
th e s i x s ta n z a s o f G ia c o m in c ia v a i l s o l , r e l a t e d b y c l e f s , s i g n a t u r e s ,
h ig h v o c a l r e g i s t e r s , m oods, a n d m odal s t r u c t u r e , do fo rm a n e n t i t y i n
c o n t r a s t t o t h e o t h e r t w e n ty - f iv e m a d r ig a ls p u b lis h e d i n t h e c o l l e c t i o n .
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The c o l l e c t i o n w e n t th ro u g h t h r e e s u b s e q u e n t e d i t i o n s , th e l a s t a p p e a r in g
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i n 1.610o I n a d d i t i o n t o t h e s e s t i n a G iovane Donna, M a re n z io p u b l is h e d
o f e a c h c y c le d e a ls w ith y o u t h 's p a s s i n g a n d t h e a p p ro a c h o f d e a th ; th e
m u s ic a l s t y l e i s a c c o r d i n g ly a u s t e r e i n c o m p a riso n t o M a re n z io ’s e a r l i e r
f o ll o w s :
A l l ' h o r s a ra n n o i m ie i p e n s i e r ' a r i v a ,
che f o g l i a v e rd e non s i t r o v i i n l a u r o :
qu a n d ' h a v ro q u e to i l c o r , a s c i u t t i g l* o c c h i;
vedrem g h i a c c i a r i l f o c o , a r d e r l a n e v e ,
non ho t a n t i c a p e l l i i n q u e s te ch io m e,
q u a n ti v o r r e i q u e l g i o m ' a t t e n d e r a n n i#
Ma p e rc h e v o l a i l tem p o , e fu g g o n g l ' a n n i
S i , c h ' a l i a m o rte i n un pun t o s ' a r r i v a
o con l e b ru n e o con l e b ia n c h e chiom e;
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p e r l o piSl a r d e n te s o l e e p e r l a n e v e ,
finchfe 1 ' u ltim o d i c h iu d a q u e s t ' o c c h i.
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I* temo d i c a n g ia r p r i a v o l t o e ch iom e,
che con v e r a p i e t l t m i m o s t r i g l ' o c c h i
1 ' i d o lo mio s c o l p i t o i n v iv o l a u r o :
ch e s 1 a l can t a r non e r r o , h o g g i h a s e t t * a n n i
che s o s p ir a n d o v o d i r i v a i n r i v a
l a n o t t ' e ' 1 g i o r a o , a l c a ld o ed a l i a n e v e .
D e n tro p u r f o c o , e f u o r C a n d id a n e v e ,
s o l con q u e s t i p e n s i e r , co n a l t r e chiom e
sem pre p ia n g e n d o an d ro p e r o g n i r i v a ,
p e r f a r f o r s e p ie t& v e n i r n e g l 1 o c c h i
d i t a l che n a sce r& dopo m i l l 1 a n n i;
s e t a n t o v i v e r puo b e n c u l t o l a u r o .
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v in c o n l e b io n d e ch io m e, p resso a g l' o c c h i
c h e menan gl* a n n i m ie i s i t o s t o a r i v a .
th e s ta n z a s o f e a c h c y c l i c m a d r ig a l p u b l is h e d by M a re n z io w e re w r i t t e n
t h e r e i s c o n s id e r a b le t e x t u r a l v a r i e t y . Giovane Donna a n d Se q u e l d o l o r ,
b o th n o t a t e d i n S o p ra n o / A l t o / A l t o / T e n o r / T e n o r/ B ass c l e f s , em ploy
lo w e r t e s s i t u r a s th a n th e o t h e r m a d r ig a ls o f M a re n z io ’ s S i x t h Book. Much
w ere d u e , no d o u b t, t o th e p o n d e ro u s i n t r o s p e c t i v e q u a l i t i e s o f t h e t e x t s .
mode. S ta n z a s c o n c lu d e on G, C, G, G, E, C, an d G r e s p e c t i v e l y . The
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U±6
M ix o ly d ia n mode, b u t t h e a b r u p t s h i f t to t h e s u b m e d ia n t a t t h e e n d o f th e
f i f t h a n d t h e b e g in n in g o f t h e s i x t h m ovem ents i s h i g h ly u n u s u a l. A ll
s ta n z a s e x c e p t th e f i f t h e n d w i t h a n a u t h e n t i c c a d e n c e , w h ic h b y t h e l a t e
s i x t e e n t h c e n tu r y h a d become t h e s ta n d a r d c l o s i n g f o rm u la f o r i n t e r n a l ,
a s w e l l a s e x t e r n a l , d i v i s i o n s o f p i e c e s n o t i n t h e P h r y g ia n m ode. G iovane
27
Donna h a s been t r a n s c r i b e d an d e d i t e d b y D en is A rn o ld . A l l m easu re
e d itio n .
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P a l e s t r i n a and D ra g o n i, b o th o f whom t r e a t e d t h e t e x t , w h o le v e r s e s o r
se g m e n ts t h e r e o f , i n s u c c e s s iv e u n i t s . T h ere a r e s e c t i o n s , o f c o u r s e ,
p a s s a g e w h ich p r e s e n t s t h e f i r s t v e r s e o f t h e f o u r t h s t a n z a (m e a su re s
o v e rla p p in g s ta te m e n ts o f s u b j e c t A ( C anto a n d T en o re I I ) p r o v id e t h e
f o u r v o ic e s c o n s i s t s o f i m i t a t i v e s ta te m e n ts o f s u b j e c t B. A n o th e r d im e n sio n ,
u s u a l l y d iv id e d t h e h e n d e c a s y lla b ic v e r s e i n t o se g m e n ts o f f i v e and s i x
o r s e v e n a nd f o u r s y l l a b l e s , e a c h o f w h ic h was a s s o c i a t e d w i t h i t s own
c o n tr a p u n ta l f a b r i c t h a t te n d e d t o v e r t i c a l i z e t h e t e x t u a l a n d m e lo d ic
e le m e n ts o f th e l i n e . F o r ex a m p le , i n s e t t i n g t h e f o u r t h v e r s e o f th e
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f i f t h s ta n z a M arenzio d i v id e d t h e v e r s e i n t o seg m en ts o f s e v e n a n d f o u r
a s ta t e m e n t o f m o tiv e B i n th e lo w e r f i v e p a r t s . The m o st e x te n s i v e p a s s a g e
d i f f e r e n t m e lo d ic m o tiv e s (A a n d B) an d (C a n d D) r e s p e c t i v e l y . The se co n d
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150
A lth o u g h u n r e l a t e d t o t h e p r e c e d in g e x a m p le s, one f u r t h e r a s p e c t o f
M a re n z io * s l a t e s t y l e s h o u ld be n o te d , n am ely h i s p r e d i l e c t i o n f o r i s o l a
t h e lo w e r v o ic e s a r e in v o lv e d i n a p o i n t o f i m i t a t i o n , a r e t y p i c a l o f
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a r e t y p i c a l o f M a re n z io 's a c h ie v e m e n t o f s e c t i o n a l e x p a n sio n th ro u g h t h e
r e s t a te m e n t o f t e x t an d m e lo d ic m a t e r i a l . The s i x t h v e r s e o f t h e f i r s t
(m e a su re s 5 2 -6 0 an d 6 0 -6 9 )* The B asso, e x c e p t f o r a n a d d e d m e a s u re , i s
r e p e a t e d e x a c t l y ; th e m elody o f t h e Tenore I I i n m e a su re s 5 2 -5 8 i s r e p e a t e d
o f th e o th e r v o ic e s i s s im ila r , b u t n o t i d e n tic a l, in th e r e s ta te m e n t.
i n i t i a l l y i n n o t e - a g a i n s t - n o t e c o u n te r p o in t by th e f i r s t a l t o a n d t h e b a s s
(m e a s u re s 2 5 8 - 2 6 1 ). I n t h e se c o n d s ta te m e n t o f t h e t e x t , t h e p a s s a g e i s
r e p e a t e d an o c ta v e h ig h e r by t h e so p ra n o and th e se co n d a l t o (m e a su re s
a n d t h e b a s s r e p e a t in g t h e m elo d ic m a t e r i a l a t t h e lo w e r o c ta v e , w h ile
t h e f i r s t t e n o r moves i n p a r a l l e l t h i r d s w ith th e se co n d t e n o r (m e a su re s
v e r s e o f t h e f o u r t h s t a n z a ; th e two v e r s e s a r e r e p e a t e d i n m ea su res 2 7 1 - 2 7 6
p r o v id i n g a n exam ple o f s e c t i o n a l r e p e t i t i o n . (E x c e p t f o r t h e in te r c h a n g e
v e r s e s a r e r e s t a t e d a f t e r new m a t e r i a l h as in te r v e n e d , b u t t h e r e c a p i t u l a t i o n
d i f f e r e n t t o n a l g o a ls o f t h e two p a s s a g e s . Such s e c t i o n a l i n t e g r a t i o n
r e s u l t i n g fro m th e g ro u p in g o f v e r s e s th ro u g h r e p e t i t i o n i s n o t em ployed
a f o rm a tiv e d im e n sio n l a c k in g i n th e s e s t i n e by P a l e s t r i n a an d D ra g o n i.
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159
Giovane Donna.
th ree-p art chords. The f i r s t and second v er ses o f the th ird stanza are
th e fiv e -p a r t chordal declamation of the th ird v e r se . The fou r-p art homo
1 -6 9 ). The s t r u c t u r a l a n a l y s i s , w h ich i s i n d e b te d t o te c h n iq u e s d e v e lo p e d
29
by Heinrich Schenker and F e lix S alzer, il lu s t r a t e s the hierarchy of
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160
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163
d e t a i l s o f t h e f i r s t s t a n z a , i t s h o u ld b e b o rn i n m ind t h a t t h e e n t i r e
movement i s t r e a t e d a s a t o n i c p r o lo n g a t io n on a h ig h e r s t r u c t u r a l p l a n e ,
t h e p r o g r e s s io n o f w h ich i s n o t c o m p le te d u n t i l th e f i n a l c a d en c e o f th e
i n t o two p a r t s , th e f i r s t o f w hich (m e a su re s 1 - 3 2 ) p r e s e n t s a n in c o m p le te
se co n d o f w h ic h (m e a su re s 3 2 - 6 9 ) i s c o m p le te d h a rm o n ic a lly b y an a u th e n t ic
ca d en c e i n m ea su re 6 9 .
i s p r o lo n g e d c o n tr a p u n ta l ly by n e ig h b o r in g m otio n f o r s i x t e e n m e a s u re s ,
b e fo r e p r o c e e d in g t o t h e su b d o m in an t ( t h i r d b e a t o f m e a s u re 1 7 ) , t o t h e
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16U
o f th e s t r u c t u r a l m elo d ic to n e D, whose e n tr a n c e i s p o s tp o n e d u n t i l t h e
t h i r d m e a s u re , c o in c id e s w ith th e c o n tr a p u n ta l p r o lo n g a t io n o f t h e t o n i c .
D t o G tw ic e (m e a su re s 3-U an d 1 0 - 1 2 ) , r e t u r n s t o D i n m ea su re 1 5 , and
l e a v e s D by l e a p i n m easure 17 m oving t o an i n n e r v o ic e a t th e a r r i v a l
on t h e su b d o m in a n t. The m e lo d ic s t r u c t u r a l to n e D i s r e g a i n e d i n t h e
lo w e r o c ta v e i n m easure 2 0 c o in c i d in g w i t h t h e b e g in n in g o f a new c o n t r a
p u n t a l p r o lo n g a t io n o f t h e t o n i c (m e a su re s 2 0 - 2 9 ) . The c o n tr a p u n ta l
p r o lo n g a t io n o f th e t o n ic i n m e a s u re s 2 0 - 2 9 p ro c e e d s h a rm o n ic a lly t o th e
th e a r r i v a l on th e s u p e r t o n ic ; t h e m e lo d ic s t r u c t u r e r e t u r n s t o D i n
m easure 3 2 w ith th e h a l f c ad en ce on t h e d o m in a n t.
t o n i c i s p r o lo n g e d c o n tr a p u n ta l ly f o r tw e lv e m ea su res b e f o r e p r o c e e d in g
to t h e f i r s t in v e r s io n o f th e s u p e r t o n ic (m easu re 1*5), t o th e d o m in a n t
A f t e r an i n i t i a l s te p w is e a s c e n t fro m G t o B, th e m e lo d ic s t r u c t u r e c o n s i s t s
3 2 -U 6 p a r t i c i p a t e i n a harm onic p r o lo n g a t io n o f th e t o n i c , a p r o g r e s s io n
t h a t p r o c e e d s t o th e s u b m e d ia n t, w h ic h i n t u r n i s c o n t r a p u n t a l l y p r o lo n g e d
(m e a su re s U7 -U 9 ) , t o th e d o m in an t ( f i r s t b e a t o f m ea su re 5 1 ) s to t h e t o n ic
( t h i r d b e a t o f m easure 5 1 ) .
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165
i n th e l a t t e r th e p r o lo n g a t io n o f t h e t o n i c i s c o m p le te d b y an a u th e n t ic
c o n t r a p u n t a l l y p r o lo n g e d . The su b d o m in a n t c h o rd , i t s e l f h a rm o n ic a lly p r o
lo n g e d (m e a su re s 6 i t- 6 6 ) , h a s a d o u b le f u n c t i o n : fro m t h e s t a n d p o i n t o f
t h e h a rm onic s t r u c t u r e , t h e c h o rd i s c o n tr a p u n ta l ; b u t , i n i t s s u p p o rt
o f t h e s t r u c t u r a l m e lo d ic to n e C, t h e c h o rd a s s e r t s an a d d i t i o n a l t o n a l
f u n c t i o n t h a t i s b e s t d e s c r ib e d a s c o n t r a p u n t a l - s t r u c t u r a l . ^ 0 The
t h e s t r u c t u r a l m e lo d ic to n e D i s r e g a i n e d i n t h e lo w e r o c ta v e i n m easure
by s te p w is e m o tio n t h a t em p h a size s t h e te m p o ra ry g o a ls o f G an d D, b e fo r e
p r o c e e d in g t o C i n m easure 6 U. The m e lo d ic s t r u c t u r e i s c o m p le te d b y th e
a r r i v a l on B i n m easure 6 9 .
t h e t o n a l o r g a n i z a ti o n o f th e f i r s t s ta n z a i s q u i t e c l e a r . The s ta n z a i s
d iv id e d i n t o two in d e p e n d e n t c l a u s e s , e a c h o f w h ic h c o n s i s t s o f t h r e e
t h e t o n a l s t r u c t u r e i n t o two p a r t s , m e a s u re s 1 - 3 2 c o in c i d in g w i t h t h e f i r s t
t h r e e v e r s e s o f t h e t e x t , an d m ea su res 3 2 -6 9 w i t h t h e se co n d t h r e e . The
p i ll b ia n c a e pi& f r e d d a ch e n e v e ;” ( 2 ) t h e t h i r d v e r s e m o d if ie s th e word
1 -3 2 c o rr e s p o n d t o t h e d i v is io n s o f t h e t e x t : ( 1 ) th e h arm o n ic p r o lo n g a tio n
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166
o f t h e t o n i c i n m ea su res 1 - 1 9 c o in c id e s w i t h t h e f i r s t two v e r s e s ; ( 2 )
th e in c o m p le te harm onic p r o g r e s s io n p r e s e n t e d i n m e a s u re s 2 0 - 3 2 c o in c i d e s
o r g a n i z a ti o n on b o th s m a ll an d l a r g e s t r u c t u r a l l e v e l s draw s a c o h e re n t
t o n a l p i c t u r e a n d a r t i c u l a t e s th e g ra m m a tic a l d i v i s i o n s o f t h e t e x t .
L ik e h i s p r e d e c e s s o r s , M a re n z io a p p e a r s t o h a v e b e e n u n i n t e r e s t e d
Y e t d e s p i t e th e l a c k o f th e m a tic u n i f i c a t i o n , th e s e v e n movements o f
p r o lo n g a t io n o f th e to n ic i n m ea su res 1 - 6 9 i s c o m p le te , b u t th e m elo d ic
s t r u c t u r e w h ic h c a dences on B i n m ea su re 69 i s in c o m p le te . The t o n a l
m a t e r i a l o f e a c h o f th e o t h e r movements i n th e c y c le i s ev e n l e s s s e l f -
th e t o n a l s t r u c t u r e a r e n o t c o n c lu d e d u n t i l t h e f i n a l c a d e n c e o f t h e
b y M a re n z io . E c c ’ o s c u r a t i i c h i a r i r a g g i an d Gil, c o m in c ia v a i l s o l
e x h i b i t s i m i l a r c h a r a c t e r i s t i c s , b u t t h e a r t i c u l a t i o n o f t e x t u a l d i v is io n s
a n d th e o r g a n i z a ti o n o f th e t o n a l s t r u c t u r e s a r e n o t p r e s e n t e d a s c l e a r l y ,
n o r a r e th e s e p a r a t e movements so th o ro u g h ly i n t e g r a t e d t o n a l l y a s i n
G iovane Donna.
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167
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168
with the even higher combinations employed in some o f the other madrigals
in the c o lle c tio n . For example, Treble, Soprano, Mezzo, and Alto c le f s
ments conclude w ith au thentic cadences in the ton ic; the second, the fourth,
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169
(m e a su re s 2 3 - 3 0 ) , i n w h ich th e f i r s t s i x s y l l a b l e s o f t h e v e r s e a r e t r e a t e d
a n ti p h o n a ll y i n p a ir e d i m i t a t i v e e n t r i e s a n d t h e l a s t f i v e s y l l a b l e s o f
t h e v e r s e a r e d e c la im e d i n f o u r - p a r t c h o rd s , i s n o t t y p i c a l o f P a c e l l i 1 s
g r e a t e r o r s m a l le r t h a n th e v e r s e ( f o r ex am p le, i n m e a s u re s 1 8 - 2 7 o f th e
f o u r t h s ta n z a th e f i r s t t h r e e s y l l a b l e s o f th e t h i r d v e r s e a r e a d jo in e d
t o t h e p r e c e d in g v e r s e , w h ile th e re m a in d e r o f t h e t h i r d v e r s e i s t r e a t e d
a s a s e p a r a te s e c t i o n i n m ea su res 2 6 -3 7 ) a r e a l s o r a r e . M a re n z io ’ s ten d e n c y
n o n - e x is te n t in I I d i c h 1 a p e r s i . I n m o st c a s e s , P a c e l l i s t a t e d t h e
e n t i r e l i n e o f t e x t e i t h e r i n a p o i n t o f i m i t a t i o n o r i n c h o r d a l d e c la m a tio n .
A lth o u g h some s e c t i o n s o f I I d i c h ’ a p e r s i c o n s i s t o f e i t h e r a s in g l e
l i n e o f t e x t i s s t a t e d once i n e a c h o f th e v o i c e s , t h e m a j o r i t y o f s e c t i o n s
in c lu d e two co m p le te s ta te m e n ts o f th e t e x t , th u s d i v id i n g t h e s e c t i o n
m e lo d ic m a t e r i a l a s th e f i r s t , b u t a t a d i f f e r e n t p i t c h l e v e l . I n a d d it i o n ,
in c r e a s e ) w i t h some o f th e v o i c e s r e t a i n i n g t h e m e lo d ic m a t e r i a l o f th e
o c c u rs l e s s f r e q u e n t l y . The s e t t i n g o f t h e f i r s t v e r s e o f th e f i r s t s ta n z a
(Example 1 8 ) i s t y p i c a l o f P a c e l l i ' s b i p a r t i t e c o n s t r u c t i o n o f th e s e c t i o n .
The v e r s e i s s t a t e d tw ic e : i n t h e f i r s t s ta t e m e n t t h e u p p e r t h r e e v o i c e s
p a r t i c i p a t e i n a p o i n t o f i m i t a t i o n ; i n t h e s e c o n d s ta t e m e n t a l l f o u r v o ic e s
p a r t i c i p a t e w ith t h e C a n to , T e n o re , a n d B asso r e p e a t i n g t h e i m i t a t i v e su b
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170
e.15. f k c e - U l ^ l l A t c U V p e v s i ,
(Py-lwxvs-ta.n7.a7meftS.l-lV.___________ \> y
c e 7 Xl d l cfoa.per.sL ^I’occVu
l«v_ I.
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171
s ta t e m e n t p ro c e e d s from th e t o n ic t o t h e d o m in a n t; th e s e c o n d s ta te m e n t
f i r s t s e c t i o n i s b a la n c e d by a s i m i l a r l y p a r a l l e l c o n s tr u c ti o n i n t h e
s e c o n d s e c t i o n (m e a su re s lU - 2 5 ), The d i v i s i o n o f th e s e c t i o n i n t o two
t h e f i r s t v e r s e o f t h e se co n d s ta n z a i s s t a t e d tw ic e : i n t h e f i r s t p a r t
o f th e s e c t i o n th e v e r s e i s p r e s e n t e d i n t w o - p a r t homophony b y th e Tenore
a n d th e B a s s o ; i n th e s e co n d p a r t o f t h e s e c t i o n th e v e r s e i s p r e s e n t e d i n
new m a t e r i a l .
r e s u l t s fro m P a c e ll i* s te n d e n c y to d i v id e t h e s e c t i o n i n t o two p a r a l l e l
p a r t s , t h e se co n d o f w hich i s b a s e d m e l o d i c a l ly on th e f i r s t . I n a d d it i o n
t o m e lo d ic r e p e t i t i o n on t h e s u b s e c t io n a l l e v e l , th e r e a r e two ex am p les
o f s e c t i o n a l r e p e t i t i o n t h a t s h o u ld b e m e n tio n e d . B oth t h e t e x t an d th e
tiv e ly , I n th e f i f t h s t a n z a , th e f i f t h a n d t h e s i x t h s e c t i o n s a r e a l s o
r e p e a t e d ; how ever, t h e r e a r e s l i g h t v a r i a t i o n s i n th e v o i c e - l e a d i n g .
t o r e p e a t s e c t i o n s w i t h in th e s e s t i n a .
To sum m arize, t h e c y c li c q u a l i t i e s o f s e s t i n a s e t t i n g s , a t l e a s t th o s e
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172
so l
co p v
- -Lo
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173
th e c h o ic e o f mode d e te rm in e d t h e c h a r a c t e r o f t h e m e lo d ic m a t e r i a l a s
w e l l a s t h e p i t c h e s upon w h ic h m a jo r c a d e n c e s w o u ld f a l l . None o f th e
t e c h n iq u e s o f th e m a tic u n i f i c a t i o n e x p l o i t e d i n s i x t e e n t h - c e n t u r y m u lt i
o f mode a s s u r e d a c e r t a i n d e g re e o f m e lo d ic u n i f o r m i t y . I n a d d itio n ,
a l e s s e r s c a le in th e o th e r s e s t i n e . B ut t h e p o s s i b i l i t i e s f o r m u s ic a l
r e p e t i t i o n and th e m a tic r e l a t i o n s h i p s a f f o r d e d b y t h e p o e t i c s t r u c t u r e
p e c u l i a r t o th e s e s t i n a , t h a t i s t h e p e rm u ta tio n s o f th e s i x f i n a l w ords
o f t h e s e s t i n a s e t t i n g s s tu d i e d by t h e a u th o r d i d th e com poser s e e k t o
u n d e r l i n e t h i s a s p e c t o f t h e s t r i c t u r e o f t h e t e x t th ro u g h m u s ic a l m eans.
C an zo n i
t h a t w ere o f t e n s e t i n e n t i r e t y d u r in g t h e s i x t e e n t h c e n tu r y . The f i r s t
c y c l i c c a n z o n i t o b e p r i n t e d w ere t h e s e v e n P e t r a r c h a n s e t t i n g s co m p risin g
s e t t i n g o f B a c i s o a v i e c a r i p u b l is h e d i n l £ 9 1 . ^ The f o llo w in g f o u r
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nh
1* am oroso, P a l e s t r i n a ’ s s e t t i n g o f V e rg in e b e l l a , an d M a re n z io ’ s s e t t i n g
o f B aci s o a v i e c a r i .
s y l l a b i c a n d h e n d e c a s y lla b ic v e r s e s g ro u p ed t o fo rm two m a jo r p a r t s , th e
f r o n t e an d t h e s ir i m a , e a c h o f w h ic h h a s i t s own p a t t e r n o f rh y m in g l i n e s .
c o n s t r u c t i o n a l p r i n c i p l e s o f t h e c an zo n e s ta n z a a n d t h e p e r m u ta tio n p r i n c i
p l e s o f t h e s e s t i n a , none o f t h e c a n z o n i a r e u n i f i e d t e x t u a l l y b y common
o f e a ch s t a n z a , how ever, a r e an i n t e g r a t i v e f e a t u r e i n t h r e e o f t h e c a n z o n i:
B a c i s o a v i e c a r i , Se m ai p i u 1 ' a m o ro so , an d V e rg in e b e l l a . The d e g re e
t o w h ich e a c h o f th e f o u r s e t t i n g s r e f l e c t s th e v e r s e s t r u c t u r e o f i t s
s tr o p h e s ( t h e c o m b in a tio n o f h e p t a s y l l a b i c an d h e n d e c a s y l la b i c l i n e s and
B a r ry ’ s s e t t i n g o f Amor l a b e l l a f a c e was t h e f i r s t o f t h e f o u r
th ro u g h a se c o n d e d i t i o n i n 1555 an d a t h i r d i n 1 5 6 1 . ^ Of t h e f o u r
m u l t i - s t r o p h i c t e x t s s e t by B a r re , Amor l a b e l l a f a c e was t h e o n ly c a n z o n e ;
d i v id e d i n t o a f o u r - v e r s e f r o n t e a n d a s e v e n - v e r s e s i r i m a , t h e two p a r t s
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175
diag ra m i t c a n be s e e n t h a t th e cr '’t r a c t i o n o f t h e f r o n t e d i f f e r s i n
D an te t o M in tu rn o . R a th e r th a n t h e p a r a l l e l p o s i t i o n i n g o f s e v e n - a n d
e l e v e n - s y l l a b l e l i n e s i n e a c h p ie d e p r e s c r i b e d b y t h e t h e o r i s t s , t h e f i r s t
p i e d e c o n s i s t s o f two h e p t a s y l l a b i c l i n e s , and t h e se co n d p i e d e c o n s i s t s
l i n k e d s t r u c t u r a l l y by t h e u s e o f common rhym es o r by th e r e p e t i t i o n o f
Amor l a b e l l a f a c e
d i c u i n u triu * i l c u o r e ,
a l l ' a p p a r i r d e l su o d i v i n a r d o r e ,
h o r f ie r a m e n te mi d e s tr u g g 1 e s f a c e .
Onde p o i c h 1 a t e p i a c e ,
c h 1 i o d i m ia v i t ’ i n f o r s e ,
n a r r i com 1 i n d i v in c e l e s t e fu o c o ,
venne l 1 a l t o d e s io v o la n d ' a p o r s e .
Da q u e i b e g l i o c c h i Tin p o c o ,
d i t t a m i t u , com’ h a b b ia p o st* i l c i e l o ,
S p i r t o d i v i n s o t t o c o rp o re o v e l o .
Tu v e d i , b en h o r come
q u a n to d i f u o r s i v e d e ,
e q u a n to d e n t r ' a l l ’ a im ’ a s c o s c s i e d e ,
conviens* a l su o d i v i n c e l e s t e nom e.
Che l ’ a u re e c re s p e chiom e
i n c u i t ! a v o lg i e s t r i g n i ,
e a l l a c c i o g n ’ alm a ch e da t e s ’ a s c o n d e ,
e i d o l c i r a i d a c u i fre n d * i n s e g n i .
Come s ’ a r d a f r a l 1 o n d e,
e t q u a n to m o s t r ’ i l v e l o , e t q u a n to f e r r a ,
c o s a non h a ch e 1 * a s s o m ig l 1 i n t e r r a .
G l1 a l t r i e t d i v i n p e n s i e r i
ch* e l l 1 h a 'n s e s te s s * a c c o l t a ,
mov' a l f e l i c e c o r s ’ o u ’ e l l ' e v o l t a ,
1 ’ o p re g l i s t u d 1 i g r a n d i s c o r s i a l t i e r i .
A c u i g iu n g e r non s p e r i ,
c o s a m o r ta l che s i a
f a n d e l suo v e ro s t a t o a l mondo f e d e ,
e t con b e l l 1 e p i a c e v o l 1 a rm o n ia .
Dovunque v o l g 1 i l p ie d e ?
G rid an ta c e n d o a c h i l a m i 1 ogn* h o ra
q u e s t 1 e l a Dea c h ’ i l c i e l e '1 mond’ h o n o ra .
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176
3en* i o t o s t o m’ a c c o r s i
quando l o s t r a l ’ u s c i o ,
e t l e i v ’ i n p r e s s * e t e d e n tr * a l c o r m io
che t r o p p ’ i n a l t o co *1 p e n s i e r t r a s c o r s i .
P e rc h e r a t t o v i s c o r s i ?
Cose stu p e n d * e t m o v e
c he p e r r i d i r l e a l t r u i c ie c o r e s t a i ,
d a ind* qua s e p e r m ir a r a l t r o v e ,
v o l g e s s i g l i o c c h i m ai.
N e lle c o se p i u r a r e de m o r t a l i ,
c i e c h i q u e st* o c c h i son c a d u c h i e f r a l i .
Ma c i v o l o ch e v o l s e ,
i l mio f a t o b e n ig n o ,
f a r m i d i n e g ro c o m * un b ia n c o c ig n o ,
c o s i l e penn* a l b a m ia g l o r i a s c i o l s e .
E t q u e s t* o c c h i r i v o l s e ,
benche d e b i l ’ a in fe r m i
a s o f f r i r l o s p le n d o r d i t a n t a l u c e ,
l i q u a l ten e n d * i n q u e l b e l v i s o f e r m i
t u t t o quel che ne lu c e .
Cerch* a d o m b r a rl’ a l t r u i s u q u e s te c a r t e ,
ma non c i g iu n g o a l i a m ille s m a p a r t e .
Canzon s ’ a lc u n m! a c c u s a
c h ’ i o non ho d e t t o q u a n to d i r d o v e a ,
d i c h 1 i o son huom m o rta l e t e l l a d e a .
Amor l a b e l l a f a c e i s t h e o n ly c y c le w r i t t e n b y B a rr 6 i n w h ic h each s ta n z a
a r e w r i t t e n f o r f i v e v o i c e s ; t h e t h i r d a n d t h e f o u r t h s ta n z a s a r e w r i t t e n f o r
i n t h e l a t t e r ) ; t h e f i f t h and t h e s i x t h s ta n z a s a r e w r i t t e n f o r f i v e v o i c e s ;
p a r t t e x t u r e f o llo w e d b y t h e g r a d u a l in c r e a s e i n d e n s i t y p r o d u c e s a t e x t u r a l
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177
lo w in g c l e f c o m b in a tio n s , a l l b e lo n g in g t o t h e h ig h c h i a v e t t e , w e re em ployed
b r e a d t h o f an o c ta v e : C a n tc ( f - f * ) j A l t o ( c - c » ) 3 S e s to ( c - c * ) j Q u in to ( F - f ) ;
T e n o re ( F - f ) ; B assus ( C - c ) .
s e c o n d , t h e f o u r t h , t h e s i x t h , an d t h e s e v e n t h m ovem ents a n d C i n t h e t h i r d a n d
s t a n z a w h ic h i s c o n c lu d e d by a h a l f c a d en c e on th e d o m in a n t, a l l movements
b y p l a g a l c a d e n c e s ; th e t h i r d , t h e f o u r t h , a n d t h e s i x t h s ta n z a s a r e c o n c lu d e d
d o m in a n t, f o r e x a m p le , t h e s e v e n th v e r s e o f t h e t h i r d s ta n z a (M easures 3 ii-6 -3 5 0 )^
c o n s i s t s o f h a rm o n ic and c o n tr a p u n ta l p r o lo n g a t io n s o f th e t o n i c . 3 a rr £ made
s u c c e s s i v e l y , e a ch l i n e o f t e x t i s s t a t e d a t l e a s t o n c e i n i t s e n t i r e t y . The
m a j o r i t y o f s e c t i o n s a r e t r e a t e d a s p o i n t s o f i m i t a t i o n (Example 20 i s t y p i c a l ) ,
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178
_p ____
f f v> H
R-
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mov- lo.
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179
mor la. j lo e l- -U
b el - La. ce
-tmor la.
AO
-6-
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180
t h e c o n c lu s io n o f a v e r s e a r e c l e a r l y a u d i b l e , a s i n t h e e ig h th , v e r s e o f t h e
t h i r d s t a n z a (m e a su re s 3 5 1 - 3 5 5 ) j t h e f i f t h , t h e s i x t h , an d t h e s e v e n th v e r s e s
i n th e l a s t v e r s e o f th e f o u r t h s t a n z a w h ic h i s s h a r p l y d i f f e r e n t i a t e d fro m th e
r e s t o f t h e s tr o p h e t y t h e i n t r o d u c t i o n o f c h o r d a l d e c la m a tio n , c o l o r a t i o n , and
m e lo d ic r e p e t i t i o n , t h e s e c t i o n a l d e l i n e a t i o n i n no w ay u n d e r l i n e s t h e s t r u c t u r e
o f t h e c a n zo n e s ta n z a .
E x c e p t f o r t h e hom ophonic p a s s a g e s c i t e d i n th e p r e c e d in g p a r a g r a p h , e a c h
s ta n z a i s c h a r a c t e r i z e d b y t h e a v o id a n c e o f i n t e r n a l t e x t u r a l a n d t o n a l co n
o f v o i c e s d o e s n o t p ro d u c e — a s m ig h t b e e j e c t e d — a n y r e a l s t y l i s t i c v a r i e t y i n
b u t t h e m e lo d ic and t o n a l m a t e r i a l an d t h e s e q u e n c e o f o v e rla p p in g p o i n t s o f
i m i t a t i o n a r e t h e same from s t a n z a t o s t a n z a . D i f f e r e n c e s i n s c o r i n g an d
t e m p o r a l u n i t s n o t w i t h s t a n d in g , B arrS a c h ie v e d a s e n s e o f u n i t y b y a d h e rin g
e x t e n s i v e l y t o i m i t a t i v e c o u n t e r p o i n t , t h e s u t g e c t m a t t e r o f w h ic h w a s l im it e d
l a r g e l y t o m o tio n a ro u n d F an d C. I t s h o u ld b e e m p h a s iz e d , h o w e v e r, t h a t t h e
s i m i l a r i t y o f m e lo d ic i d e a s r e s u l t e d fro m t h e c h o ic e o f mode r a t h e r t h a n
c o n s c io u s r e p e t i t i o n .
Se m a i p i u 1* am oroso, th e s e c o n d ca n zo n e t o be d i s c u s s e d , w a s
i n c lu d e d i n D ra g o n i’ s F i r s t Book o f f i v e - p a r t m a d r ig a ls p u b lis h e d i n 1 5 7 5 * ^
A p p a r e n tly t h e c o l l e c t i o n w a s n e v e r r e p r i n t e d . U n f o r tu n a t e l y , Se m a i p i u 1*
t h e r e e v e r w as o n e , i s o m itte d . The s t r u c t u r e o f t h e h i n e - v e r s e s ta n z a h a s
b e e n d i s c u s s e d i n t h e p r e c e d in g c h a p t e r : ^ i t i s a s f o ll o w s : AB/BA AcccA .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Not only does th e sirim a open vrith a link in g rhyme, but th e concatenazione i s
repeated a t th e end of the strophe. The stanzas o f Se mai pi& 1* amoroso are
AcccA, AB/EA AcccA, BC/CB BaaaB, BC/CB BaaaB, CA/AC CbbbC, and CA/AC CbbbC.
the cy c le are u n ified by th e r e p e titio n o f the words "Se mai piu" which have
been employed t o open the fron te and th e sirim a o f each of th e four strop hes.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Se mai p i i donna § d e l mio cor oggetto
siam i m ortal nemico ogn1 elemento,
Se mai pift lod o donna ogni mio accento ,
a lt r u i n oia a me r e c h i onta e d is p e ttc .
Se mai per donna scema i l duro a f f e t t o
d e l mio fermo v a lo r e,
mai non s ia i l duol minore
d i c o s i largo errore,
e rimanga i l mio oprar sempre im perfetto.
s e ttin g of Gik cominciava i l sol© ^5- ^he combinations o f c l e f s (T reb le/ Mezzo/
A lt o / A lto / Tenor), the v o c a l ranges, and the mensuration sig n s (ij)) are the
a lto g eth er c le a r . The f i r s t , the second, and the fourth stanzas are concluded
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183
p u b lish in g c y c lic madrir Ting th e s ix tee n th centu ry, Dragoni was the one
example, in the th ird stanza the fou r-verse fron te i s d is t in c t ly separated from
the f i f t h , and the six th sta n z a s. In each c a s e , the fou rth and th e f i f t h v erses
In a d d itio n , rhyming lin e s such as the s ix t h , seven th , and eighth v er ses are
the p o e tic stru ctu re i s accentuated, but Dragoni d id n ot s y ste m a tic a lly explore
the p o s s ib i lit i e s afforded by th e d iv isa b le stru ctu re of the canzone strophe.
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181
by the employment o f the same th ree ihymes in each strop he, Dragoni*s s e ttin g
in no way r e fle c t s the te x tu a l u n ific a tio n . In t h is resp ect Se_ mai pifr 1*
amoroso i s sim ila r to the s e t tin g s o f s e s t in e p reviou sly d iscu ssed . The f i r s t
fou r stanzas of Se mai pift 1 * amoroso are fu rth er u n ified p o e tic a lly through the
r e p e titio n of th e words "Se mai pifci." which open the f i r s t and the f i f t h v erses
two melodic id ea s, lab eled A and B r e sp e c tiv e ly , are presented^ th e two ideas
Such r e la tio n a l ip s were employed by Bragcni, but never s y ste m a tic a lly .
Vergine b e lla , the eleven -stroph e canzone concluding P etrarch 's Canzoniere,
was s e t in i t s en tir e ty freq u en tly during the six tee n th century. P a le s tr in a 's
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185
E-xawvple 2JL. Dv*a^oni? S etwetL olu_
^__ i V w o r o s o .
^ ( o Q prtma. s W a , 1 -1 0 .
Se W wo - roso e <k> -
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186
oX. -
SU m a i otu.
be
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187
P N Pev A on wa.
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j= F = ^ =
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Se
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188
Cfc) Te»-*a sloMTuiy m&aA.'Ufl-Xll.
Se
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Tev-ict sioivAo.^wieas.ZLO-ll?-
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so n . pcv- concc
s tv - e i -
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190
S ‘r
Se
_a_
S do del 0 3 - qet -
d e l mlo
- t o , Se muo
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191
i h ) Q u A r t o . s t o n z . A 7 tr v ic a s . 2 8 0 - Z S b .
Se
* S e 3
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4
U ) Q u a v t a s oL*\A a m e a s . 7 290 0 -^ 1/.
S e
S e e m cl lL du.»-o_a^ -
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192
a‘r
30;
-fe t
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193
S p i r i t o S a n to c o n s i s t i n g o f t e n s t a n z a s a n d 0 J e s u d o lc e c o n s i s t i n g o f e i g h t
s ta n z a s . S a c re d m a d r ig a ls "becoming i n c r e a s i n g l y p o p u l a r a t t h e b e g in n in g
o f t h e 1580*s , b u t t h e m a j o r i t y , u n l ik e P a l e s t r i n a *s c y c l i c m a d r ig a li s p i r i t u a l ! ,
co m p rise d f o u r o r f i v e t h r e e - and f o u r - v e r s e s t a n z a s .
Each s tr o p h e o f V e rg in e b e l l a i s d i v id e d i n t o a s i x - v e r s e f r o n t e an d a
l i n e s a r r a n g e d so t h a t , b y m eans o f t h e i n t e r n a l rhyme ( f » ) i n t h e f i n a l l i n e ,
th e se c o n d v o l t a a b b r e v i a te s t h e schem e o f t h e f i r s t (C d d C /E ff * E ) , ^ The
c c n c a te n a z io n fe , o r l i n k i n g rhyme c o n c lu d in g t h e s e v e n th v e r s e , i s r e p e a t e d a t
th e end o f th e te n th v e r s e . The s ta n z a s o f V e rg in e b e l l a a r e u n i f i e d p o e t i c a l l y
th ro u g h t h e tw e n ty - f o ld r e p e t i t i o n o f t h e " V e rg in e ” em ployed by P e t r a r c h t o
P a le s tr in a fo llo w s :
V e rg in e b e l l a , ch e d i s o l v e s t i t a ,
c o r o n a ta d i s t e l l e , a l sommo S o le
p i a c e s t i s i ch e »n t e s u a lu c e a s c o s e ,
amor mi s p in g e a d i r d i t e p a r o l e 3
ma non s o ’n c o m in c ia r s e n z a tu * a i t a
e d i C o lu i c h 1 amanao i n t e s i p o s e .
In v o c o l e i che b en sem pre r i s p o s e ,
c h i l a chiam o co n f e d e .
V e r g in e , s 1 a m ercede
m is e r i a e s tr e m a d e l r umane c o s e
g i£ m ai t i v o l s e , a l m io p r e g o t* i n c h i n a j
s o c c o r r i a l a m ia g u e r r a ,
b en c h 1 i* s i a t e r r a e tu d e l c i e l re g in a 0
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
isk
V e rg in e s a g g ia e d e l b e l num ero u n a
de l e b e a te v e r g i n i p r u d e n t i ,
a n z i l a prim a e co n pi& c h i a r a lam pa;
o s a ld o scu d o d e l e a f f l i t t e g e n t i
c o n t r ' a* c o lp i d i M orte e d i F o r tu n a ,
s o t t o *1 q u a l s i t r i u n f a , non p u r scam pa;
o r e f r i g e r i o a l c ie c o a r d o r ch> aw am p a
a u i f r a i m o r t a l! s c i o c c h i j
V e rg in e , que* b e l l i o c c h i
che v i d e r t r i s t i l a s p i e t a t a stam p a
n e 1 d o l c i membri d e l tu o c a ro f i g l i o ,
v o l g i a l mio d u b io s t a t o
che s c o n s i g l i a t o a t e ven p e r c o n s i g l i o .
V ergine p u r a , d* o g n i p a r t e i n t e r a ,
d e l tu o p a r t o gen t i l f i g l i u o l a e m ad re ,
c h ’ a llu m i q u e s ta v i t a e 1 * a l t r a a d o m i ,
p e r t e i l tu o f i g l i o e q u e l d e l sommo P a d r e ,
o fe n e s tra d e l c i e l lu c e n te , a l t e r a ,
venne a s a lv a m e i n su l i e s tr e m i g i o m i ;
e f r a t u t t 1 i t e r r e n i a l t r i s o g g io m i
s o la t u f o s t i e l e t t a ,
V e rg in e b e n e d e t t a ,
che *1 p i a n t o d 1 Eva i n a l l e g r e z z a t o r a i .
Fammi ch e p u o i, de l a s u a g r a z i a d e g n o ,
se n za f i n e o b e a t a ,
giS. c o ro n a ta n e l s u p e m o re g n o .
V ergfne s a n t a , d 1 o g n i g r a z i a p i e n a ,
che p e r v e r a ed a l t i s s i m a u m il ta t e
s a l i s t i a l c i e l onde m ie i p r e g h i a s c o l t i ,
tu p a r to r is t i i l fc u te d i p ie ta te
e d i g i u s t i z i a i l s o l , ch e r a s s e r e n a
i l s e c o l p ie n d> e r r o r i o s c u r i e f o l t i :
t r e d o l c i e c a r i nom i a i i n t e r a c c o l t - i ,
m adre, f i g l i u o l a e s p o s a ,
V ergine g l o r i o s a ,
donna d e l Re ch e n o s t r i l a c c i a s c i o l t i
e f a t t o ’ 1 mondo l i b e r o e f e l i c e ,
ne l e c u i s a n t e p ia g h e
preg o ch» appaghe i l c o r, v e ra b e a tric e .
V e rg in e s o l a a l mondo, s e n z a e sem p io ,
che ’ 1 c i e l d i t u e b e l l e z z e in n a m o r a s t i,
c u i n£ prim a f u s i m i l 3 n § s e c o n d a ,
s a n ti p e n s e ri, a t t i p ie to s i e c a s t i
a l v e ro D io s a c r a t o e v iv o tem p io
fec e ro in tu a v e rg in itlt feco n d a.
P e r t e po l a m ia v i t a e s s e r io c o n d a ,
s ’ a* t u o i p r e g h i , o I J a r ia
V e rg in e d o lc e e p i a ,
ove ’ 1 f a l l o abondb l a g r a z i a a b o n d a.
Con l e g in o c c h ia d e l a m en te in c h in e
preg o c h e s i a m ia s c o r t a
e l a m ia t o r t a v i a d i i z z i a buon f i n e .
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19$
V e rg in e c h i a r a e s t a b i l e i n e te m o ,
d i q u e s to te m p e s to s o m are s t e l l a ,
d* o g n i f e d e l n o c c h ie r f i d a t a g u i d a ,
pon m ente i n c h e t e r r i b i l e p r o c e l l a
i* m i r i t r o v o s o l , s e n z a g o v e rn o,
e d 5 gi& d a v i e i n 1 * u ltim e s t r i d a .
Ma p u r i n t e 1 * anim a m ia s i f i d a ,
p e c c a t r i c e , i* n o l n e g o ,
V e r g in e , ma t i p r e g o
c h e ’ 1 tu o nem ico d e l m io m al non r i d a .
R ic o r d iti che fe c e i l p e c c a r n o s tr o
p r e n d e r D io , p e r s c a m p a m e ,
umana c a m e a l tu o v i r g in a l c h io s tro .
V e r g in e , q u a n te la g r im e t giS. s p a r t e ,
q u a n te l u s in g h e e q u a n ti p r e g h i in d a m o ,
p u r p e r m ia p e n a e p e r m io g ra v e d a n n o j
Da p o i ch* i* n a c q u i i n s u l a r i v a d ’ A m o ,
c e rc a n d o o r q u e s ta ed o r q u e l l T a l t r a p a r t e
non S s t a t a m ia v i t a a l t r o ch* a ff a n n o j
m o r t a l b e l l e z z a , a t t i e p a r o l e mf an n o
t u t t a in g o m b ra ta 1 * a lm a .
V e rg in e s a c r a e d a lm a ,
n on t a r d a r , c h 1 i 1 so n f o r s e a 1 * u l ti m o an n o :
i d i m ie i p i u c o r r e n t i che s a e t t a ,
f r a m is e r i e e p e c c a t i
sonsen a n d a ti, e s o l m o rte n 1 a s p e t t a .
V e r g in e , t a l e I t e r r a e p o s to i n d o g lia
l o m io c o r , ch e v iv e n d o i n p i a n t o i l t e n n e ,
e d e m i l l e m ie i m a li u n n o n s a p e a -
e p e r sa p e rlo p ur q u e l che n * aw enne
f o r a a w e n u t o , c h 1 o g n i a l t r a su a v o g l i a
e r a a me m o rte e d a l e i fam a r e a .
Or t u , Donna d e l c i e l , t u n o s t r a D ea,
se d i r l i c e e c o n v e n si,
V e rg in e d ’a l t i s e s i s i,
t u v e d i i l t u t t o , e q u e l ch e non p o t e a
f a r a l t r i d n u l l a a l a t u a g ra n v e r t u t e ,
p o r f i n e a l m io d o l o r e ,
ch* a t e o n o re e d a me f i a s a l u t e .
Each s t a n z a o f P a l e s t r i n a ’s s e t t i n g o f V e rg in e b e l l a i s w r i t t e n f o r f i v e
v o ic e s . I n f a c t , E c c * o s c u r a t i i c h i a r i r a g g i i s t h e o n ly c y c l i c m a d r ig a l b y
v o c a l ra n g e s em ployed i n V e rg in e b e l l a a r e t y p i c a l o f th e r e l a t i v e l y h ig h
c l e f c o m b in a tio n s s u c h a s t h e n a t u r a l c h i a v e t t e o c c u r i n l e s s t h a n o n e - t h i r d o f
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
196
i n th e m is u r a comune w ith t h e b a s ic te m p o r a l u n i t f a l l i n g on t h e s e m ib re v e . A
m odern e d i t i o n o f t h e c a n z o n e t r a n s c r i b e d by R a f f a e l e C a s i m i r i i s a v a il a b le i n
t h e f o llo w in g p a ra g ra p h s r e f e r t o t h a t e d i t i o n .
I n h i s e a r l i e r m a d r i g a l s , P a l e s t r i n a t e n d e d t o b re a k up th e h e n d e c a s y l-
p o i n ts o f i m i t a t i o n o r t r e a t e d i n c o n t r a s t i n g w a y s . Such f r a g m e n ta tio n o f
th e v e r s e o c c u rs i n f r e q u e n t l y i n V e rg in e b e l l a ; h o w e v e r, i n o t h e r r e s p e c t s t h e
s t y l e o f t h e i n d i v i d u a l s e c t i o n s o f t h e ca n zo n e i s s i m i l a r t o th o s e o f th e
s e s t i n a p u b lis h e d t w e n ty - s ix y e a r s b e f o r e .
Som etim es t h e s t r u c t u r a l d i v i s i o n s o f t h e ca n zo n e s ta n z a a r e r e f l e c t e d b y
t h e m u s ic a l s e t t i n g . F o r exa m p le , i n t h e f i r s t , th e t h i r d , t h e f o u r t h , and
th e f i f t h s t a n z a s , th e m u sic i s t h e sam e f o r t h e tw o p i e d i o f e a c h f r o n t e .
The r e p e t i t i o n n o t o n ly j o i n s t h e tw o p i e d i , b u t i t c l e a r l y s e p a r a t e s them
b u t t h e s i x t h s ta n z a . In th e f i r s t s ta n z a th e s e tt in g o f th e n i n th v e rs e i s a
s l i g h t l y v a r i e d r e p e t i t i o n o f th e e ig h t h (m e a su re s 9 2 - 9 8 and m ea su res 9 9 - 1 0 6
re p e titio n . Example 22 i s t y p i c a l o f t h e th e m a ti c r e l a t i o n s h i p s t h a t u s u a l l y
e x i s t betw een t h e e i g h t h a n d th e n i n t h v e r s e s . I n t h e f o u r t h a n d th e f i f t h
( t h e i n t e r n a l rhyme f * d i v i d e s t h e t h i r t e e n t h v e r s e i n t o se g m e n ts o f f i v e and
f i e s t h e p o e ti c s t r u c t u r e o f t h e i n d i v i d u a l s tr o p h e , b u t r e l a t i o n s h i p s betw een
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197
E x a m p le 2 2 . PaV estvU \a:.Ve>ng'a\& Wllxx,
s ’ta n M .; gs
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198
th e m u s ic a l and th e p o e t i c form a r e n o t c o n s i s t e n t l y a p p l i e d i n a l l t h e s ta n z a s
of th e c y c le .
D e s p ite t h e f a c t t h a t t h e f i r s t and t h e n i n th v e r s e s o f e a c h s tr o p h e b e g in
w i t h t h e i n v o c a t io n " V e r g in e ," t h e s ta n z a s o f t h e c a n zo n e a r e n o t r e l a t e d
m e lo d ic m a t e r i a l , t h e n o n - e x i s te n c e o f t h e m a tic r e l a t i o n s h i p s b e tw e en t h e f i r s t
and t h e n i n t h v e r s e s of e a c h s ta n z a o r among t h e n i n t h v e r s e s o f t h e s u c c e s s iv e
s ta n z a s i s n o t s u r p r i s i n g . How ever, i t i s p o s s i b l e t o d i s c e r n a p a t t e r n i n t h e
s tr o p h e . Example 2 3 , w hich p r e s e n t s t h e o p e n in g p h r a s e s o f t h e e i g h t s t n a z a s ,
M o tiv e A i s em ployed i n th e f i r s t a n d t h e f i f t h s t a n z a s 3 i n t h e se c o n d an d t h e
f o u r t h and t h e e ig h t h s t a n z a s . I t i s im p o s s ib le t o e s t a b l i s h w h e th e r P a l e s t r i n a
w as c o n s c io u s ly t r y i n g t o a c h ie v e a s e n s e o f u n i t y w ith o u t r e s o r t i n g t o t h e
u t i l i z e d i n t h e s u c c e s s iv e s tr o p h e s w as d e f i n i t e l y o r d e r e d ( t h i s w i l l be d i s
c u s s e d i n t h e f o llo w in g p a r a g r a p h ) , w o u ld s u p p o rt t h e a u t h o r ’s v ie w t h a t t h e
p a t t e r n o f rh y th m ic v a lu e s em ployed t o s e t t h e f i r s t w o rd o f e a c h s ta n z a w as
n o t fo rtu ito u s .
A lth o u g h m e d ia n t, s u b d o m in a n t, and d o m in a n t t o n a l a r e a s w e re p r o lo n g e d
h a r m o n ic a lly i n many o f th e m u l t i - s t r o p h i c m a d r ig a ls p u b l is h e d d u r in g t h e s i x
c lu d in g on to n e s o t h e r t h a n t h e t o n i c w e re u s u a l l y p a r t o f a h i g h e r l e v e l o f
th e t o n a l s t r u c t u r e , movements o f t e n b e in g l i n k e d b y c h a in s o f h a l f c a d e n c e s .
U n lik e t h e m a j o r it y o f c y c l e s , P a l e s t r i n a ’s s e t t i n g o f V e rg in e b e l l a em ploys
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199
E * c ^ !a 2 3 . jU e sk n g W IU .
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c o n t r a s t i n g modes an d k e y s ig n a tu r e s „ The e i g h t s ta n z a s a r e p a i r e d t o n a l l y i n
t h e f o ll o w i n g m anner: ( l ) th e f i r s t a n d t h e s e c o n d s ta n z a s a r e w r i t t e n i n th e
w ith a p e r f e c t a u t h e n t i c c a d e n c e 3 ( 2 ) b o th t h e t h i r d an d th e f o u r t h s t a n z a s ,
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200
and the root of the chord in th e fou rth ; (3) the f i f t h and the s ix th sta n z a s,
ten in the transposed Ionian mode, and both are concluded by au thentic
sta n z a s, which are w ritten in the n atural Mixolydian mode, are a ls o concluded
of the f i r s t .
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201
tra g i-c o m e d y . S t r u c t u r a l l y , th e c an zo n e c o n s i s t s o f f i v e t h i r t e e n - v e r s e
s t r o p h e s , t o t h e l a s t o f w h ic h i s ap p en d ed a t h r e e - v e r s e c om m iato, Each
The f i v e s ta n z a s a re u n i f i e d b y t h e r e p e t i t i o n o f t h e w o rd " B a c i” a t th e
b e g in n in g o f each s tr o p h e ; t h e co m m iato , w h ic h b e g in s w i t h t h e f o u r t e e n t h
f i f t h s ta n z a s ; from th e s ta n d p o i n t o f u n i f i c a t i o n , h o w e v e r, d u e t o t h e i r i n
t e r n a l p o s i t i o n a n d i r r e g u l a r s p a c in g , t h e l a t t e r ex am ples a r e r e l a t i v e l y l e s s
im p o r ta n t th a n t h e f o rm e r. The t e x t a s s e t t y M a re n z io f o ll o w s :
B aci s o a v i e c a r i ,
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c * h o r m* i n v o l a t e , h o r m i r e n d e t e i l c e r e ;
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d i ru b in i e d i p e rle a l t i t e s o r i ,
e t r a q u e s ti a t r a q u e lle
a u re d o l c i e g r a d i t e ,
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e b a c ia e s t r i n g e b a c ia e s o s p ir a n d o d i c e ,
Amor ch* -an isee 1* a lm e ,
u n i t cl a n c o r l e fa lm e .
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202
combination o f c l e f s (T reb le/ T reb le/ Mezzo/ A lto / A lt o / Baritone) and the
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203
ty p ic a l o f the way in which Marenzio o ften grouped s e c tio n s o f an ex ten siv e work.
tio n , but th ere i s no r e a l d iffer en ce in the exp loration o f varying tex tu res or
in the tendency to work w ith short motives rath er than spun-out melodic id ea s,
I n a l l b u t t h e t h i r d s t a n z a , t h e f i r s t w o rd s i n th e f i r s t an d t h e s e v e n th
v e r s e s (b e g in n in g o f th e f r o n t e a n d t h e s ir i m a r e s p e c t i v e l y ) a r e accom panied
b y lo n g - h e ld c h o rd s t h a t s e t t h e w o rd s a p a r t fro m t h e r e s t o f t h e l i n e . For
t h e m eaning o f th e t e x t t h a n w i t h t h e s t r u c t u r e o f t h e c an zo n e s tr o p h e . T h e re
a r e n o exam ples o f r e p e t i t i o n s i m i l a r t o P a l e s t r i n a »s t r e a tm e n t o f th e p i e d i i n
p r e s e n t s a s l i g h t l y con d e n se d v e r s i o n o f t h e f i r s t s ta te m e n t (m e a su re s l±3 - 5 o ) .
I n m e a s u re s 5 0 -5 2 , th e t w e l f t h v e r s e i s d e c la im e d by t h e f o u r lo w e r v o i c e s .
The melodic m aterial i s e s s e n t ia lly the same in the second statement (measures
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5 9 - 6 1 ) 3 but the parts have been s h ifte d to the upper four v o ic es* From the
standpoint o f th e p o etic stru ctu re, there i s no reason why the two v er ses should
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in g s e c t i o n s o f t h e f i v e s ta n z a s a n d t h e commiato o f B a c i s o a v i e c a r i a r e
o f s u c h a d e g re e t h a t t h e r e l a t i o n s h i p s w o u ld h a v e b e e n d i s t i n c t l y a u d ib le *
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To sum m arize, w h e re a s t h e s e s t i n e d is c u s s e d i n t h e p r e c e d i n g s e c t i o n w e re
u n i f i e d o n ly i n t h e i r t o n a l s t r u c t u r e a n d c o n t i n u i t y o f m ood, t h r e e o f th e
i n t e g r a t e t h e f i r s t f o u r s ta n z a s ; (2 ) b y em p lo y in g d , e , F , a n d G a s r e s p e c t i v e
t o n a l c e n te r s o f t h e f o u r p a i r s o f s ta n z a s i n h i s s e t t i n g o f V e rg in e b e l l a ,
t h e b e g in n in g o f e a c h s tr o p h e , P a l e s t r i n a e x p lo r e d o t h e r m eth o d s o f u n i f y i n g
m u l t i - s t r o p h i c s e t t i n g s ; ( 3 ) M a re n z io ’s te c h n iq u e o f s y s t e m a t i c a l l y s e t t i n g
o f c y c li c u n i f i c a t i o n *
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205
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O tta v e Rime
s i x t e e n t h c e n tu r y w e re p a s s a g e s fro m t h e tw o I t a l i a n e p i c s , O rlan d o f u r i o s o by
A r i o s t o and Gerusalemme l i b e r a t a b y T o rq u a to T a s s o , a n d t h e q u a s i - r e l i g i o u s
p o e t r y w r i t t e n f o r p r i v a t e d e v o ti o n a l g a th e r in g s s u c h a s th o s e s p o n s o re d b y
fro m f o u r t o f i f t y . One o f t h e m o st im p o r ta n t c o l l e c t i o n s o f s e t t i n g s o f o t ta v e
l e s ta n z e d e l F u r io s o w e re s e t t i n g s o f s i n g l e s t r o p h e s , o t h e r s w e re g ro u p e d a s
c y c le s h a v e b e e n c h o s e n a s t y p i c a l ex a m p le s: 3 a r r § 's s e t t i n g o f Dunque f i a v e r
d i c e a p u b lis h e d i n D r a g o n ! ’s s e t t i n g o f L ’ on d e d e m ie i p e n s ie r p u b lis h e d
i n 1 5 7 5 ^ ° a n d M a rs n z ic ’s s e t t i n g o f G iu n to a l a tom ba p u b lis h e d in
P a l e s t r i n a ’s c y c l i c s e t t i n g s o f o t ta v e rim e d i f f e r e d c o n s id e r a b l y fro m th o s e
p u b lis h e d by h i s Roman c o n te m p o ra r ie s : i n Da fu o co c o s i b e l n a s c e , ^ a p a ro d is -
p o n d in g v e r s e o f P e t r a r c h ’ s s e n n e t Pace n on t r o v o , P a l e s t r i n a borro w ed m a t e r i a l
a p r a y e r t o t h e B le s s e d V i r g i n , t h e t h i r t y s ta n z a s w e re n o t u n i f i e d m u s ic a lly
p o s i t i o n o f c y c l i c m a d r i g a l s , Da fu o c o c o s i b e l n a s c e w i l l be d i s c u s s e d , be
c a u s e i t p r o v id e s a c o n t r a s t t o t h e te c h n i q u e s em ployed i n t h e t h r e e o th e r
o t t a v e rim e .
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209
O rlan d o f u r i o s o , w as s e t i n i t s e n t i r e t y s e v e r a l tim e s d u r in g t h e s i x t e e n t h
c e n tu r y * ^ B a rre * s s e t t i n g , t h e f i r s t o ne t o a p p e a r i n p r i n t , ■was p u b l is h e d
P a o lo A n im u cc ia , G iovan F r a n c e s c o C a l d a r i n o , G h i s e li n D a n c h e r ts , V in cen zo
Dunque f i a v e r , d i c e a , c h e m i convegna
c e r c a r e un che m i fu g g e e mi s* a scc n d e ?
Dunque debbo p r e z z a r e un c h e m i sd eg n a?
Debbo p r e g a r c h i m ai n o n m i ris p o n d e ?
P a r tirf c che c h i m* o d i a , i l c o r mi te g n a ?
Un c h e s i s tim a s u e v ir b i l p r o f o n d e ,
che b iso g n o s a r a ch e d a l c i e l s c e n d a
im m o rtal Dea ch e ’ 1 c o r d* amor g l i accen d a?
S a q u e s to a l t i e r ch* i o 1* amo e c h * io 1 ’ a rd o r o j
n l m i v u o l p e r am an te, n& p e r s e r v a .
I I c r u d e l s a ch e p e r l u i spasm o e moro;
e dopo m o rte e d a rm i a i u t o s e r v a .
E p e rc h I i o no n g l i n a r r i i l m io m a r to ro ,
a t t o a p i e g a r l a s u a v o g l i a p r o te r v a ,
d a me s » a s c o n d e , come a s p id e s u o l e ,
c h e , p e r s t a r em p io , i l c a n to u a i r n o n w o l e .
Deh fe rm a . Amor, c o s t u i ch e c o s i s c i o i t o
d in a n z i a l l e n t o m io c o r r e r s* a f f r e t t a j
o to m a m i n e l g rad o onde m* h a i t o l t o ,
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Deh come h i l m io s p e r a r f a l l a c e e s t o l t o ,
ch* i n t e con p r i e g h i m ai p i e t a s i m e tta j
che t i d i l e t t i , a n z i t i p a s c i e v i v i
d i t r a r d a g li c c c h i la c rim o s i r i v i J
Ma d i c h e debbo l a m s it a r m i, a h i l a s s a j
F u o rc h l d e l m io d e s i r e i r r a z i o n a l e ?
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Ch* a r r i v a i n p a r t e ove s* a b b r u c ia 1* a l e j
p o i , n o n p o te n d c s o s t e n e r , m i l a s s a
d a l c i e l c a d e r : n£ q u i f i n i s c e i l m ale;
che l e r i m e t t e , e d i nuove a r d e : ond* i o
non h o m ai f i n e a l p r e c i p i z i o mio*
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210
E x c e p t f o r t h e p r e s e n c e o f tw o m e n s u ra tio n s ig n s (<$ a n d C) a n d t h e s im p li
c i t y o f t h e t o n a l s t r u c t u r e ( t h e m a j o r i t y o f s e c t i o n s b e g in on t h e t o n i c , p ro g
la m e n t. M ost o f t h e v e r s e s o f t h e can zo n e w e re s e t i n o v e r l a p p in g p o i n t s o f
i m i t a t i o n ; d e s p i t e o c c a s io n a l i m i t a t i o n , e x p r e s s io n i n t h e la m e n t w as c o n c en
t r a t e d i n t h e d e c la m a tio n o f th e u p p e r v o i c e . I n f a c t , m o st s e c t i o n s o f Dunque
f i a v e r d i c e a c o n s i s t o f a f o u r - p a r t c h o r d a l s ta t e m e n t o f t h e v e r s e f o llo w e d
b y r e s t s i n a l l v o i c e s b e fo r e t h e b e g in n in g o f t h e n e x t s e c t i o n . A lth o u g h t h e
s im u lta n e o u s a p p e a ra n c e o f r e s t s i n a l l p a r t s c l e a r l y d e l i n e a t e s t h e b e g in n in g
a n d t h e end o f a s e c t i o n , p a i r i n g o f s e c t i o n s o f te n r e s u l t s fro m t h e u s e o f
o v e rla p p in g t o n a l p r o g r e s s io n s . F o r ex a m p le , t h e s e v e n th a n d t h e e ig h t h v e r s e s
o f t h e f i r s t s ta n z a (m e a su re s 20-23 an d m ea su res 2 3 - 2 7 r e s p e c t i v e l y ) ^ p r e s e n t
g t o D i n t h e f i r s t p h r a s e i s c o n c lu d e d b y a r e t u r n t o t h e t o n i c i n th e s e c o n d ,
in g v e r s e s a s i n th e t h i r d s tr o p h e w h ere t h e t h i r d s e c t i o n (m e a su re s 7 2 - 7 6 ) i s
m u s i c a ll y i d e n t i c a l t o t h e f i r s t (m e a su re s 6 2 - 6 6 ) , b u t t h e m o st t y p i c a l exam p les
in v o lv e r e p e t i t i o n o f t h e e i g h t h v e r s e o r b o th t h e s e v e n th an d t h e e ig h t h
v e r s e s a s i n t h e s e c o n d , t h e t h i r d , an d t h e f o u r t h s ta n z a s (m e a su re s 5 2 - 6 1 ,
o f m u s ic a l r e p e t i t i o n o c c u r o n ly o n t h e s e c t i o n a l l e v e l . As f o r m u s ic a l r e l a
t i o n s h i p s among t h e f o u r s t a n z a s , t h e m e lo d ic c o n f i g u r a t i o n s t y p i c a l o f t h e
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211
t r a n s p o s e d D o ria n mode p ro d u ce a c e r t a i n d e g re e o f m e lo d ic s i m i l a r i t y , b u t
s p e c i f i c m o tiv ic r e l a t i o n s h i p s a r e c o m p le te ly l a c k i n g . D e s p ite t h e a b s e n c e o f
r e p e a t e d m a t e r i a l i n th e s u c c e s s iv e s ta n z a s o f e i t h e r Dunque f i a v e r d i c e a o r
a n d t o n a l h o m o g en e ity t h a t c h a r a c t e r i z e s e a ch c y c l e .
l i b r o d e m a d r i g a l i a c in q u e v o c i o f 1 5 7 5 « ^ I n t h e o p e n in g s e n te n c e o f th e
d e d i c a t i o n D ra g o n i p a id t r i b u t e t o h i s t e a c h e r P a l e s t r i n a . I t i s n o t s u rp ris
in g t h a t t h e m a d r ig a ls i n c lu d e d i n t h e F i r s t Book a r e q u i t e c l o s e l y r e a l t e d i n
l i k e h i s t e a c h e r , D ra g o n i te n d e d t o d i v id e t h e h e n d e c a s y lla b ic v e r s e a f t e r t h e
f i f t h o r t h e s i x t h s y l l a b l e , s o t h a t m ost s e c t i o n s c o n s i s t e d o f tw o d i s t i n c t
fra g m e n t t h e v e r s e i s n o t c h a r a c t e r i s t i c o f t h e l a t t e r c o l l e c t i o n . 70 I n o th e r
r e s p e c t s t h e m a d r ig a ls c o m p risin g t h e two bo o k s a r e s t y l i s t i c a l l y s i m i l a r .
L* onde de m ie i p e n s i e r 3 o f w h ic h D ra g o n i!s i s a p p a r e n t ly t h e o n l y s e t t i n g ,
f o u r s ta n z a s s e t by D rag o n i f o llo w s :
1 * onde d e m ie i p e n s i e r p o r ta n o i l c o r e 3
hor* a i l i t i d i spem 1 h o r d i p a u r a
quando i l p e r c u o t e , i l f o lg o r e d ' am o re,
quando te m p e s ta d i g e la t o c u r a ,
h o r 1 * o f f o s c a , una n e b b ia d i d o l o r e ,
e t h o r 1 * a b b a g li a , un s o l s o v ra n a t u r a ,
s m a r ito h a i l p o r t o , e i n d e s p e r a ta s o rb e
p a s s a t r a s c o g l i d i r u i n a , e m o rte .
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212
Dhe m ir a te i n v o i s t e s s a i l m io p e r i g l i o ,
dorma n o b i l c a g io n d e m ie i t o r m e n t i ,
p e r v o i n a s c e i l mio i u o l , more i l c o n s i g l i o ;
d a v o i p ro ce d o n l e te m p e s te e i v e n t i ,
dhe v o lg e te t a l * h o r p i e t o s o i l c i g l i o ,
i l f o l t o s t u o l d e m ie i s o s p i r i a r d e n t i
c h e p a rte n d o d a l c u o r p e r o g n i lu o c o ,
m e tto n t u t t i i m ie i s p ir f c i a fiam m a e f u o c o .
Almen v e d e te t a l 1* in c e n d io m io
come p a r t o d i v o i de i v o s t r i l u m i.
Se m* accendono a u e i d 1 a l t o d e s i o ,
r is p l e n d a a n c o r l a s u a p i e t a d e i n v o i .
Dhe non n u t r i t e m a i, p e n s i e r s i r i o
ch* a l nome v o s t r o , seg u en o i c o s tu m i,
t ro p p o § c o s a c r u d e l c h 1 h a b b ia n e l p e t t o
un c o r d i f i e r a , u n a n g e lo d* a s p e t t o .
D i f a v i l l e d 1 am or, d i r i v e r e n z a ,
d i n a n z i a l a m ia d e a v =l imisa o r n a t a ;
e t se t r o v i d a l e i g r a ta a c c o g lie n z a ,
r i t o m a t i v o la n d o a me b e a ta .
ma s e l a MaestS. d e l l a p r e s e n z a
f u s s e d ' o r g o g li o , e d i r i g o r e a rm a ta
m ai p i n n o n mi v e d e r , ma m o rte t r o v a
ch e venga a f a r d i me 1 * u ltim o p r o v a .
l i b r o d e m a d r i g a l i a c in q u e v o c i , a l l t h e s t a n z a s o f L* onde d e m ie i p e n s ie r
a r e w r i t t e n f o r f i v e v o i c e s , b u t t h e two c y c le s u t i l i z e d i f f e r e n t c l e f com
p o e t i c s t r u c t u r e o f c a n z o n i an d o t ta v e rim e l a r g e l y a c c o u n t f o r t h e v a r i a t i o n s
am oroso t h e r e i s a te n d e n c y , a l b e i t u n s y s te m a t i c a l ly e x p l o i t e d , t o a c c e n t u a te
t h e d i v i s i o n o f t h e s tr o p h e i n t o t h e f r o n t e a n d t h e s i rim a a n d t o u n d e r l i n e t h e
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213
B) a n d th e f in a l c o u p le t em p lo y in g a t h i r d rhyme (C) w as i l l u s t r a t e d b y D ra g o n i
and t h e f i n a l tw o v e r s e s w e re o v e rla p p e d w i t h a d i s t i n c t b re a k o c c u r r in g b e
tw een t h e s i x t h a n d t h e s e v e n th v e r s e s 5 i n th e s e c o n d , t h e t h i r d , and t h e f o u r t h
s t a n z a s , t h e f i n a l c o u p le t w as s e t a p a r t fro m th e f i r s t s i x v e r s e s b y t e x t u a l
and m u s ic a l r e p e t i t i o n . The te n d e n c y t o g ro u p t h e l a s t tw o v e r s e s o f a n o t t a v a
e x p l i c i t m e lo d ic r e l a t i o n s h i p s among t h e v a r i o u s s t a n z a s . N e v e r th e l e s s , s im i
s i o n s , h e l p t o p ro d u c e f o rm a l c o h e s io n .
D u rin g th e l a s t q u a r t e r o f th e s i x t e e n t h c e n tu r y an d t h e f i r s t t h r e e
d e c a d e s o f t h e s e v e n te e n th c e n tu r y , T o rq u a to T a s s o ’s Gerusalemme l i b e r a t e w as
a n im p o r ta n t s o u rc e o f m u s ic a l t e x t s . The m a j o r i t y o f p o ly p h o n ic s e t t i n g s c o n
w e re q u i t e r a r e . I n f a c t , o f t h e 523 c y c le s l i s t e d i n A ppendix B, o n ly s i x
em ploy p a s s a g e s fro m T a s s o ’s e p i c : t h e t h r e e s e t t i n g s o f G iu n to 11 l a t o m b a ,^
T a n c re d ’ s p a s s i o n a te o u t b u r s t a t t h e tomb o f h i s b e lo v e d C lo iin d a ( X I I , 9 6 - 9 9 ) 5
h e r , 7^ E r m in ia ’s o u tp o u rin g o f h e r lo v e f o r T a n c re d ( V I I , 1 9 - 2 2 ),
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21b
p a r t m a d r ig a ls w h ic h w e n t th ro u g h o n ly one o r tw o e d i t i o n s , M a re n z io ’ s F o u rth
Book a c h ie v e d w id e s p re a d s u c c e s s a s i s a t t e s t e d b y t h e a p p e a ra n c e o f f i v e more
G iu n to a l a to m b a , ove a l su o s p i r t o v i v o
d o lo r o s a p r i g i o n e i l C i e l p r e s c r i s s e ,
d i c o l o r , d i c a l o r , d i m oto p r iv o
g ill f r e a d o marmo a l marmo i l v o l to a f f i s s e .
A l f i n s g o rg a n d o un la g r im o s o r i v o ,
i n un la n g u id o oim^ p r o ru p p e , e d i s s e :
0 s a s s o am ato t a n t o , amaro t a n t o ,
che d e n tr o h a i l e m ie fiam m e, e f u o r i i l p i a n t o .
Non d i m o rte s e i t u , ma d i v i v a c i
c e n e r i a lb e r g o , ov* % n a s c o s to Amorej
s e n to d a l f re d d o t u o l e u s a te f a c i ,
men do l e i s i , ma n o n men c a ld e a l c o r e .
Deh p r e n d i i m ie i s o s p i r i , e q u e s t i b a c i
p r e n d i , c h ’ i o bagno d i a o g lio s o um orej
e d a l l i t u , p o i c h 1 i o n o n p o s s o , alm eno
a l e am ate r e l i q u i e c 1 h a i n e l s e n o .
D a l l i l o r t u , c h e , s e m ai g l i o c c h i g i r a
1 ! anim a be 1 1 a a l e su e b e l l e s p o g l i e ,
t u a p i e t a t e e m io a r d i r non a v rl. i n i r a ;
ch* o d io o sdegno IS. s h n on s i r a c c o g l i e .
P e ra o n a e l l a i l mio f a llo w e s o l r e s p i r a
i n q u e s ta speme i l c o r f r a t a n t e d o g l i e .
S a ch* em pia £ s o l l a mano, e non 1* h n o i a
c h e , s* amando l e i v i s s i , amando i 1 rn o ia.
Ed amando m o rro : f e l i c e g i o m o ,
quando c h e s i a j ma p i u f e l i c e m o lto ,
s e , come o r vad o e r r a n t e a t e d* i n t o m o ,
a l l o r sar<5 d e n tr o a l tu o grembo a c c o l t o .
F a c c ia n 1* anim e am iche i n C i e l s o g g io r n o ;
S i a 1* un s p i r i t o e 1* a l t r o in u n s e p o l t o :
c i d che *1 v i v e r n on e b b e , a b b ia l a m o rte .
Ch, s e s p e r a r c i b l i c e , a l t e r a s o r t e i
E x c e p t f o r t h e f a c t t h a t e a c h s ta n z a o f G iu n to U l a tom ba i s w r i t t e n f o r
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215
number of segments each o f "which is a sso c ia ted w ith a p articu lar m usical motive
and a l l o f which are then combined in a q u a si-im ita tiv e textu re w ithout regard
r e fle c te d some aspect of the rhyme structure o f the strop h e. In some ca ses
dicea and L* onde de m iei p en sier th e f in a l cou p let i s in some way accentuated.
The stru ctu ra l re la tio n sh ip s anong v er ses are not d elin ea ted m u sically in
None o f th e three composers whose ottave rime have been d iscu ssed appears
are reinforced by more ephemeral q u a litie s which help to e s ta b lis h a co n tin u ity
o f mood.
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216
P o r e ’ s Second Bock o f f o u r - p a r t m a d r i g a l s , 79 C u r io u s ly e n o u g h , P a l e s t r i n a ’s
c y c le a c c o u n te d f o r more t h a n h a l f t h e c o l l e c t i o n ’ s c o n t e n t s . T hat s u c h a
a c q u a in te d w i t h th e y o u n g e r man h a s come t o l i g h t , 8 0
The t e x t o f Da fu o co c o s i b e l n a s c e w as a t y p i c a l p r o d u c t o f t h e e x t r a
o r d in a r y vogue f o r l i t e r a r y c e n to n i z a t i o n t h a t c h a r a c te r i z e d much s i x t e e n t h -
s ta n z a s w e re t h e w ork o f a S ie n e s e p o e t e s s , V i r g i n i a S a l v i , who w as p ro b a b ly
t h e c o rr e s p o n d in g v e r s e o f P e t r a r c h ’ s s o n n e t. I n a d d i t i o n t o p r e s e n t in g t h e
q u o te d m a t e r i a l a n d a s e r i e s o f g l o s s e s upon th e i n d i v i d u a l l i n e s o f t h e s o n n e t,
th e f o u r t e e n s ta n z a s d e a l w i t h th e th em e o f j e a l o u s y , t h e r e b y in tr o d u c in g a new
e le m e n t t h a t w as n o t p a r t o f t h e P e t r a r c h a n m o d el. As James H a a r h a s n o te d ,
i n i t s c o m b in a tio n o f in d e p e n d e n t t h o u g h t , p a r a p h r a s e , a n d q u o t a t i o n , th e
i s a s fo llo w s s
Da fu o c o c o s i b e l n a s c e i l m io a rd o r e
c h ’ i n me s i f a c e e t e m o c o l d e s i o ,
I I l a c c i o co n c h e 1 * alm a a w i n s e amore
§ t a l c h ’ i n p i a c e r v o lg e i l m a r t i r m io,
Q u esto s o l m i to rm e n ta e a f f l i g g e i l c o re
non p o t e r t o r d ’ a l t r u i q u e l tim o r r i o „
Q u esto l a m ia d o lc e z z a t u r b a a a t t e r r a :
’’P ace non tr o v o e n o n ho d a f a r g u e r r a , ”
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217
Ttapace in g o rd a s v e n e n o sa f i e r a ,
sem e, c h e sp eg n e o g n i d o l c e s s a m ia ,
de 1 * a l t r u i danno s o l t i g o d i a l t i e r a .
Ten v a i tro n c a n d o i l ben c h ’ a l t r u i d e s i a .
F e l ic e c h i d a t e f u g g i r e s p e r a ,
o i n f e r n a l f u r i a i n iq u a g e l o s i a
ch* i n t e p e n san d o i ’ mi consume e s f a c c i o :
" e tem o e s p e ro e d a rd o e so n o u n g h i a c c i o . ”
Da 1* em pia g e l o s i a n a s c e i l to rm e n to
ch e d e l c a r o mio b en l a s s o m i p r i v a .
Q u esta s o l mi d i s f a c e ed a g ill s p e n to
1 * umor che q u e s ta s p o g l i a t e n e a v i v a .
E l l a mi t o l s e i l d o l c e e b e l c o n c e n to
d e l l e p a r o l e , o n d ’ i o g ill mi n u d i iv a .
P e ro p ia n g e n d o i o m i consume e t a c c i o ,
” e n u l l a s t r i n g o e t u t t o ’ 1 mondo a b b r a c c io ."
S i mi v in c e t a l o r 1* a s p ro m a r t i r e ,
che p e r m in o r m io d u o l c o r r e a l i a m o r te ,
l a r a g io n p o i mi s v e g l i a e p re n d e a r d i r e
e a I 1 empio m io d e s i r s e r r a l e p o r te
e d ic o : A hi l a s s o i v u o i dunque f i n i r e
t u a v i t a i n co sx d u r a e a c e r b a s o r t e ?
E i n q u e s to v a n s o c c o r s o i l p e n s i e r e r r a .
s,T a l m* h a i n p r i g i o n c h e n o n m’ a p re n e s e r r a . ”
0 e f f e t t o r i o che ’ 1 p i i f e l i c e s t a t o
che g o d e r p o s s a a lm a d ’ amor a c c e s a
c o l venenoso tu o t o s c o h a i t u r b a t o ;
r a t t o l a s u a o e a ta e d a l t a ixapresa
a v e s s e alm en i l d e b o l f i l t r o n c a to
e a l i a s u a p rim a m adre 1 ’ alm a r e s a
che omai d a me l a v i t a o d io e d i s c a e c io
" n ! p e r suo mi r i t i e n , n ! s c i o g l i e i l l a c c i o . "
Amore non v o le n d o i o c h e ’1 m io g i o i r e
s e n z a c h ’ a t e p i a c e s s e , f u s s ’ e te m o
con l a tu a a i t a a l c i e l s p e ra i s a l i r e j
che s e n z a t e non ho g u id a o g o v e m o .
E s e p u r s a i c h e t a l f u i l m io d e s i r e ,
p e r c h ! i n f o n d i n e l c o r i l d u o l e te m o ?
Ahim! g i ! l i e t a s o r t e , o r s e i s o t t e r a ,
”e non m* a n c id e am or, e non mi s f e r r a 0”
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218
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
219
S a z io d i to rm e n ta r m i, Amore s t a s s i
l o s t a t o m io m iran d o i n t e n t o e f i s s o .
2 v e g g io g l i o c c h i m ie i d i p ia n g e r l a s s i ,
e 1 « im a g in d i m o rte e n tr o a l m io v i s o .
Son q u e s t i i m e r t i ch* a t u o i f i d i l a s s i
amor p o ic h e ms h a i i l c o r d i p e n a a n c is o
i o p e r men d o g l ia i o bram o a i r e g n i b u i .
” i n q u e s to s t a t o s o n , c o r m io , p e r v u i * n
P a l e s t r i n a ’s s e t t i n g o f Da fu o c o c o s i b e l n a s c e c o n t r a s t s d e c id e d l y i n
p o i n t s o f i m i t a t i o n , and a s a r e s u l t t h e r e i s a l e s s e r te n d e n c y t o d i v id e th e
q u o t a t i o n o r p a ra p h r a s e o f th e c o rr e s p o n d in g s e c t i o n o f I v o ’ s s e t t i n g o f
P a c e n on t r o v o , 83 ?ahich i n c o r p o r a t e s t h e s t y l i s t i c n o v e l t i e s o f t h e n o t e n e r e o r
o f t h e t e x t a n d b y th e i n t r o d u c t i o n o f s y n c o p a tio n a n d e x tre m e c o n t r a s t s o f
rh y th m ic v a l u e s * ^ N ot c n ly i s e ach o f t h e c l o s i n g s e c t i o n s o f P a l e s t r i n a ’s
c y c le a f f e c t e d by t h e a b r u p t c h a n g es o f s p e e d a n d t e x t u r e i n t h e m o d e l, b u t
t h e r e s t o f t h e c y c le i s a l s o p e rm e a te d b y t h e f e a t u r e s a s s o c i a t e d w i t h t h e
n o te n e re s ty l e . Da fu o c o c o s i b e l n a s c e o c c u p ie s a u n ic u e p o s i t i o n w i t h i n
b o th t h e r e p e r t o r y o f c y c l i c o t ta v e rim e p u b lis h e d d u r in g t h e s i x t e e n t h c e n tu r y
a n d t h e m a d r ig a l p r o d u c tio n o f P a l e s t r i n a ® ^
A lth o u g h m u s ic a l r e p e t i t i o n a n d g ro u p in g o f v e r s e s a c c o r d in g t o t h e rhyme
s t r u c t u r e w e re n o t em ployed b y P a l e s t r i n a i n h i s s e t t i n g o f Da fu o co c o s i b e l
( C ) , an d modes (D o ria n ) i n e a ch o f t h e f o u r t e e n s ta n z a s * T h e re a r e no
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220
E x c e p t f o r th e b e g in n in g o f t h e e ig h t h s t a n z a , -where t h e c l o s i n g l i n e o f th e
t o t h e l a s t l i n e s o f e a ch s t r o p h e . I n t h e s e c o n c lu d in g s e c t i o n s t h e th e m a tic
th o u g h P a l e s t r i n a in tr o d u c e d more i h y th m ic a ll y a n im a te d p a t t e r n s i n t h e r e s t
h e te n d e d t o r e g u l a r i z e and s o f t e n th e rh y th m ic a n g u l a r i t i e s o f I v o ’ s l i n e s
in t h e c o n c lu d in g s e c t i o n s i n o r d e r t o l e s s e n t h e i n h e r e n t d i f f e r e n c e s betw een
p r e s e r v e d t o s e t th e p a ro d ie d s e c t i o n s a p a r t from t h e r e s t . I n f a c t , t h e m o d el
w o u ld h a v e be e n e a s i l y r e c o g n iz e d b y a n y l i s t e n e r f a m i l i a r w i t h I v o ’ s s e t t i n g .
P a l e s t r i n a ’s m ethods o f i n tr o d u c in g t h e q u o te d m a t e r i a l a r e q u i t e v a r i e d .
I n t h e s e c o n d , th e f o u r t h , t h e f i f t h , a n d th e t e n t h s ta n z a s t h e p r e s e n c e o f
r e s t s i n a l l th e v o ic e s a t t h e e n d o f t h e s e v e n th s e c t i o n s h a r p l y d i v id e s th e
m odel ( r e s t s a r e em ployed i n a l l v o i c e s a t th e e n d s o f t h e f i f t h , t h e s e v e n th ,
t h e t e n t h , and t h e t w e l f t h v e r s e s ) and th e d e g re e t o w h ic h P a l e s t r i n a s e t th e
q u o te d m a t e r i a l i n r e l i e f .
P a l e s t r i n a ’s p a ro d y t e c h n iq u e s a r e a s v a r i e d a s h i s m ethods o f in tr o d u c in g
th e p r e - e x is te n t m a te r ia l. I n I v o ’s s e t t i n g t h e v e r s e s a r e u s u a l l y d i v id e d i n t o
and t h e f i n a l s y l l a b l e s a r e o f te n r e p e a t e d , b u t th e c o n s t r u c t i o n o f t h e s e c t i o n s
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221
te n th s ta n z a s a re e x c e p tio n s: i n th e m odel t h e s e r e s p e c t i v e v e r s e s a r e s t a t e d
once b y a l l f o u r v o i c e s i n c h o r d a l d e c la m a tio n s h o w e v e r, P a l e s t r i n a d i v id e d
th e v e r s e s i n t o tw o u n e q u a l p a r t s s e t t i n g th em i n c o n t r a s t i n g t e x t u r e s an d
a p p ly in g d i f f e r e n t p a ro d y te c h n iq u e s * F o r ex am p le, i n t h e f i n a l s e c t i o n o f
t h e s e c o n d s t a n z a t h e h e n d e c a s y l la b i c v e r s e i s d i v id e d i n t o seg m en ts o f s e v e n
a nd f o u r s y l l a b l e s . I n t h e f i r s t p a r t o f t h e s e c t i o n a l l f o u r v o i c e s o f th e
I v o s e t t i n g a r e q u o te d j i n th e s e c o n d p a r t o f t h e s e c t i o n th e m elo d ic m a t e r i a l
i n t o p o i n t s o f i m i t a t i o n by P a l e s t r i n a , a s i n t h e f i r s t s ta n z a w h e re t h e C anto
u s u a l l y t r e a t e d i m i t a t i v e l y by P a l e s t r i n a , b u t t h e o r d e r o f e n t r i e s may b e
v a r i e d , p i t c h a n d tim e r e l a t i o n s h i p s a l t e r e d , a n d s u b d iv i s io n s o f t h e p h r a s e
e x p a n d ed . I n t h e f o u r t h an d t h e s i x t h s ta n z a s t h e re w o rk in g o f th e m odel i s
t r e a t e d th e borrow ed m a t e r i a l i n Da f u o c o c o s i b e l n a s c e i s s i m i l a r t o th e
t h e V e rg in e b e l l a s e t t i n g s , t h e s ta n z a s o f s ix t e e n t h - c e n t u r y c y c l i c m a d r ig a ls
w e re u n i f i e d t o n a l l y . I n t h e I o n ia n a n d t h e M ix o ly d ia n modes movements w e re
u s u a l l y c o n c lu d e d on t h e t o n i c o r on t h e d om inant 5 i n th e P h r y g ia n a n d t h e
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t* o m p le 25C Rwcxfy tecljru ^ u es in V ttU slrin a-S Pace n o n l v w c sio-yixe.
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f r e q u e n t l y sp a n n ed t h r e e o r f o u r s t a n z a s . The r e a s o n f o r u s in g o v e rla p p in g
ha rm o n ic p r o g r e s s io n s i s c l e a r , o f c o u r s e , s i n c e a n i n t e g r a t e d t o n a l s t r u c t u r e
be i n c o r p o r a t e d w ith o u t r e s u l t i n g i n f o rm a l c h a o s . The d e s i r e t o a v o id t o n a l
d i s c o n t i n u i t y i n an e x te n d e d w ork p r o b a b ly a c c o u n ts f o r th e f a c t t h a t co m p o sers
s e c t i o n s a r e c o n c lu d e d on C, G, an d F , a s w e l l a s on t h e t o n ic a n d t h e d o m in an t
(D a n d A ). Hot s u r p r i s i n g l y , t h e m a j o r i t y o f a l t e r a t i o n s made by P a l e s t r i n a
in v o lv e t h e s t r u c t u r e o f th e f i n a l c a d e n c e s w h ic h a r e m o d ifie d i n o r d e r t o
o f I v o ’s s e t t i n g an d t h e c lo s i n g s e c t i o n s o f P a l e s t r i n a ’s c y c l e . I t s h o u ld b e
m ode, d i d n o t l i m i t c a d e n t i a l a l t e r a t i o n s t o s e c t i o n s c o n c lu d in g on p i tc h e s
o t h e r t h a n t h e t o n i c and t h e d o m in a n t. N e e d le s s t o s a y , Da f u o c o c o s i b e l
v e r s i o n t h e a n a ly s t i s p ro v id e d w i t h a n o p p o r tu n i ty t o e s ti m a t e t h e d e g re e t o
o f c y c l i c t e x t s , P a l e s t r i n a was c l e a r l y m ore c o n c e rn e d w i t h e s t a b l i s h i n g a
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226
T a b le XVI
1s t s ta n z a 2nd s ta n z a 3rd s ta n z a h t h s ta n z a
5tn s ta n z a 6 th s ta n z a 7 th s ta n z a 8th s ta n z a
9 th s ta n z a 10th s ta n z a 1 1 th s ta n z a 12th s ta n z a
1 3 th s ta n z a l U th s ta n z a
The f o u r t h c a te g o r y o f v e r s e t y p e s , t h o s e -whose s ta n z a s c o n s i s t o f t h r e e
o r f o u r l i n e s , i s t h e o n ly o t h e r g ro u p o f w h ic h s u f f i c i e n t num bers o f s e t t i n g s
f o u r - v e r s e form s c o n s i s t o f f o u r s t a n z a s ; M a re n z io ’s t e n - s t r o p h e c y c le Se_ q u e l
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227
Roman r e p e r to r y ,® ^ a r e t r e a t e d i n a n e n t i r e l y d i f f e r e n t m anner th a n t h e o t h e r
ty p e s, G i o v a n e ll i ’s s e t t i n g o f Qui c a n tS M e lis e o , a d ia lo g u e b e tw e en B a r c in io
c y c l i c t e r z e rim e w e re p u b lis h e d b e f o r e 1 5 8 5 , t h e v e r s e ty p e h a d b e e n u t i l i z e d
e a r l i e r in o th e r p a rts of I t a l y . The c y c l i c s e t t i n g o f o t h e r t h r e e - an d f o u r -
e a r l y s e v e n te e n th c e n t u r i e s . E xam ples o f t h e l a t t e r a r e p a r t i c u l a r l y p r e v a l e n t
w as d e s ti n e d f o r l o c a l c o n su m p tio n by e n t h u s i a s t i c a m ateu r s o c i e t i e s a n d q u a s i
s e l e c t e d a s r e p r e s e n t a t i v e o f t h e g e n re : M el’ s T re g r a t i o s i A m an ti, G. M,
N a n in o ’s A i d o l c i e v a g h i a c c e n t i , and G. P . A n e r io ’s S e n to v i d i lo n ta n o .
W h ile i n d i v i d u a l s t y l i s t i c t r a i t s do a p p e a r , t h e t e x t s a r e t r e a t e d s i m i l a r l y
b y t h e t h r e e c o m p o se rs, and t h e r e f o r e , t h e c y c le s w i l l be d i s c u s s e d t o g e t h e r .
S d r u c c i o l i , s o - c a l l e d a f t e r t h e d a c t y l i c end-rhym es o f t h e v e r s e s . The t e x t s ,
w e re c o n ta in e d i n t h e F i r s t Book p u b l is h e d i n 1 5 8 5 $ ^ t h e t h i r d c y c l e , a C a c c ia
em ploys tw o s ta n z a s o f t e x t :
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228
Qui c a n tS M e lis e o , q u i p r o p r i o a s s i s i m i
q u a n d ’ e i s c r i s s e i n q u e l f a g g i o : V i v i i o m is e ro ,
v i d i F i l l i m o r i r e , e n o n u c c is i m i ,
0 p ie tA grande 1 E a u a l i D i i p e rm is e r o
a M e lise o v e n i r f a t o t a n t ’ a s p e r o ?
P erch S d i v i t a p r i a n on l o d i v i s e r o ?
Q uest* £ s o l l a cagicsne e n d ’ i o mi e s a s p e r o
i n c o n t r a *1 c i e l o ; a n z i mi in d ra g o e i n v i p e r o ,
e v i a p ift d e n tr o a l c o r mi i n d u r o e in a s p e r o
p e n san d o a q u e l ch e s c r i s s e i n u n g i u n ip e r o :
F i l l i , n e l tu o m o rir m orendo l a s s i m i :
o d o l o r sommo a c u i n u ll* a l t r o e q u ip e r o j
Q u e s ta p ia n to v o r r e i c h e t u m o s t r a s s i m i ,
p e r p o t e r a m ia p o s t a i n q u e l l a p i a n g e r e :
f o r s e a d i r l e mie pene o g g i i n c i t a s s i m i *
M il le ne son c h e q u i v e d e re e ta n g e r e
a t u a p o s ta p o t r a i l c e r c a i n q u e l n e s p i l o :
ma d e s t r o , n e l t o c c a r g u a rd a no *1 f r a n g e r e 0
Q uel biondo c r i n e , o F i l l i , o r n o n i n c r e s p i l o
con l e tu e m an, nS d i g h i r l a n d e i n f l o r i l o j
ma d e l mio l a c r i m a r l o i n e r b i e i n c e s p i l o ,
V o lg i i n qua g l i o c c h i, e m ir a i n s u q u e l c o r i l o :
F i l l i , deh n o n f u g g i r , c h 1 i o s e g u o : a s p e t t a m i ;
p o r ta n e i l c o r , c h e q u i l a s c i a n d o a c c o r i lo »
A lth o u g h t h e s u b t l e v a r i e t y o f M a re n z io ’s t e x t u r a l c o n t r a s t s a r e la c k i n g
e n t r i e s , f r e q u e n t u s e o f i m i t a t i v e m o tiv e s r a t h e r t h a n m e lo d ie s o r g a n iz e d i n
p o i n t s o f i m i t a t i o n , e x te n d e d p a s s a g e s i n p a r a l l e l t h i r d s a n d s i x t h s , and
te c h n iq u e . S e c t i o n a l d i v is io n s a r e q u i t e c l e a r w i t h c h o r d a l an d i m i t a t i v e
th ro u g h m u s ic a l r e p e t i t i o n o r t o r e l a t e t h e s e p a r a t e s tr o p h e s b y u s in g common
do fo rm a c o m p o s ite w h o le . I n a d d i t i o n t o t h e u s e o f t h e same c l e f s ( T r e b l e /
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229
-se o
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230
s i m i l a r i t y o f m ood, t h e t o n a l s t r u c t u r e ( a l l m a jo r ca d en c e s a r e b u i l t on t h e
s e s t i n e s e t t i n g s d is c u s s e d a t th e b e g in n in g o f t h e c h a p t e r .
p u b l is h e d o n ly t h r e e c y c li c m a d r ig a ls i n c l u d i n g one s o n n e t , o n e s i x - v e r s e
d e l l a M usica a t r e v o c i . 98 One o f t h e i n t e r e s t i n g a s p e c t s o f t h e c o l l e c t i o n
i s t h e f a c t t h a t t h e t h r e e v o c a l p a r t s a r e p r i n t e d a t t h e to p o f f a c i n g p a g e s
i n v e r n a c u l a r c o l l e c t i o n s p u b lis h e d d u r in g t h e f i r s t two d e c a d e s o f t h e s e v e n
c o n g re g a z io n i e s t a b l i s h e d b y N e r i i n t h e 1 5 8 0 ' s .
The p o e t r y o f T re g r a t i o s i A m a n ti, A i d o l c i e_ v a g h i a c c e n t i , a n d S e n to v i
d i lo n ta n o i s t y p i c a l o f t h e v a s t q u a n t i t y o f s e m i-p o p u la r v e r s e t h a t a p p e a re d
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231
c y c l e , T re g r a t i o s i A m a n ti, c o n s i s t s o f f o u r fo u r e v e r s e s t r o p h e s , e a c h o f "which
T re g r a t i o s i A m a n ti,
a l i a l o r donn* a v a n t i ,
s e t u m o ri c o r m io d i s s e r d> a c c o r d o ,
e che n e l a s c i a r a i p e r tu o r i c o r d o .
Con l e l a b b r a d i r o s e
a l p iim o e l l a r i s p o s e ,
l a m ia c o ro n a h a v r a i , p e rc h e t u p o s s a
i m p e t r a r , Pace a 1* a lm a , e r e q u i e a 1* o s s a ,
P o i s o g iu n s e a l seco n d o
c o n se m b ia n te g io c o n d o ,
i l m io n o r o lo g i o t u o v o g l io c h e s i a
con rim e m b ra r, t a l 1 h o r l a v i t a m ia,
A l f in le lu c i a ffis s e
n e l v e r o a m a n t1 e d i s s e
s o s p ir a n d o : ben m io t i l a s c i o i l c o r e ,
che s p e c c h io t i s a r a d* e te m o am o re.
second c y c le , A i d o lc i e v a g h i a c c e n t i. The t e x t a s s e t b y N an in o f o ll o w s :
A i d o lc i e v aghi a c c e n ti
c* h o r f in g o , f u g g i t i v i h o r m o s tr a l e n t i ,
Ben c om posta a rm o n ia
g i o is c e 1 * alm a, e t o g n i p e n a o b l i a ,
S se ta lh o r a f f e t t i
v u o l d i m o s tr a r p i e n d i c o n t r a r i j e f f e t t i ,
con soave m o s titia
f l s e n t i r n e l l a n g u i r d o lc e l e t i t i a ,
C o s i un le g g i a d r o c a n to
a c q u e ta 1 * i r e , e move i l r i s o e » 1 p i a n t o ,
e s p e t r a u n d u ro c o re
che s p re z z * i l a c c i , i l f o c o , i s t r a i d 1 Amore,
Onde s p ie g h in s u e l o d i
A p o llo e l o s o r e l l o i n m i l l e m c d i,
e i n q u e s to p a r t i , e i n q u e l l e
s c o p r i n su o g l o r i a e c c e l s o i l c i e l , l e s t e l l e .
The l a s t c y c l e , S e n to v i d i l o n ta n o , c o n s i s t s o f f o u r t h r e e - v e r s e s tr o p h e s w i t h
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232
c y c lic s e ttin g s o f th ree- and fou r-verse forms published by composers working
one in the ten o r or baritone range. Both Tre g r a t io s i Amanti and S a ito v i d i
lontano are w ritten fo r two sopranos and one a lto ; A i d o lc i e vaghi a ccen ti
tio n and im ita tiv e passages a lte rn a tin g . Example 2 9, which p resents the f i r s t
Tre g r a tio s i Amanti the f i r s t and second and the th ir d and fourth v erses o f each
stanza are grouped to g eth er. The second p a ir i s repeated e x a c tly , so th a t the
m usical form o f each stanza could be diagrammed: ABB. Mel a lso treated the
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233
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f a c t t h a t t h e u p p e r p a r t s w e re in te r c h a n g e d i n t h e r e p e t i t i o n . I n th e seco n d ,
th e t h i r d , a n d t h e f o u r t h s ta n z a s of A i d o l c i e v a g h i a c c e n t i , h 'an in o a ls o
g ro u p ed th e v e r s e s i n t o p a i r s , t h e se co n d o f w h ic h w as r e p e a t e d . A lth o u g h
A n e r io em ployed s e c t i o n a l r e p e t i t i o n i n S e n to v i d i lo n ta n o , v e r s e s w e re n o t
t r e a t e d a s s c h e m a ti c a ll y a s i n th e c y c le s o f Mel a n d N a n in o . In th e f i r s t
t h e t h i r d s e c t i o n s i n t h e se c o n d s ta n z a A n e rio r e p e a t e d b o th t h e se co n d a n d t h e
t h e employm ent o f p a t t e r n s o f s e c t i o n a l r e p e t i t i o n , th e a p p ro a c h t o s e t t i n g
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
236
m u l t i - s t r o p h i c form s i n T re g r a t i o s i A m anti a n d A i d o l c i e v a g h i a c c e n t i c o u ld
t i o n a l p a t t e r n s a r e n o t r e p e a t e d s y s t e m a t i c a l l y , and s u c h p o p u la r s t r o p h i c
v e r s e ty p e s a s c a n z o n e t te , s c h e r z i , a n d n a p o le t a n e , w h e re s u c c e s s iv e s ta n z a s
em ployed i n e a c h s t a n z a o f T re g r a t i o s i A m anti an d A i d o l c i e v a g h i a c c e n t i ; i t
i s o n ly th e f o rm a l p a t t e r n t h a t i s r e p e a t e d .
c y c le s a re v e r y s i m i l a r . E x c e p t f o r o c c a s i o n a l u s e o f s e c o n d a ry d o m in a n ts,
t h e s t y l e i s d i a t o n i c w i t h f i f t h r e l a t i o n s h i p s d e te im in in g much o f t h e h a m o n ic
c o n c lu d e d by a u t h e n t i c c a d e n c e s on t h e t o n i c . The s e c o n d s ta n z a s a l l ca d en c e
w i t h t h e se co n d s t a n z a c o n c lu d e d b y a p e r f e c t a u t h e n t i c cad en ce on t h e d o m in a n t.
As i n s e s t i n e , c a a z o n i , and o t t a v e r im e , t h e t o n a l s t r u c t u r e p l a y s a n i m p o r ta n t
u n i f y i n g r o l e i n c y c l i c s e t t i n g s o f t h r e e - a n d f o u r - v e r s e fo rm s .
The p r e c e d in g p a g e s h a v e d e a l t w i t h th e m u s ic a l t r e a tm e n t o f t h e p o e t i c
fo rm i n s i x t e e n r e p r e s e n t a t i v e c y c l i c m a d r ig a ls p u b lis h e d b y co m p o sers w o rk in g
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237
c o n sistin g o f th ree- and fou r-verse strop hes, in an attempt to e s ta b lis h the
ex ten t to which the stru ctu ral ch a r a c te r is tic s o f the various verse typ es are
and there are other techniques, o f cou rse, th at are applied by only one or two
achieve tex tu ra l clim axes, the number o f vo ices i s the same fo r each movement
the ch ia vette and vocal ranges employed in most o f th e cy c les stu d ied by the
author ( Ecc1 oscu rati i c h ia r i raggi i s ty p ic a l) p la ce them apart from the other
madrigals o f the c o lle c tio n s in which they are p r in te d . With the exception
o f BarrS' s two c y c le s, Amor l a b e lla face and Dunque f i a ver d ice a , mensuration
s ig n s remain the same for each movement. One mode i s employed throughout the
span sev era l movements in some c y c le s , and in a few cases li k e Giovane Donna
the to n al stru ctu re encompasses the e n tir e cy cle in one extended harmonic
p rolongation o f the to n ic. Vergine b e lla i s the on ly cycle in which more than
one mode i s employed: the e ig h t stanzas are paired w ith d, e , F, and G func
the p itch es upon which major cadences would f a l l , but the character o f much
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238
v o ca l ran ges, mensuration sig n s, modes, and general moods th a t were employed
M usical techniques common to most c y c lic madrigals have been d iscu ssed
i s a general term embracing such d iverse strop hic types as the terz a rima, the
b a lla ta , the s e s t in a , the canzone, the ottava rima, the oda and m iscellaneous
th ree- and fou r-verse forms. The p o etic stru ctu re of the strophe and th e degree
m adrigal have stu d ied the poetry fo r i t s content rather than fo r i t s farm.
L it t l e attempt has been made to analyze p o ssib le rela tio n sh ip s between the
between s e ttin g s o f d iffe r e n t verse typ es, Within the repertory o f m u lti-
no reason to assume that the Roman repertory i s a ty p ic a lj, the p resen t chapter
o f the p o etic form among the s e ttin g s of s e s tin e , canzoni, ottave rime, and
m iscellaneous th ree- and fo u r-verse ty p es. For example, in s e s tin e and terze
rime m usical re p e titio n i s rare, and thematic re la tio n sh ip s among the move
ments are t o t a ll y absent. Although sub d ivisions o f the canzone strophe are n o t
trea ted s y ste m a tica lly , there are several instances in which the two p ie d i o f
the fro n te or two or more rhyming lin e s o f the sirim a are s e t to the same m usic.
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2 39
Dunque f i a ver d ice a and L« onds de m iei p e n sie r . The m iscellaneous th r e e - and
fo u r-v erse forms, as ty p ifie d by Tre g r a t io s i Amanti, Senbovi d i lon tan o , and
Ai vaghi a d o lc i a c c e n ti, are trea te d w ith a greater degree o f u niform ity than
Before concluding the summary, one more poin t needs to be made. When ap
p lie d t o musical forms, the ad jectiv e "cyclic" can be used in two d iffe r e n t
ways: ( 1 ) g en era lly , to denote any m usical form co n sistin g o f sev era l move
the term has been employed in only i t s gen eral d enotation. Although many s ix
teen th -cen tu ry composers con sciou sly u t ili z e d repeated melodic m ateria l or
I t a lia n secu lar t e x t s . Only th ree o f the six tee n c y c le s analyzed in Chapter IV
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2h0
pift. I 1 amoroso, in viiich them atic m aterial asso c ia ted -with v er ses beginning
the commiato sim ila rly ; and Palestrina*s s e ttin g o f Da fuoco c o s i b e l n a sce, in
which th e melodic m aterial from Iv o 's Pace non trovo i s s y ste m a tic a lly parodied
two o f th e th ree compositions w ith s p e c ific " cyclic" re la tio n sh ip s are s e ttin g s
Pace non trovo stanze represents a unique response to the problems o f s e ttin g
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2U1
Footnotes
6. C h ia re e f r e s c h 1 e d o l c i a c q u e a n d V o i m i p o n e s t 1 i n f u o c o i n ,
I I Secondo lib r o " * d e lle muse a q u a t t r o v o c i , m a d r i g a l i a r i o s i de d i v e r s i
e c c e l l e n t i a u t o r i , con doe c a n z o n i d i G ia n n e tto (Rome: A n to n io B a r r e , 1 5 5 8 );
V e rg in e b e l l a che d i s o l v e s t i t a i n , I I Prim o l i b r o d e m a d r i g a l i a c in q u e
v o c i d i G io . P e t r 1 A lo y s io P r e n e s tin o " T v e n i c e : A ngelo G ard an o , l 5 H l ) l
7 . Da fu o c o c o s i b e l n a s c e i n , I I Secondo l i b r o de m a d r i g a l i a q u a tr o
v o c i d i C ip r ia n o de R o re , con u n a c a n zo n e d i G i a n n e tto s o p r a d i P a c e n on
t r o v o con q u a to r d e c i s ta n z e ( V e n ic e : L i F i g l i u o l i d i A n to n io G a rd a n o , l 5 5 7 ) ;
F i g l i o im m o rta l d 1 im m o rta l P a d re i n , M a d r ig a li S p i r i t u a l i a c in q u e v o c i
d i G io . P i e t r o L u ig i P r e n e s t i n o , l i b r o se co n d o (Rome: F ra n c e s c o C o a t ti n o ,
T 5 9 U T T ----------------- ------------------------------------------------
9 . G io v a n n i P i e r l u i g i d a P a l e s t r i n a , Le O pere C o m p lete, V o l . I I ,
e d i t e d b y R a f f a e l e C a s im iri (Rome: E d iz io n e F r a t e l l i S c a l e r a , 1 9 3 9 ) ,
p . 5 1 -6 3 .
10. F o r f u r t h e r e x a m p le s, s e e t h e f o llo w in g p a s s a g e s : t h e f o u r t h v e r s e
o f t h e se c o n d s ta n z a (m e a s u re s 2 7 - 3 1 ) ; t h e s e c o n d v e r s e o f t h e t h i r d s ta n z a
( m e a su re s 8 - 1 1 ) ; th e t h i r d v e r s e o f t h e f o u r t h s t a n z a (m e a su re s 1 3 - 1 7 );
t h e f i f t h v e r s e o f t h e f o u r t h s t a n z a (m e a su re s 2 6 - 3 0 ) .
11. F o r f u r t h e r e x a m p le ^ s e e t h e f o llo w in g : t h e s e c o n d v e r s e o f t h e
f i r s t s ta n z a (m easu res 6 - 1 0 ) ; t h e t h i r d v e r s e o f t h e f o u r t h s t a n z a (m e a su re s
1 3 - 1 7 ) ; t h e f i f t h v e r s e o f t h e f o u r t h s ta n z a (m e a su re s 2 6 - 3 0 ) .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21*2
1 2 . F o r f u r t h e r ex a m p le s, s e e t h e f o ll o w i n g : t h e f i f t h v e r s e o f th e
s e co n d s ta n z a (m e a su re s 3 1 - 3 6 ) ; t h e f i r s t v e r s e o f t h e t h i r d s ta n z a
(m e a su re s 1 - 8 ) ; t h e se co n d v e r s e o f t h e f o u r t h s t a n z a (m e a su re s 7-13)®
1 3 . F o r f u r t h e r e x a m p le s, s e e t h e f o ll o w i n g : t h e f i r s t v e r s e o f t h e
f i r s t s ta n z a (m e a su re s 1 - 6 ) ; t h e f i f t h v e r s e o f t h e t h i r d s ta n z a (m e a su re s
2 U- 3 1 ) ; t h e f i r s t v e r s e o f t h e f o u r t h s ta n z a (m e a s u re s 1 - 7 ) ; t h e f i r s t
v e r s e o f t h e s i x t h s ta n z a (m e a su re s 1 - 8 ) .
l h . F o r f u r t h e r e x a m p le s, s e e t h e f o ll o w i n g : t h e s i x t h v e r s e o f th e
f i r s t s t a n z a (m e a su re s 2 9 - 3 9 ) I t h e se co n d v e r s e o f t h e s e c o n d s ta n z a
(m e a su re s 6 - 1 8 ) ; th e f i f t h v e r s e o f t h e f i f t h s t a n z a (m e a su re s 2 l*-3 2 ) ;
t h e se c o n d v e r s e o f t h e s i x t h s ta n z a (m e a su re s 8 - 1 6 ) .
1 5 . F o r f u r t h e r ex a m p le s, s e e t h e f o ll o w i n g : t h e t h i r d v e r s e o f th e
se c o n d s t a n z a (m easu res 1 8 - 2 7 ) ; t h e f o u r t h v e r s e o f t h e s i x t h s ta n z a
(m e a su re s 2 5 - 3 2 ) .
1 6 . F o r a n o th e r exam ple, s e e t h e t h i r d v e r s e o f t h e s i x t h s ta n z a
(m e a su re s 1 6 - 21* ).
1 9 . L 1 onde de m ie i p e n s ie r i n , I I Prim o l i b r o de m a d r i g a l i a c in q u e
v o c i d i G iovan 1 A ndrea D rag o n i (V e n ic e : G iro lam o S c o t t o , 1 ^ 7 5 ).
2 0 . The f o u r t h v e r s e o f t h e f i r s t s t a n z a (m e a su re s 2 9 - 3 7 ); t h e f i f t h
v e r s e o f th e f i r s t s ta n z a (m e a su re s 3 6 - 1*2 ) ; t h e f o u r t h v e r s e o f th e t h i r d
s t a n z a (m e a su re s 1 3 l*-H*2 ) ; th e f i r s t v e r s e o f t h e f o u r t h s ta n z a (m easu res
1 7 3 - 1 9 3 ) ; t h e f i r s t v e r s e o f t h e s i x t h s t a n z a (m e a su re s 2 9 9 - 3 0 2 ) ; th e
f o u r t h v e r s e o f t h e s i x t h s ta n z a (m e a su re s 3 1 3 - 3 2 6 ) .
21*. B a c i s o a v i e c a r i i n , I I Quin t o l i b r o de m a d r i g a l i a s e i v o c i d i
Luca M aren zio (V eniceT A ngelo G ard an o , 1 ^ 9 1 ).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21*3
2 5 . G iu n to k l a tomba i n , I I Q u a rto l i b r o de m a d r i g a l i a c in q u e v o c i
d i L uca M a renzio "(V enice: Giacomo V i n c e n ti & R ic c ia r d o Am adino, lf>81*).
2 6 . Se q u e l d o lo r i n , I I S e s to l i b r o de m a d r i g a l i a s e i v o c i d i
L a c a M a re n z io (V e n ic e : Angelo C-ardanoj 1^9^77
2 8 . F o r a n o th e r exam ple, s e e th e s e c o n d v e r s e o f t h e f o u r t h s ta n z a
(m e a s u re s 2 2 1 - 2 3 0 ) .
2 9 . A d i s c u s s io n o f t h e p r i n c i p l e s o f S c h e n k e ria n a n a l y s i s , a sy ste m
t h a t a tte m p ts t o d i s t i n g u i s h b etw een c h o rd grammar ( th e d e s c r i p t i v e l a b e l i n g
o f c h o rd s ) and c h o rd s ig n i f ic a n c e ( t h e a r c h i t e c t o n i c p u rp o s e o f c h o rd s
w i t h i n a p h r a s e ) i s beyond t h e s c o p e o f th e p r e s e n t s tu d y . F o r a d e t a i l e d
a c c o u n t o f S c h e n k e r’ s c o n c e p ts o f t h e d i f f e r e n c e s betw een c h o rd s o f
s t r u c t u r e and c h o rd s o f p r o lo n g a tio n an d b etw een p r o g r e s s io n s t h a t a r e
harm o n ic o r c o n tr a p u n ta l i n n a t u r e , a s w e l l a s a c l a r i f i c a t i o n o f th e te rm s
and te c h n iq u e s em ployed in s t r u c t u r a l g r a p h s , th e r e a d e r i s r e f e r r e d t o
F e l i x S a l z e r ’ s e x c e l l e n t p r e s e n t a t i o n o f S c h e n k e r’ s b a s ic c o n c e p ts i n ,
S t r u c t u r a l H e a rin g Tonal C oherence i n M u sic, 2 v o l s . (New Y ork: Dover
P u b l i c a t i o n s , 1 9 6 2 ).
3 1 . M arenzio* s t r e a tm e n t o f t h e t o n a l s t r u c t u r e a s a means o f u n i f y i n g
m a d r ig a ls o f m ore th a n one movement i s c e r t a i n l y n o t l i m i t e d t o G iovane
Donna. F o r a d i s c u s s io n o f t h e t o n a l te c h n iq u e s em ployed i n M a re n z io ’ s
b i p a r t i t e s e t t i n g s , th e r e a d e r i s r e f e r r e d t o th e a u th o r ’ s u n p u b lis h e d
M a s te r ’ s t h e s i s , ”11 S e ttim o L ib ro de M a d rig a li a C inque V o c i by Luca
M a re n z io : An A n a ly s is and T r a n s c r i p t i o n , ” U n i v e r s i ty o f O regon, 1967,
p . 37-2*6.
3 2 . A s p r i l i o P a c e l l i , M a d r ig a li d i A s p r il i o P a c e l l i . . . l i b r o p rim o
a q u a t t r o v o c i (V e n ic e : Giacomo V i n c e n ti , 1 6 0 1 ).
3 3 . M a tte o G l i h s k i , e d i t o r , M a d r ig a li d i A s p r il i o P a c e l l i (Rome:
E d i z io n i de S a n t i s , 191*7), p . 1 0 6 -1 3 3 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2hh
ii3» S ee p . 1 0 0 .
H6 . G io v a n n i P i e r l u i g i d a P a l e s t r i n a , I I P rim o l i b r o de m a d r i g a l i
a c in q u e v o c i d i G io . P e t r 1 A lo y s io P r e n e s t in o ( V e n ic e : A ngelo G ard an o ,
155177“
5 0 . F ra n c e s c o P o r t i n a r o , Le V e r g in i d i F r a n c e s c o P o r t i n a r o a s e i
v o c i con a l c u n i m a d r i g a l i a c in q u e , e t a s e i , e t d u o i d i a l o g h i a ‘s e t t e
( V e n ic e : G irolam o S c o t t o , l 5 6 8 ) . “
5 1 . R ore in c lu d e d t h e f i r s t s i x s ta n z a s o f V e rg in e b e l l a i n h i s
T e rzo l i b r o de m a d r i g a l i a c in q u e v o c i p u b l is h e d i n l5U'8, b u t i t was n o t
u n t i l t h e a p p e a ra n c e o f t h e t h i r d e d i t i o n p u b l is h e d by A n to n io Gardane
i n 1 5 5 2 t h a t a l l e le v e n s ta n z a s w ere made a v a i l a b l e .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2kS
th e t h i r d s ta n z a s a r e s e t i n t h e I o n ia n m ode; th e f o u r t h an d t h e f i f t h
s ta n z a s i n t h e P h ry g ia n m ode; t h e s i x t h an d th e s e v e n th s ta n z a s i n t h e
Io n ia n mode tra n s p o s e d ; t h e e i g h t h a n d t h e n i n t h s ta n z a s i n t h e D o ria n
mode tra n s p o s e d ; a nd th e t e n t h s t a n z a i n th e A e o lia n mode t r a n s p o s e d .
5 6 . No m odern e d i t i o n o f B a c i s o a v i e c a r i h a s b e e n p u b l is h e d . A l l
m ea su re num bers r e f e r t o t h e c o rre s p o n d in g sem ib rev es o f t h e 1 5 9 1 e d i t i o n ,
an d a l l m u s ic a l exam ples i n t h e f o llo w in g p a ra g ra p h s h av e b e e n t r a n s c r i b e d
by t h e a u th o r from t h a t e d i t i o n .
5 8 . Di p i a n g e r m ai ( 8 s t . ) ; Dunque f i a v e r d i c e a ( 6 s t . ) ; E l l a non
s a s e ( 8 s tT J ; L a s s a d i c e a ( 7 s t . ) ; Quando s i v id d e ( 6 s t . ) ; S ig n o r n e l 1 a l t r o
T U s t.).
6 2 . I n , C ip r ia n o de R o r e , I I Secondo l i b r o de m a d r e g a li a q u a tr o v o c i
con u n a canzon d i G ia n n e tto s o p ra d i P a c e non tro v o con q u a to r d e c i s ta n z e
(V e n ic e : A n to n io G a rdano, 15 5 7 } .
6 3 . I n , J a c o b A r c a d e lt , I I Q u a rto l i b r o de m a d r i g a l i d 1 A r c h a d e lt
a q u a t t r o v o c i . . . con a l c u n i m a d r i g a l i d ' a l t r i a u t t o r i (V e n ic e : A n to n io
G a rd a n e , l 5 U l ) .
6 U. G io v a n n i P i e r l u i g i d a P a l e s t r i n a , M a d rig a li S p i r i t u a l i a c in q u e
v o c i d i G io . P i e t r o L u ig i P r e n e s t i n o . . . l i b r o secondo (Rome: F r a n c e s c o
C o a t ti n o , 159k) .
65. F o r a l i s t i n g o f t h e s e t t i n g s , s e e A ppendix B.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
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6 9• G io v a n n i A ndrea D ra g o n i, I I Prim o l i b r o de m a d r i g a l i a c in q u e
v o c i (V e n ic e : G irolam o S c o t t o , 1575TT
71. See p . 1 8 3 .
7 2 . L uca M a re n z io . I I Q u a rto l i b r o de m a d r i g a l i a c in q u e v o c i (V e n ic e :
Giacomo V i n c e n ti & R ic c ia r d o Am adino, l^SUTT S c ip io n e D e n tic e , I I T erzo
l i b r o de m a d r i g a l i a c in q u e v o c i ( N a p le s : Giacomo C a r li n o & A n to n io P a c e ,
1 ^ 9 8 ) ; A n tonio C i f r a , I I Prim o l i b r o de m a d r i g a l i a c in q u e v o c i (V e n ic e :
A ngelo G ardano, 1 6 0 5 ).
7 3 . G ia c h es de W e rt, L* O tta v o l i b r o de m a d r i g a l i a c in q u e v o c i
( V e n ic e : A ngelo G ardano, l5 B 6 ); I p p o l i t o B a c c u s i, I I Prim o l i b r o de m a d r i g a l i
a t r e v o c i (V e n ic e : R ic c ia r d o Amadino, 159U ).
7U. A nto n io C i f r a , S c h e r z i e t A r ie a u n a , d u e , t r e , e t q u a t t r o v o c i
(V e n ic e : Giacomo V i n c e n ti , I 6 IJ4 ) .
7 8 . G ia c h es de P o n te , C in q u a n ta S ta n z e d e l Bembo co n l a m u sic a s o p ra
(V e n ic e : G irolam o S c o t to , 1 5 5 8 )•
7 9 . C ip r ia n o de R o re , I I Secondo l i b r o d e m a d r i g a l i a c u a tr o v o c i con
u n a canzon d i G ia n n e tto s o p ra d i P a c e n on t r o v o c o n q u a to r d e c i s ta n z e
( V e n ic e : A n to n io G ardano, 1557TT T hree s u b s e q u e n t e d i t i o n s s p e a r e d betw een
1569 and 1577: V e n ic e : C la u d io da C o r r e g g io , 1 5 6 9 ; V e n ic e : L i F i g l i u o l i
d i A n to n io G ardano, 1571; V e n ic e : A ngelo G ard an o , 1 5 7 7 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2k7
81. I b i d . , 1 3 2 -1 3 3 .
82. I b id . , 108.
8 U. F o r f u r t h e r d i s c u s s io n o f th e s t y l i s t i c f e a t u r e s c h a r a c t e r i z i n g
idle n o t e n e r e m a d r ig a l, s e e Jam es f e a r , "The n o t e n e r e M a d r ig a l," J o u r n a l
o f th e A m erican M u s ic o lo g ic a l S o c i e t y , X V III ( 1 9 6 5 ), 22—U l.
8^ . M u s ic a l p a ro d y , o f c o u r s e , was n o t l i m i t e d t o s a c r e d g e n r e s .
I n d e e d , i t h a s been d e m o n s tra te d t h a t p a ro d y t e c h n iq u e s w e re a p p li e d
som etim es i n th e c o m p o s itio n o f c h a n so n s ; s e e : Law rence B e r n s te i n , "C lau d e
G e r v a is e a s Chanson C om poser," J o u r n a l o f th e A m erican M u s ic o lo g ic a l
S o c i e t y , X V III ( l 9 6 5 ) , 3 5 9 -3 8 1 ; Howard M ayer Brown, "The Chanson S p i r i t u e l l e ,
J a c q u e s B uus, and P a ro d y T e c h n iq u e ," J o u r n a l o f th e A m erican M u s ic o lo g ic a l
S o c i e t y , XV (1 9 6 2 ), 1 6 1 -1 6 7 . B u t th e p ro c e d u r e i s an uncommon one i n
t h e I t a l i a n m a d r ig a l.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2U8
8 9 . R u g g ie ro G i o v a n e ll i, G li S d r u c c i o l i d i R u g g ie ro G i o v a n e ll i
M a e s tro d i C a p p e lla i n San L u ig i d i Roma, i l p rim o l i b r o de m a d r i g a l i
a q u a tr o v o c i (Rome: A le s s a n d ro G ard an o , l5 S 5 ) I The c o l l e c t i o n a p p e a re d
i n s i x m ore e d i t i o n s : V e n ic e : Giacomo V in c e n z i, 1587; V e n ic e : Giacomo
V i n c e n ti , 1589; V e n ic e : A ngelo G a rd an o , 1 589; V e n ic e : A n g elo G ardano,
1598; V e n ic e : L* H erede d i G irolam o S c o t to , 1 6 0 2 ; V e n ic e : L* H erede d i
G irolam o S c o t to , 1613,
9 0 . R u g g ie ro G i o v a n e ll i, G l i S d r u c c i o l i d i R u g g ie ro G i o v a n e ll i
a q u a t t r o v o c i con u n a C a c c ia i n u ltim o a q u a t t r o , c in q u e , s e i , s e t t e ,
e t o t t o . . . l i b r o secondo (V e n ic e : A ngelo G a rd an o , l5 & 9 ). The se co n d book
w as a lm o s t a s p o p u la r a s t h e f i r s t . I t a p p e a re d i n f o u r more e d i t i o n s :
V e n ic e : Giacomo V i n c e n ti , 1 5 9 0 ; V e n ic e : Giacomo V i n c e n ti , 1592; V e n ic e:
A ngelo G ardano, 1596; V e n ic e : L* H erede d i G irolam o S c o t t o , 1 6 0 3 .
91 • Standom i u n g io m o i n , I I Secondo l i b r o de m a d r i g a l i a s e i v o c i
d i R in a ld o d e l Mel g e n tilh u o m o fiam engo (A n tw erp : P i e t r o P h a l e s i o &
G io v a n n i B e l le r o , I 5 8 8 ) . A se c o n d e d i t i o n p u b l is h e d b y Giacomo V i n c e n ti
a p p e a r e d i n V e nice i n 1593 •
9 2 . N e i p i u t r a n q u i l i i n , I I Prim o l i b r o de m a d r i g a l i a c in q u e v o c i
d i R in a ld o d e l Mel (V e n ic e : L* H erede d i G irolam o S c o t to , l5%U) ? G il com in-
c ia v a i l s o l i n , I I Q uin t o l i b r o de m a d r i g a l i a c in q u e v o c i d i R in a ld o d e l
Mel (V e n ic e : Angelo G ardano , 15>9iiTT
9 3 . A u g e l li a m o ro s i, M* h a pun t o , a n d T re g r a t i o s i a m a n ti i n , I I Secondo
l i b r o d e l l i m a d r i g a l e t t i a t r e v o c i d i R in a ld o d e l M el gen t i l 1 huomo
fiam en g o (V e n ic e : Angelo G ard an o , l 5 S 5 ) ; N in fe n o i semo t r e P a s t o r i .
R i s e r l e p i a g g i e , S o a v iss im a c o s a , an d T re son l e g r a t i e i n , I I Terzo
l i b r o d e l l i m a d r i g a l e t t i a t r e v o c i d i R in a ld o d e l M el ^.Venice: A ngelo
G a rdano, 15>9it); V oi t u t t * o p re d i Dio i n , M a d r i g a l e t t i S p i r i t u a l i a t r e
v o c i d i R in a ld o d e l M el g e n t i l * huomo fia m en g o . . . l i b r o q u a r to (V e n ic e :
A ngelo G ardano, 1 ^ 9 6 ).
98. I b id .
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2h9
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CHAPTER Y
EPILOGUE
No s tu d y o f t h e I t a l i a n c y c l i c m a d r ig a l w o u ld be co m p le te w ith o u t
th e c y c le s w ere s p e c i f i c a l l y a d d re s s e d * S o c i a l d e v e lo p m e n ts had a s p r o
fo u n d an e f f e c t on t h e f o r m u la t io n o f m u s ic a l a e s t h e t i c s i n th e s i x t e e n t h
c e n tu r y a s i n a n y o t h e r p e rio d * One d ev e lo p m e n t i n p a r t i c u l a r — t h e r i s e
o f t h e I t a l i a n a c ca d e m ie 1 c o m p rise d o f s m a ll g ro u p s o f p o e t s , m u s ic ia n s ,
a r t i s t s , and a m a te u rs , who m et r e g u l a r l y f o r t h e p u rp o s e o f d is c u s s in g
i n t e l l e c t u a l a n d a r t i s t i c s u b j e c t s —was e x tr e m e ly im p o r ta n t i n f u e l i n g
t h e g row th o f i n t e r e s t i n s e t t i n g m u l t i - s t r o p h i c I t a l i a n v e r s e form s a s
c y c l i c m a d r i g a l s , w e re a f f i l i a t e d w i t h t h e m a g n i f ic i s i g n o r i a s t h e g ro u p
by t h e members o f th e Academy w e re p r e s e r v e d i n t h e l i b r a r y o f th e T e a tr o
F ila r m o n ic o , a c o l l e c t i o n w h ic h i s now h o u se d i n t h e B i b li o t e c a C a p i t o l a r e *
I t i s n o t s u r p r i s i n g t h a t t h e m a d r ig a l books p ro v e d t o be r i c h s o u rc e s
o f c y c lic s e t t i n g s . F o r ex a m p le , m o st o f N a sc o ’ s v e r n a c u l a r p u b l ic a ti o n s
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251
c o n ta in in g tw e lv e c y c le s a l t o g e t h e r , a r e among t h e c o l l e c t i o n o f p a r t -
t h e se c o n d h a l f o f t h e s i x t e e n t h c e n tu r y . I n a d d i t i o n , a c c o r d in g to th e
d e d ic a t io n s o f s e v e r a l o t h e r c o l l e c t i o n s , th e m a d r ig a ls c o n ta in e d t h e r e i n
p u b l is h e d i n c o l l e c t i o n s t h a t w e re th u s a d d r e s s e d . The r e p e r t o r y o f c y c l i c
th a n i t i s now p o s s ib l e t o d o c u m e n t. Y e t ev en t h e d im in is h e d r e p e r t o r y
i n d i c a t e s t h a t m u lti-m o v em en t s e t t i n g s w ere f a s h i o n a b le i n s u c h c i r c l e s .
T a b le XVII
I p p o l i t o B a c c u si A c a s o tin g io m o
IHaor f u o r i 6 Muse
H ai l a s s o i o m i
Q u a l m u sico g e n t i l
G a b r ie le M a rtin e n g o I I s o l s i m o s tra
P a o lo M a s e n e lli G ia d i s f a t t o h a l e
G io . B a t t . M o s c a g lia Q ui v i d i C lo r i
G io v a n n i N asco A q u a lu n q u e a n im a le
Ecco l a m ia A a a r i l l i
F e rm a t* i l c o rs o v o s t r o
Se *1 p e n s i e r ch e m i
Su l a f i o r i t a r i v a
Te m e n tre s c h e r z i
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B e n e d e tto P a l l a v i c i n o Q u e r c ia ch* i n q u e s ta b e l l e s e lv e
P i e t r o V a le n z o la Su q u e l l a p a r t e d o v 1Amor
G ia c h es de W e rt 0 n e m ie i d a n n i
One o f t h e m o st v i v i d a c c o u n ts o f t h e a c t i v i t i e s o f acca d e m ie a f f o r d in g
an i n s i g h t i n t o t h e s o c i a l b a c k g ro u n d o f t h e m a d r ig a l i s A n to n fra n c e s c o
s i t i o n s — c h i e f l y m a d r ig a ls — a r e l i b e r a l l y i n t e r s p e r s e d among t h e g o s s ip ,
s u p p o s e d ly to o k p l a c e on s u c c e s s iv e e v e n in g s . The f a c t t h a t t h e r e p e r t o r y
su n g i n th e f i r s t p a r t in c lu d e d t h i r t e e n m a d r ig a ls by P i a c e n t in e and
V e n e tia n m u s ic ia n s h a s l e d E i n s t e i n t o c o n c lu d e t h a t t h e a c c o u n t r e p r e s e n te d
a t y p i c a l e v e n in g ’ s e n te r ta i n m e n t a t t h e A ccadem ia d e g l i O r t o la n i o f
a n d a m b itio u s , in c l u d i n g s e v e r a l m a d r ig a ls b y P a r a b o s c o , Berchem ’ s s e t t i n g
m u sic a i s o f s p e c i a l i n t e r e s t f o r t h e h i s t o r y o f t h e c y c l i c m a d r ig a l,
b e c a u s e i t n o t o n ly c o n ta i n s one o f t h e f i r s t c y c le s t o b e p u b l is h e d , b u t
b e c a u s e i t a l s o p r o v id e s c o n c lu s iv e e v id e n c e t h a t th e movements o f a
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253
c y c l i c m a d r ig a l w ere sung i n s u c c e s s io n #
P e l l e g r i n a o f V e n ic e w ere two o f th e m o st a c t i v e g ro u p s d e v o te d p r i m a r i l y
i n t h e d e d ic a tio n s o r p r e f a c e s o f s e v e r a l s ix t e e n t h - c e n t u r y m a d r ig a l
p r i n t s : th e Armonico I n t r o n a t o o f S i e n a , ^ th e A c c a d e m ic i L a r i i o f C o ra o ,^
m a d r ig a ls p u b lis h e d by G io v a n n i A n im uccia an d V in c e n zo G a l i l e i w e re p r o b a b ly
w r i t t e n f o r p e rfo rm a n c e a t one o f t h e F l o r e n t in e ac ad e m ie s#
c o n f r a t e r n i t i e s i m p o r ta n t f o r th e h i s t o r y o f m u sic w ere e s t a b l i s h e d d u r in g
th e s i x t e e n t h c e n tu r y . The m o s t s i g n i f i c a n t , a s f a r a s t h e d ev elo p m en t
o f t h e c y c li c m a d r ig a l i s c o n c e rn e d , w e re th e Roman c o n g r e g a z io n i fo u n d ed
b y , o r u n d e r th e i n f l u e n c e o f , S t . P h i l i p N e r i . 1^ N e r i , who w as o r d a in e d
d i s c u s s io n s e s s i o n s t h a t he d i r e c t e d f o r th e r e l i g i o u s e d i f i c a t i o n o f
c h u rc h o f San G io v a n n i d e i F i o r e n t i n i . T h e ir l i f e w as o r g a n iz e d a ro u n d
d a i l y a f t e rn o o n s e r v i c e s o f in fo r m a l t a l k s i n t e r s p e r s e d w i t h v e r n a c u l a r
t h e s m a ll d i l a p i d a t e d c h u rc h o f S a n ta M a ria i n V a l l i c e l l a w as g iv e n t o
b u i l t l a t e r on th e s i t e . S e v e r a l c o l l e c t i o n s o f la u d e a n d m a d r i g a l i
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25U
e d i t e d by P a d re G io v e n a le A n cin a i n 1599 c o n ta in e d f i v e c y c l i c m a d r ig a ls :
M en tre d e l C a p r ic o r n o .
S e v e r a l o f t h e c y c l i c m a d r ig a ls l i s t e d i n A pp en d ix B -were n o t o n ly
• w r itte n f o r p a r t i c u l a r g ro u p s o f m u s ic ia n s , b u t w e re composed f o r s p e c i f i c
e v e n ts s u c h a s w e d d in g s, m em o rial s e r v i c e s , a n d p u b l ic c e re m o n ie s . W h ile
e v e n ts o c c a s io n in g se v e n can b e a s c e r t a i n e d fro m t h e p r i n t s th e m s e lv e s ,
I n w h ic h t h e e v e n ts w ere r e c o r d e d b e s id e t h e t i t l e s i n t h e t a b l e s o f
s e t t i n g o f S o r g i s u p e rb o , a s e s t i n a by F ra n c e s c o B e lla n o , was w r i t t e n f o r
i c h i a r i r a g g i , a s e s t i n a by F ra n c e s c o C h r i s t i a n i , w as o c c a s io n e d by t h e
22
d e a th o f L i v ia C olo n n a . F i n a l l y , two o f t h e c y c le s w ere p e rfo rm e d a t
o t h e r c y c le s w ere u n d o u b te d ly w r i t t e n f o r s i m i l a r o c c a s i o n s .
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255
I n th e p r e s e n t s tu d y s e v e r a l o f t h e p ro b le m s a r e to o b r o a d t o be a d e q u a te ly
d e a l t w i t h w i t h in t h e c o n fin e s o f a d i s s e r t a t i o n . C o m p le tio n o f t h e s o u rc e
l i s t s i n A ppendices A an d B—a t a s k i n w h ic h t h e a u th o r i s c u r r e n t l y
en g a g ed — i s n e c e s s a r y , b e fo r e i t w i l l b e p o s s i b l e t o g r a s p th e s i g n i f i c a n c e
an d t h e e x t e n t to w hich s i x t e e n t h - c e n t u r y co m p o sers s e t m u l t i - s t r o p h i c
s tu d y h ave b een b a s e d on d e t a i l e d fo rm a l a n d t o n a l a n a ly s e s o f c y c l i c
s t u d i e s a r e made o f t h e non-Roman p o r t i o n o f t h e r e p e r t o r y , th e c o n c lu s io n s
c o n c e r n in g th e tr e a tm e n t o f p o e t i c fo rm r e a c h e d i n th e p r e s e n t s tu d y m u st
re m a in q u a l i f i e d . L a s t l y , a lth o u g h E i n s t e i n h a s p r o v id e d in v a lu a b le
i n s i g h t s i n t o th e s o c i a l an d t h e i n t e l l e c t u a l c u r r e n ts o f s ix t e e n t h - c e n t u r y
I t a l y i n h i s m onograph on th e I t a l i a n m a d r i g a l , t h e r e a r e v e r y few d e t a i l e d
s t u d i e s o f s ix t e e n th - c e n t u r y I t a l i a n p a tr o n s an d s o c i a l i n s t i t u t i o n s
im p o r ta n t f o r th e h i s t o r y o f m u sic t h a t h a v e b e e n b a s e d on th o ro u g h i n v e s
t i g a t i o n s o f th e a r c h i v a l e v id e n c e . U n t i l s u c h s t u d i e s a r e u n d e rta k e n ,
t h e h i s t o r y o f l a t e s i x t e e n t h - a n d e a r l y s e v e n t e e n th - c e n tu r y m u s ic a l
a e s t h e t i c s —p a r t i c u l a r l y th e c o m p o s itio n a l p ro b le m s in v o lv e d i n th e
s e t t i n g o f m u l t i - s t r o p h i c I t a l i a n v e r s e fo rm s a s m u lti-m o v em en t w orks—w i l l
re m a in in c o m p le te .
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256
F o o tn o te s
1 . A d e t a i l e d d i s c u s s io n o f t h e d ev elo p m en t o f t h e s ix t e e n t h - c e n t u r y
I t a l i a n ac ad e m ie s i s beyond t h e sco p e o f th e p r e s e n t s tu d y * F o r t h e
g e n e r a l h i s t o r i c a l back g ro u n d a n d d e s c r i p t i o n s o f t h e v a r i o u s s o c i e t i e s ,
s e e M ic h e le M a y la n d e r, S t o r i a d e l l e Accadem ie d ' I t a l i a , 5 v o ls * (B o lo g n a:
L. C a p p e l l i , 1 9 2 9 ).
3. E i n s t e i n , I t a l i a n M a d rig a l, V o l. I , p . U32.
U. C o n c e rn in g N a sc o ’ s a c t i v i t i e s a s t h e f i r s t c h o ir m a s te r o f t h e
A ccadem ia F ila r m o n ic a o f V e ro n a , s e e G iu sep p e T u r r i n i , ” 11 M a estro
Fiamm ingo G io v a n n i N asco a V erona ( I 5 h 7 - I 5 5 l) N o te d ’ A r c h iv io p e r l a
s t o r i a m u s i c a le , XIV (1937)* 1 8 0 -2 2 5 .
5 . I I Prim o l i b r o de m a d r i g a l i a g u a tr o v o c i ia s ie m e l a Canzon d i
R o s p i e t R o s s ig n u o l d i G iovan N asco (V e n ic e : A n to n io G ard an o , 15 5 U ). The
p r i n t c o n ta i n s t h r e e c y c le s : Ecco l a m ia A m a r i l li , Su l a f i o r i t a r i v a ,
an d Te m e n tre s c h e r s i .
8 . M usica S p i r i t u a l e l i b r o p rim o d i c an zo n e t m a d r i g a l i a c in q u e
v o c i com posta d a . . . J a n N asco , d a Lam berto Cor t o y , da A d ria n V u i l l a h e r t ,
d a V in cen zo R u f f o , d a G r iso s tim o d a V ero n a (V e n ic e : G iro lam o S c o t t o , 1 5 6 3 ).
f h e a n th o lo g y c o n ta i n s two c y c l e s : N a s c o 's Mio p a n ’ a n z i m ia
v i t a , a n d C o u r to y 's D e s tra d i q u e l am or.
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257
11. E i n s t e i n , I t a l i a n M a d rig a l, V o l. I , p . 1 9 6 .
12. I b i d . , V o l. I , p . 1 9 7 .
1 8 . I n , Prim o l i b r o d e l l e muse a q u a t t r o v o c i , m a d r i g a l i a r i o s i d i
A n t. B a rre e t a l t r i d i v e r s i a u t o r i (Rome: A n to n io B a r r§ , 1 5 5 5 ) . £ 1 5 5 5 ^ 0
2 0 . I n , T r io n fo d i m u sic a d i d i v e r s i a s e i v o c i , l i b r o prim o
(V e n ic e : L' H erede d i G iro lam o S c o t to , 15797. £1579-*♦!
2 2 . I n , I I Prim o l i b r o de m a d r i g a l i a q u a tr o v o c i d i G iovan P i e r l u i g i
P a l e s t r i n a (Rome: V a l e r i o & A l o i s i o D o ric o , l 5 5 5 ) •
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258
23* I n , I D o lc i F r u t t i , p rim o l i b r o d e v a g h i e t d i l e t t e v o l i m a d r i g a l i
d i d i v e r s i e c c e .ll e n ti s s i m i a u t t o r i £ c in q u e v o c i (V e n ic e : G irolam o S c o t to ,
1570)". c l 5 7 o ^
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259
BIBLIOGRAPHY
-------- - . S t o r i a d e l l 1 o r a t o r i o m u s ic a le i n I t a l i a , M ila n : F r a t e l l i ,
B occa, 191*5 •
A l i g h i e r i , D a n te . De v u l g a r e e l o q u e n z i a . P r o s e d i D an te A l i g h i e r i .
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B u s s i, F ra n c e s c o . " I I C a n to re S p ag n o lo P i e t r o V a le n z o la e i s u o i
M a d rig a li I t a l i a n i , " i n S t u d i d i m u sic o lo g ist I n o n o re d i C-uglielmo
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26k
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w e l t l i c h e n V ocalm usik I t a l i e n s , a u s den J a h re n 1 5 0 0 - 1 7 0 0 ',"
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d e r w e l t l i c h e n V ocalm u sik d e r R e n a is s a n c e i n I t a l i e n (M u sica r e s e r v a t a ) •
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P u b l i c a t i o n s o f t h e M odem Language A s s o c ia t io n o f A m erica,
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26?
M o n tic o lo , G io v a n n i. " I n to m o a d a l c u n i a n t i c h i c a t a l o g h i d e l l a B i b l i o t e c a
m a n o s c r it ta d i C r i s t i n a che s i c o n serv a n o n e l l a B i b l i o t e c a V a t ic a n a , ”
A r c h iv io d e l l a R . S o c i e t a Romana d i S t o r i a P a t r i a , XVII ( l 8 9 u ) ,
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3 v o l s . B r u s s e ls : K o n in k lijk e Vlaam 3 e Academie v o o r W eten sch ap p en ,
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de M ila n a u x v . s i i c l e . P u b l i c a t i o n s de 1 ' I n s t i t u t de r e c h e r c h e
e t d ' h i s t o i r e d e s t e x t e s , V o l. V. P a r i s : V e n te a u S e r v ic e d e s
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m u s i c a le ," Accademie e B ib li o t e c h e d ‘ I t a l i a . A n n a li d e l l a D ir e z io n e
G e n e ra le d e l l a A ccadem ie e B i b li o t e c h e a c u r a d e l M in is te r o d e l l a
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W. w. N o rto n , 1959.
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S a n ta n g e lo , G io rg io . I I P e tra r c h is m o d e l Bembo e d i A l t r i P o e t i d e l ’ 5 0 0 .
Rome: I s t i t u t o E d i t o r i a l e C u ltu r a E u ro p e a, 19 5 1 .
S a r t o r i , C la u d io . D iz io n a r io d e g l i E d i t o r i m u s i c a li I t a l i a n i . B i b li o t e c a
d i B i b li o g r a f i a I t a l i a n a , V o l. XXXII. F lo r e n c e : L eo . S . O ls c h k i,
1958.
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o f V o cal Polyphony o f t h e L a te S i x te e n t h C e n tu ry ." U n p u b lish e d
d i s s e r t a t i o n . Columbia U n i v e r s i ty , 1 963.
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S te v e n s , D e n is . “M a d r ig a li g u e r r i e r i , e t a m o ro s i: A R e a p p r a i s a l f o r th e
Q u a r te r c e n te n a r y ," M u s ic a l Q u a r t e r l y , L I I I (1 9 6 7 ), 1 6 1 -1 8 7 .
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1963.
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(m aggio 15L-3) a l 1600 e f l ~ su o p a tr im o n io m u s ic a le a n t i c o . V erona:
La T i p o g r a f ic a V e ro n e s e , 19U1.
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273
W ein b erg , B e rn h a rd . A H is to r y o f L i t e r a r y C r i ti c is m i n t h e I t a l i a n
R e n a is s a n c e . 2 v o l s . C h ic a g o : C hicago U n i v e r s i ty P r e s s , 1 9 ^ 1.
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U n i v e r s i t a t MOnchen, V o l. I . M unich: 1935*
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27h
APPENDIX A
A d r i a n ! , F ra n c e s c o . I I Primo l i b r o d e m a d r ig a li a s e i v o c i d i F ra n c e s c o
A d r ia n ! . V e n ic e : G irolam o S c o t to , I 5 6 8 .
A l l a d o l e ’ ombra ( 1 s t . )
Non vidd* i l mondo ( 2 s t . )
Un l a u r o mi ( 3 s t . )
P ero p i u ferm* ogn* h o r ( ^ s t . )
S o lv e s a s s i ( 5 s t . )
T anto mi p ia c q u e ( 6 s t . )
A l t r ' amor ( 7 s t . )
T o rn a sti a l a tu a ( 1 s t . )
Se ben mi d a i r e p u l s e ( 2 s t . )
Ch* i o t ' ami S a s s a i ( 3 s t » )
Anch* i o t* amo ( ^ s t . )
Ded. F ra n ce sc o M a la s p in a . S ie n a , 1. I . 1600.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
275
Ded. L a t t a n t i o T a r t a g l i . S ie n a , 8 . V I. 1 6 0 ?.
V e rg in e e G e n i tr i c e ( 1 s t . )
Non £ d i s o l v e s t i t a ( 2 s t . )
C d ir if e ra ro sa ( 3 s t . )
Vago c i e l lu m in o so ( ^ s t . )
A g o s t in i , L o d o v ic o . L* E cho, e t e n ig m i m u s i c a li a s e i v o c i d e l R everendo
M onsignor D. L odovico A g o s tin i F e r r a r e s e . . . . l i b r o s e c o n d o 0 V e n ic e :
A le s sa n d ro G ardano, I 5 8 I .
N asce l a p ena ( 1 s t . )
E l a m ia v i t a ( 2 s t . )
Ah p i u ch* a s s e n t i o ( 3 s t . )
Ah v i t a t r i s t a ( ^ s t . )
M entre m ia l u c a ( 5 s t . )
A g o s t in i , L o d o v ic o . H Prim o l i b r o d e m a d r ig a li a c in o u e v o c i d i Don
L odovico A g o s tin i F e r r a r e s e . V e n ic e : L i F i g l i u o l i d i A n to n io
G ardano, 1570.
Ded. S ig n o r Tomaso Z e r b i n a t i . V in e g ia , 1 5 . X I I .
S p irito g e n tile ( 1 s t . )
Che quando t o m a ( 2 s t . )
F r a te s e n z a t e non p o s s o ( 3 s t . )
Canzon v e d r a i d i r i c h e s p o g li e ( ^ s t . )
Amor che s t a t u it ( 1 s t . )
T i p reg o vk ( 2 s t.)
T i m’ hk s tr u c h a o ( 3 s t . )
E l s a v io d ix e ( 4 s t . )
P o rg e tte m i. l a l i r a ( 1 s t . ) A q u e l s tr a n o ( 5 s t . )
V oi che d e l p u ro ( 2 s t . ) Dunque i l g io m o ( 6 s t . )
Ecco 1* e t e m a ( 3 s t . ) E tu p er c o rte s ia ( 7 s t .)
I n q u e s to d i s i (tJ-st.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
276
A l b e r t i , In n o c e n z io . I I T erzo l i b r o d e m a d r i g a l i a q u a t t r o v o c i d i
I n n o c e n tio d i A l b e r t i . V e n ic e : Giacomo V i n c e n ti , 1607.
C hi S f e rm a to d i m enar ( 1 s t . )
L a u ra so a v e a e u i govern* e v e l a ( 2 s t . )
C hiuso g r a n tempo i n q u e s to c ie c o ( 3 s t . )
Come lum e d i n o t t e ( ^ s t . )
Non p e r ch* i o s i a s ic u r o ( 5 s t . )
S* i o e s c a v iv o de d u b b io s i ( 6 s t . )
A n e r io , F e l i c e . I I Primo l i b r o d e m a d r i g a l i a s e i v o c i d i F e l ic e A n e r io .
V e n ic e : R ic c ia r d o Amadino, 1 5 90.
Gi& d i s f a t t o h a l e ( 1 s t . )
S s s e r non puo ( 2 s t . )
I non h e b b i g iam a i ( 3 s t . )
0 b e lt a senza ( 4 s t .)
C o rran da g l* o c c h i ( 5 s "t.)
Ma d i s t a t o vedrci ( 6 s t . )
I o mi d i s t r u g g o ( 7 s t . )
A n e r io , F e l i c e . I I Primo l i b r o de m a d r i g a l i a c in q u e v o c i d i F e l i c e
A n e rio Romano. V e nice: Giacomo V in c e n z i, 1587*
F e rito f u i ( 1 s t . )
Ma i n v a n c e rc o ( 2 s t . )
Dunque che f i a ( 3 s t . )
Ma s ' i o r e s t o ( 4 -s t.)
R ic o rd o dunque a t e ( 5 s t . )
C h' a l l * h o r i b o s c h i ( 6 s t . )
Ded. G io v a n n i M. N ic o lo d e Nero F i o r e n t i n o . n .d .
A l l a d o lc e ombra ( 1 s t . ) Ma l a s s o h o r ( ^ s t . )
Non v i d ' i l mondo ( 2 s t . ) P ie n d i l a c c i ( 5 s t . )
Un l a u r o mi d i f e s e ( 3 s t . ) Guard* a l mio s t a t o ( 6 s t . )
P ero p i u ferrn* ogn* h o r ( 4 - s t .) S o v r ' u n a v e rd e r i v a ( 1 s t . )
S e lv e s a s s i ( 5 s t . ) A p ri l u s c i o ( 2 s t . )
T anto mi p ia c q u e ( 6 s t . ) V a l le v i c i n ( 3 s t . )
A nzi t r e d i ( 1 s t . ) N ascan h e r b e t t e ( 4 s t . )
Er* un te n e r o ( 2 s t . ) I n q u e s to d i ( 5 s t . )
C aro d o lc e a l t o ( 3 s t . ) M entre p e r q u e s t i ( 6 s t . )
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
277
A n t e g n a ti , C o n s t a n ti o . I I Prim o l i b r o d e m a d r i g a l i a q u a tr o v o c i c o n uno
d ia lo g o \ o t t o d i C o n s ta n tio A n te g n a ti Q r g a n is t a . V e n ic e : L i
F i g l i u o l i d i A n to n io G a rd an o , 1571.
Ded. C a r d in a l F a r n e s e . B e n e v e n to , 2 4 . V I H . 1614.
F i g l i a d i p rim a v e ra ( 1 s t . )
Quant* st t e s im il e ( 2 s t . )
Tu S. l e f o g l i e s e i b e l l a ( 3 s t . )
Ma i n c ib non s i e t e e g u a l i ( 4 s t . )
Ma l a m ia N in fa ( 5 s t . )
Rosa v a g a e v e z z o s a ( 6 s t . )
A p p o llo n i, G io v a n n i. I I Prim o l i b r o de m a d r i g a l i a q u a t t r o v o c i d i G io v a n n i
A p p o llo n i A r e ti n o . V e n ic e : R ic c ia r d o Amadino, 1600.
Qual t e r r a c h e ( 1 s t . )
Tal* 1* Alma ( 2 s t . )
A nzi non con ( 3 s t . )
S* ogn* h o r d a ( 4 s t . )
Se f i a c h e l i q u e f a r ( 5 s t . )
Se p e r i n t i e p i d i r ( 6 s t . )
Se m ai s p le n d e r ( 7 s t . )
A r d e s i, C a r lo . I I Prim o l i b r o d e m a d r i g a l i a q u a t t r o v o c i d i C a rlo A r d e s i
Cremonese M usico d i Cam era d e l l a S a c ra C e s a re a MaestA d e 1* Im p e r a to r e
R odolfo I I . V e n ic e: Giacomo V i n c e n ti , 1597*
D* u n a r o s a u n a s p in a ( 1 s t . )
Chi c r e d e r i a t a l c o s a ( 2 s t . )
N a sc e r d i s p in a r o s a ( 3 s t . )
I o b e n i l v e g g io c e r t o ( 4 s t . )
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No d e d .
V e rg in e b e l l a ( 1s t . ) V e rg in e s a c r a c h e s o la ( 1 s t . )
V e rg in e s a g g ia ( 2 s t . ) Sp esso f o r t u n e i n me ( 2 s t . )
V e rg in e p u ra d* o g n i ( 3 s t . ) Hor q u e s to don ( 3 s t . )
V e rg in e s a n ta d* o g n i ( ^ s t . ) Se c o s a dunque ( ^ s t . )
V e rg in e so l* a l mondo ( 5 s t . ) Ben p re g o c h e *1 ( 5 s t . )
V e rg in e c h ia r a ( 6 s t . ) Q uesto p e ro m ai f a r ( 6 s t . )
V e rg in e in a n z i c u i (7 s t . ) Va s p i r t * a q u e l l a ( 7 s t . )
V e rg in e be n s a i ( 8 s t . )
V e rg in e in c u i (9 s t . )
V e rg in e humana ( 1 0 s t . )
II di s ' a p p re s s a ( l i s t . )
B a c c u s i, I p p o l i t o . I I Prim o l i b r o de m a d r ig a li a c in q u e e t a s e i v o c i
con d o i a s e t t e e t o t t o , d i H ip p o lito B a c c u s i d a M antova. V e n ic e;
L i F i g l i u o l i d i A ntonio G ard an o , 1570.
G iovane donna ( 1 s t . ) P e r p ia n to l a m ia c a rn e ( 1 s t . )
A ll* h o r sa ra n n o ( 2 s t . ) Hor p e n s a te ( 2 s t . )
Ma p e rc h e ( 3 s t . ) S i m* e d o lc e ( 3 s t . )
Non f u r giammai ( 4 - s t . ) C o si v o l ( 4 - s t .)
Io temo ( 5 s t . )
D entro p u r fo co ( 6 s t . )
B a c c u s i, I p p o l i t o . . I I Secondo l i b r o d e m a d r ig a li A s e i v o c i co n u na c an zo n e
n e l l a g ra n v i t t o r i a c o n tr a i T u rc h i d i H ip p o lito B a c c u si d a M antova
m a e s tro d e l l a m u sica d e l l i i l l u s t r i S ig n o r i d i S p ilim b e rg o . V e n ic e :
G irolam o S c o t to , 1572.
B a c c u s i, I p p o l i t o . I I Primo l i b r o d e m a d r i g a l i a t r e v o c i d i I p p o l i t o
B a c c u s i M aestro d i C a p p e lla n e i Domo d i V ero n a. V e n ic e : R ic c ia r d o ;
Amadino, 159^ •
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279
A c a so u n g io rn o ( 1 s t . ) Se m* o d i i ( 3 s t . )
Vaga d* u d i r ( 2 s t . ) A g iu n g i a q u e s t* a n c o r ( 4 - s t . )
Con q u e l poco ( 3 s t . ) S ia q u e s ta p u r ( 5 s t . )
M entre che e l l a ( 4 s t . ) V a tte n e p u r c r u d e l ( 6 s t . )
Qual m usico g e n t i l ( 1 s t . ) La t r a *1 s a n g u e ( 7 s t . )
P o i com incio ( 2 s t . ) C h iu d e s ti i lu m i ( 8 s t . )
B a c c u s i, I p p o l i t o . Le V e r g in i d* I p p o l i t o B a c c u s i m a d r i g a l i a t r e v o c i
l i b r o se co n d o . V e n ic e : R ic c ia r d o Amadino, 1605.
V e rg in e b e l l a ( 1 s t . )
V e rg in e s a g g ia ( 2 s t . )
V e rg in e p u ra d* o g n i p a r t e ( 3 s t . )
V ergine s a n ta d* o g n i g r a z i a ( 4 s t . )
V e rg in e s o la a l mondo ( 5 s t . )
V e rg in e c h i a r a e s t a b i l e ( 6 s t . )
V e rg in e q u a n te la g r im e ( 7 s t . )
V ergine t a l I t e r r a ( 8 s t . )
V e rg in e i n c u i ho t u t t a ( 9 s t . )
V e rg in e humana e nem ica ( l O s t . )
I I d i s ' a p p re s s a ( l i s t . )
B a lsam in o , Sim one. Simone B alsam ino M a stro d i C a p e lla n e i Duomo d i V e n e tia
a l s e r **10 F ra n c e sc o M a ria Duca d* U r b i n o . . . . a s e i v o c i . V e n ic e:
R ic c ia rd o Amadino, 159^»
Ded. A l i i M a g n if ic i V i r t u o s i s m ie i S i g n o r i d e l l a C i t t a d i U rb in o .
V e n e tia , 13. V I I I . 159^.
V orro v e d e r c i c c h e T i r s i ( 1 s t . ) Dunque t u 1* a m a r e s t i ( l O s t . )
Nove nov* Am inta ( 2 s t . ) P e rch e dunque n o n o s i ( l i s t . )
Hbime c h e d i p o r t i ( 3 s t . ) G ia p e r lu n g o u s o ( 1 2 s t . )
Qual a r d i r mi b is o g n e ( 4 s t . ) Dunque a n d a r n o n ( 1 3 s t . )
Bisogn* a m ag g io r p ro v e ( 5 s t . ) C r e d i t u dunque ( l A s t . )
Horsu s c u o p rim i i l t u t t o ( 6 s t . ) E s* e l l a v u o l c h e *1 ( 1 5 s t . )
Dura c o n c lu s io n ( 7 s t . ) Ecco t u c h ie d i p u r ( l 6 s t . )
S* a mio senno s a r a i ( 8 s t . ) Tu t a c c i t u s e i v i n t o ( 1 7 s t . )
Non s a r i dunque v e r ( 9 s t . )
Non d e d .
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280
B a s t i n i , V in c e n ti o . I I Primo l i b r o d e m a d r i g a l i a c in q u e e t a s e i v o c i
d i V in c e n tio B a s t i n i . V e n ic e : C la u d io d a C o r r e g g io , 1 5 6?.
L* a e r. g r a v a to ( 1 s t . )
E t io n e i c o r ( 2 s t . )
I n p i c c i o l tempo ( 3 s t . )
Ma l a s s o a me ( 4 - s t.)
M entre ch* a l m ar ( 5 s t . )
Ben debt)* i o ( 6 s t . )
B a s t i n i , V in c e n ti o . H Secondo l i b r o d e m a d r i g a l i a c in q u e e t a s e i v o c i
co n uno d ia lo g o a o t t o a d u i c o r i d i V in c e n tio B a s t i n i M usico d e l l a
i l l u s t r i s s i m a S ig n o ria d i L u ch a. V e n ic e : G irolam o S c o t to , 1578.
V e rg in e b e l l a ( 1 s t . ) La n o t t e ch e s e g u i ( 1 s t . )
V e rg in e s a g g ia ( 2 s t . ) Quando donna ( 2 s t . )
V e rg in e p u ra d ' o g n i p a r t e ( 3 s t . ) R ic o n o s c i c o l e i ( 3 s t . )
V e rg in e s a n ta d* o g n i g r a z i a ( 4 s t . ) Come non conosch* i o ( ^ s t . )
V e rg in e s o l a a l mondo ( 5 s t . )
V e rg in e c h ia r a ( 6 s t . )
V e rg in e q u a n te la g r im e ( 7 s t . )
V e rg in a t a l S t e r r a ( 8 s t . )
V e rg in e i n c u i ( 9 s t . )
V e rg in e humana ( l O s t . )
I I d i s ’ a p p re s s a ( l i s t . )
B e l l a s i o , P a o lo . I I Primo l i b r o de m a d r i g a l i a c in q u e v o c i d i P aolo
B e l l a s i o V e ro n e se . V e n ic e : L* H ered e d i G irolam o S c o t to , 1578.
B e l l a s i o , P a o lo . I I Secondo l i b r o d e m a d r i g a l i a c in q u e v o c i d i P ao lo
B e l l a s i o . V e n ic e : L* H erede d i G irolam o S c o t t o , 1582.
C hi e f e rm a to d i m enar ( 1 s t . )
L* a u ra so a v e ( 2 s t . )
C hiuso g r a n tempo' ( 3 s t . )
Come lum e d i s t e i i e ( 4 s t . )
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281
Non perch* i o s i a ( 5 s t . )
S ' i o e s c a v iv o ( 6 s t . )
S ig n o r d e l l a m ia ( 7 s t . )
Ded. G io . P a o lo & P ro s p e ro V i s c o n t i , n .d .
S ovra una v e rd e r i v a ( 1 s t . )
A p ri 1* u s c io p e r tempo ( 2 s t . )
V a ili v ic in e e ru p i ( 3 s t . )
Nascan h e r b e t t e f i o r i ( h s t . )
I n q u e s to d i gio co n d o ( 5 s t . )
M entre p e r q u e s t i m o n ti ( 6 s t . )
P e r c o r t e s i a ca n zo n ( 7 s t . )
P a r is 3 . N. (C )
B aci soavi ( 1s t . )
B aci am o ro si ( 2 s t . )
B aci a ffa n n a ti ( 3 s t . )
B aci c o rte s i ( * fs t.)
B aci oime b a c i ( 5 s t . )
B e i l i s , G io v an n i B a t t i s t a . I I Secondo l i b r o de m a d r ig a li II c in q u e v o c i
d i D. G io. B a t t i s t a d e B e i l i s d a I t r i O r g a n is ta . N a p le s: G io .
B a t t i s t a Gargano & L u c r e t i a N u c c i, 161^.
G iacea d i p r o p r i a ( 1 s t . )
Giuge C l o r i , e l i d i c e ( 2 s t . )
E t e l l a se fo ss* io ( 3 s t . )
Se c e r c h i c h i a ' u c c is e ( 4 s t . )
C osi d ice n d o ( 5 s t . )
B erchem , J a c h e t . I I Prim o l i b r o d i m a d r i g a l i a q u a tt r o v o c i d i I a c h e t
Berchem . V e n ic e : G irolam o S c o t to , 1555*
No. d e d .
A qu a lu n q u e a n im a l ( 1 s t . )
E t i o d a che ( 2 s t . )
Quando l a s e r a ( 3 s t . )
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282
Non c re d o che ( 4 s t . )
Prim a ch* i t o m i ( 5 s t . )
Con l e i fo ss * i o ( 6 s t . )
Di p ia n g e r m ai ( 1 s t . ) L a ssa d ic e a ( 1 s t .)
Q u este non so n ( 2 s t . ) Oime ch* i n v a n ( 2 s t . )
Non so n i o q u e l ( 3 s t . ) Ma s e e g l i ( 3 s t . )
P e r b o sc o e r r o ( 4 s t . ) Poco g u ard ag n o ( 4 s t . )
Taglifc l o s c r i t t o ( 5 s t . ) Quando l a v i t a ( 5 s t . )
Che ram i ( 6 s t . ) Deh v i t a m ia ( 6 s t . )
A f f l i t t o e s ta n c o ( 7 s t . ) Deh p e rc h e d i a n z i ( 7 s t . )
Qui rim an 1* elmo ( 8 s t . ) Quando s i v id d e ( 1 s t . )
Dunque f i a v e r d i c e a ( 1 s t . ) S t u p id a e f i s s a ( 2 s t . )
Sa q u e s to a l t i e r ( 2 s t . ) D ic e a f o r t u n a ( 3 s t . )
Deh ferm* amor ( 3 s t . ) Ma c h e mi p o s s i ( ^ s t . )
Ma d i che debbo ( 4 s t . ) C* h a v e r puo donna ( 5 s t . )
A nzi v i a p iu ( 5 st . ) Se 1* a f f o r g a r m i ( 6 s t . )
Deh p e rc h e v o g lio ( 6 s t . ) S ig n o r n e 1* a l t r o ( 1 s t . )
E l la non s a s e ( 1 s t . ) V i s te d e l p a z zo ( 2 s t . )
C o si c o r mio ( 2 s t . ) P e r u n a gamba ( 3 s t . )
Ma p o i che *1 ( 3 s t . ) G li a g r i c u l t o r i ( ^ s t . )
A q u e s to l a ( 4 s t . )
Di c io c o r mio ( 5 s t . )
Z e rb in l a d e b o l ( 6 s t . )
Non c re d o c h e ( ? s t . )
S opra i l s a n g u ig n o ( 8 s t . )
B e r n a r d i, S te f a n o . I I Prim o l i b r o d e m a d r i g a l i a c in q u e v o c i d i S te fa n o
B e m a r d i . V e n ic e ; H ic c ia r d o Am adino, I 6 i l .
. M entre *1 p i e vago ( 1 s t . )
E a l l * h o r Aura c e l e s t e ( 2 s t . )
Ma s e n e i cavo le g n o ( 3 s t . )
Voi dunque ch* It D iana ( 4 s t . )
B e r n a r d i , S te fa n o . I I Prim o l i b r o d i m a d r i g a l i \ t r e v o c i d i S te fa n o
B e m a rd i V e ro n e s e . Rome: B a rth o lo m eo Z a n n e t t i , 1611.
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0 p rim a v e ra ( 1 s t . )
Tu q u e l l a s e i ( 2 s t . )
Ma s e l e m ie s p e ra n z e ( 3 s t . )
Qui p u r v e d r o l l a ( 4 s t . )
0 lu n g am e n te ( 5 s t . )
B e r to l d o , S p e r in d io . H Frim o l i b r o d i m a d r i g a l i a c in q u e v o c i d i S p e r 8
i n Dio 3 e rth o ld o O r g a n is ta d e l Duomo d i Pad o v a. V e n ic e! A ntonio
G ardano, 1561.
Ded. F ra n c e sc o L ando. n .d .
Una donna p i u b e l l a ( 1 s t . )
Q u esta m ia donna ( 2 s t . )
Ma non ra* e l t o l s e ( 3 s t . )
Rado f u a l mondo ( 4 s t . )
I v o le a d i r ( 5 s t . )
R u p esi i n t a n t o ( 6 s t . )
S i come p ia c a u e ( 7 s t . )
Canzon d i t u a r a g i o n ( 8 s t . )
B e r to ld o , S p e r in d i o . I I Secondo l i b r o d i m a d r i g a l i a c in q u e v o c i d i
Sper* i n Dio B e rth o ld o O r g a n is ta d e l Duomo d i Pad o v a. V e n ic e!
A ntonio G ardano, 1 5 6 2 .
Ded. L u ig i C a r d in a l d i E s t e . n .d .
L asso me c h i non so ( 1 s t . )
R agion e b e n ch* a ic u n a ( 2 s t . )
V aghi p e n s ie r ( 3 s t . )
Che p a r l o o dove sono ( 4 s t . )
T u tte l e c o s e ( 5 s t . )
3 i a n c i a r d i , F ra n c e s c o . C a n z o n e tte s p i r i t u a l i a t r e v o c i d i F ra n ce sc o
B i a n c ia r d i l i b r o p rim o . V e n ic e! A ngelo G ard an o , 1606.
S o la f r a s u o i p i u c a r i ( 1 s t . )
S ta v a 1* a d d o lo r a ta ( 2 s t . )
Lungo s p a t i o ta c e n d o ( 3 s t . )
E mio p o s c ia r i p r e s e ( 4 s t . )
C hi d* a t r o sangue ha t i n t o ( 5 s t . )
Te dunque i n s e n p o r t a i ( 6 s t . )
G li o c c h i v o lg i (7 s t . )
A t e ch* e r r a r non p u o i ( 8 s t . )
La C roce dunque ( 9 s t . )
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28U
Ded. G a le az z o C r o t to . V e r c e l l i , 1 . IV . 1592.
D a l le fiamme ( 1 s t . )
Non & f e r a ( 2 s t . )
V i s t ' ho t a l * h o r ( 3 s t . )
Non s* a c c o rg e 1* in c a u to ( ^ s t . )
B o n a g iu n ta , G i u l io . I I Prim o l i b r o de c an zo n n a p o li t a n e a t r e v o c i con
d u e a i l a v e n e ti a n a d i G in lio B o n a g iu n ta d a San G e n e s i. V e n ic e :
G irolam o S c o t to , 15&5*
A c a s* un g io m o ( 1 s t . )
Vaga d* u d i r ( 2 s t . )
Con q u e l poco d i s p i r i t o ( 3 s t . )
M en tre ch* e l l a (*4-st.)
B o r s a ro , A rc a n g e lo . P i e t o s i A f f e t t i i l prim o l i b r o d e l l e c a n z o n e tte
s p i r i t u a l i a q u a tt r o v o c i d i A rc a n g e lo B o rs a ro d a R e g g io . V e n ic e:
R ic c ia r d o Amadino, 1597*
3 o t t a c c i o , P a o lo . I S o s p i r i c o n a l t r i m a d r i g a l i a c in q u e e t o t t o v o c i d i
P a o lo B o t t a c c i o . . . . l i b r o p rim o . V e n ic e: Angelo Gardano & F r a t e l l i ,
1S09I
0 ben s p a r s i ( 1 s t .)
V e ri § v iv a c i ( 2 s t . )
D el g ra v e in c e n d io ( 3 s t . )
N um erosi p a s s a g g i ( 4 s t . )
Le p i a n t e , e 1* h e rb e ( 5 s t . )
Hor d a l pro fo n d o ( 6 s t . )
Amor d i g i o i e ( 7 s t . )
A ncor n e i u n iv e r s o ( 8 s t . )
S o s p ir v i v i f a v i l l e ( 9 s t . )
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285
Non s i t o s t o d a l c i e l ( 1 s t . )
Ahi d u r ' £ me ( 2 s t . )
A me non f o n te ( 3 s t . )
L u c id a o r i e n t a l ( 4 - s t .)
P o t e s s i alm en ( 5 s t . )
A t e mi v o lg o ( 6 s t . )
P orgim i luc® Amor ( 7 s t . )
Amor ch® a l g ra n d e s io ( 1 s t . )
Ah non s i a v e r ( 2 s t . )
Che s e *1 mio m ai ( 3 s t . )
Poco c h ie g g io ( ^ s t . )
Troppo 1* e r r o r ( 5 s t . )
Dunque 1 ' a r d i r r i p i g l i a ( 6 s t . )
La dove r a r o don c o p re ( 7 s t . )
B r a s s a r t , O l i v i e r . I I Prim o l i b r o d e l l i s o i m a d r i g a l i a q u a t t r o v o c i d i
O l i v i e r B r a s s a r t I Rome: A nto n io B a r r e , 1 5 ^ .
C n ia ro S ig n o r che da 1® a l t i e r o m onte ( 1 s t . )
N ei a p p a r i r s i r a s s e r n a ( 2 s t . )
Le vag h e N in fe ( 3 s t . )
Sede s o n a r t r a * i n u s i t a l e n o te ( 4 s t . )
A lla d o l e ’ ombra ( 5 s t . )
Ne s i vedr& con g r a n s o s p i r ( 6 s t . )
S p i r t o s o v ra che d a l m a te m o s t e l o ( 7 s t . )
Ded. t o a n anonymous l a d y .
B u o n a v ita , A n to n io . I I Primo l i b r o d e m a d r i g a l i a q u a t t r o v o c i co n un
d ia lo g o a o t t o n e i f i n e d i A n to n io B u o n a v ita n o b i le P is a n o c a v a l i e r e
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s a c e r d o te e t o r g a n i s t a d i S an to S t e f a n o . V e n ic e : L* Herede d i
G irolam o S c o t to , 1 5 8 /•
Ded. S ig . B e n e d e tto V iv a ld i C a v a l ie r e d i S an to S te fa n o . P is a , 4 . I .
1587.
Sp en te e ra n n e i mio c o r ( 1 s t . )
L in g u a non p o trb m ai ( 2 s t . )
0 f e r e s t e l l e hom ai ( 3 s t . )
Non p e r v i v e r s ig n o r ( 4 s t . )
Tempo f u ch* i o c a n ta ( 5 s t . )
Hor v e g g io l a s s o ch e d i g u e rr a ( 6 s t . )
Novo amor nove fiamme ( 7 s t . )
0 s o la & senza ( 1s t . )
Amor v i d ' i o ( 2 s t . )
S i d o lc i o d o ri ( 3 s t .)
Come i n a r i a o ( 4 s t . )
Cener e t ombra ( 5 s t . )
Che p ro mi v i e n ( 1 s t . )
S ' arm a ta i l c o r (2 st.-.)
S c a ld a c o l tu o v a lo r e ( 3 s t . )
Non c o n s e n t i r ( 4 s t . )
0 d e s tra in l e i ( 5s t . )
C hina l e s a n t* o r e c c h ie ( 6 s t . )
C a n c in eo , M ic h e la n g e lo . I I Prim o l i b r o d e m a d r ig a li d i M ic h e l* A ngelo
C ancineo V i t e r b e s e M aestro d i C a p p e lla d e l Duomo d i V ite rb o 5 q u a t t r o .
c in q u e , s e i . & o t t o v o c i . V e n ic e : A ngelo G ardano, 1590.
Come n o ttu m o ( 1 s t . )
Se m ai q u e st* o c c h i ( 2 s t . )
0 m adre ( 3 s t . )
D al d i ( 4 s t . )
Madonna su a ( 5 s t . )
F u g ite hom ai ( 6 s t . )
Canzon d i s e r a ( 7 s t » )
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287
P o ic h e non s p i r a ( 1 s t . )
Ahi s o a v i ( 2 s t . )
D' E tn a s o m ig lia ( 3 s t . )
C hi g io v a ( 4 s t . )
P e rch e l a d o lc e ( 5 s t . )
0 L a u ri ( 6 s t . )
0 s* e s ti n g u a ( 7 s t . )
S i r u b e l l a d ! Amor ( 1 s t . )
Q uel che n e l mondo ( 2 s t . )
S o la i n d i s p a r t e ( 3 s t . )
C a r ' A rm e llin ( 4 s t . )
B el fium e ( 5 s t . )
Conce s i sp eg n e ( 6 s t . )
Q u esta v i t a ( 7 s t . )
D olce d e s t i n ( 8 s t . )
Ded. S ig n o r Diomede C a r a f a . n .d .
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288
Ded. F e rd in a n d o , Duca d i B a v ie r a . n .d .
A q u a lu n a u e a n im a l ( 1 s t . )
S t i o , e t io ( 2 s t . )
Quando l a s e r a ( 3 s t . )
Non c re d o ch e ( 4 s t . )
Prim a ch* i t o m i ( 5 s t . )
Con l e i f o s s ' i o ( 6 s t . )
M entr* i o v* ad o ro ( 1 s t . )
Ma s e v o s tr o so n ( 2 s t . )
C o s i m* h a f a t t * amor ( 3 s t . )
Ma s e d i p o s s e d e r ( ^ s t . )
C a s e n ti n i , M a r s i li o . T i r s i e C l o r i , t e r z o l i b r o de m a d r ig a li a c in q u e v o c i
d i M a r s i li o C a s e n tin i L u ch ese M a estro d i C a p e lla d e l l a M a g n ific a
Community d i Gemona. V e n ic e : Giacomo V i n c e n ti , 1607.
N e ll* h o ra quando ( 1 s t . )
P o i s e t i m* ami ( 2 s t . )
La b e l l a N in fa ( 3 s t . )
P o i d i c e empio ( 4 - s t .)
E s o s p ir a n d o ( 5 s t . )
L a sso ch* i n vano ( 6 s t . )
C a s e n t i n i , M a r s i li o . La C ie c a m a d r i g a l i a c in q u e v o c i d i M a r s i li o C a s e n ti n i
M a estro d i C a p e lla d i Gemona. l i b r o q u a r t o . V e n ic e: Giacomo V i n c e n ti ,
1609.
Ch* i t* ami ( 1 s t . )
Ma che b is o g n a ( 2 s t . )
Deh b e l l a e c a r a ( 3 s t . )
Ma a c h i p a r l o ( ^ s t . )
C a s t r o , G iovan d e . S c e lt a d e i p in v a g h i m a d r i g a l i a c in q u e v o c i d i M.
Giovan de C astroT V e n ic e : R ic c ia r d o Amadino, 159^*
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289
C h ia re f r e s c h e ( 1 s t . )
Che g l i e p u r ( 2 s t . )
Tempo v e rrs t ( 3 s t . )
Da b e i ra m i ( 4 s t . )
Quante v o l t e ( 5 s t . )
C a s t r o , G iovan d e . I I Prim o l i b r o d i m a d r i g a l i . c a n z o n i, e t m o t e t t i
a t r e v o c i d i J e a n C a s t r o l A ntw erp: G iovan L a t i o , 15^9*
Ded. G io . F i e s c o . n .d .
Standom ' u n g io rn o ( 1 s t . )
Un d i p e r a l t o m are ( 2 s t . )
In un b o s c h e tto ( 3 s t . )
C h ia ra f o n ta n a ( 4 s t . )
Una s t r a n i a F e n ic e ( 5 s t . )
A1 f i n v id * i o ( 6 s t . )
C a s t r o , G iovan d e . Second l i v r e de c h a n s o n s , m a d r ig a lz e t m o te tz a t r o i s
p a r t i e s p a r J e h a n de C a s tro a P a r i s . P a r i s : A d rian l e Roy & R o b e rt
B a l la r d , 1580.
Standom ' un g io m o ( 1 s t . )
I n d i p e r a l t o mar ( 2 s t . )
I n un b o s c h e t t o ( 3 s t . )
C h ia ra f o n ta n a ( 4 s t . )
Una s t r a n i a F e n ic e ( 5 s t . )
A1 f i n v i d ' i o ( 6 s t . )
Aura c h e mormorando ( 1 s t . )
C o si non s e n t i ( 2 s t . )
I o d® o d o r a t e ( 3 s t . )
Se v e d ra n p o i ( 4 s t . )
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290
C in ta d i f i o r ' un g io rn o ( 1 s t . )
G li o c c h i lu c e n t* e b e l l i ( 2 s t . )
La d e a ch e n e l m ar ( 3 s t . )
Io f e l i c e p a s to r e ( 4 s t . )
P e r l e i pos* i n o b l io ( 5 s t . )
C a ta ld o , S a l v a t o r e . Di Don S a l v a t o r e C a ta ld o T u t t i i p r i n c i p i i d e c a n t i
d a n « A r io s to p o s t i i n m u sic a . V e n ic e : G irolam o S c o t to , 1559*
La v e r 1* a u ro r a ( 1 s t . )
Tem prar p o t e s s i ( 2 s t . )
Q uante la g r im e ( 3 s t . )
Huomini e Dei (h’S t . )
Al* u ltim o b iso g n o ( 5 s t . )
Ridon h o r p e r l e ( 6 s t . )
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291
C a v a c c io , G io v a n n i. M usica a c in q u e v o c i d i G io v a n n i C a v a c c io M aestro d i
C a p e lla n e l Daomo d i Bergamo s o p ra l e p a r o l e d i u n a le g g i a d r i s s im a
c a nzon p a s t o r a l e , e t a lc u n e n a p o l i t a n e . V e n ic e : A ngelo G ardano, 1585*
C a v a l i e r i , P a o lo . I I Prim o l i b r o de m a d r i g a l i £ c in q u e v o c i d i Paolo
C a v a l i e r i 3 o lo g n e s e . V e n ic e: Giacomo V in c e n ti & R ic c ia r d o Amadino,
1585.
Ded. S i g . C a r d in a le A le s s a n d r in o . B o lo g n a , 2 0 . X II. 1584.
Amor s e v u o i ch* i o to rn * ( 1 s t . )
Se s t i m i s i g ran p r e g io ( 2 s t . )
S eguim i p u r n e l mondo ( 3 s t . )
Ma s* i n v id i o d e l b e l ch* o g g i ( 4 s t . )
A a u a lu n q u e a n im a l ( 1 s t . )
E t i o da ch* in c o m in c ia ( 2 s t . )
Quando l a s e r a ( 3 s t . )
Non c re d o che ( 4 s t . )
Prim a ch* i o ( 5 s t . )
Con l e i fo ss* i o ( 6 s t . )
Non ha t a n t i ( 1 s t . )
Di i n d i sp e ro ( 2 s t . )
I non h a b b i giam m ai ( 3 s t . )
Consumandomi vo d i ( 4 s t . )
Le c i t t a son nem iche ( 5 s t . )
Deh h o r fo ss* i o ( 6 s t . )
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292
P o rg e te m i l a l i r a ( 1 s t . )
Voi ch e d e l puro ( 2 s t . )
Ecco 1* e te r n a ( 3 s t . )
I n q u e s to d i s i ( ^ s t . )
A q u e l s tr a n o ( 5 s t . )
Dunque i l g io rn o ( 6 s t . )
C ha m a te ro , I p p o l i t o . I I Prim o l i b r o d e m a d r i g a l i a q u a t t r o v o c i d i
H ip p o lito Cham atero^ V e n ic e : A n to n io G ard an o , £5 6 1 .
La v e r 1* a u ro r a ( 1 s t . )
Tem prar p o te s s * i o ( 2 s t . )
Q uante la g r im e ( 3 s t . )
Huomini e Dei ( 4 s t . )
Al® u ltim o b iso g n o ( 5 s t . )
Ridon* h o r p e r l e pdagge ( 6 s t . )
C h am atero , I p p o l i t o . 11 Seeondo l i b r o d e l l i m a d r ig a li k q u a t t r o v o c i d i
H ip p o lito Cham atero M a estro d i C a p e l la n e l Domo d i U dene. V e n ic e:
G irolam o S c o tto , I 5 6 9 .
Ded. B a rb a ra S a n s e v e r in a . Udene, 2 0 . V I. 1 5 6 9 *
L* a e r e g r a v a to ( 1 s t . )
E t io n e l c o r ( 2 s t . )
I n p i c c i o l tempo ( 3 s t . )
Ma l a s s o ( ^ s t . )
M entre ch® a l m ar ( 5 s t . )
Ben debb* i o ( 6 s t . )
C i f r a , A n to n io . I I Primo l i b r o d e m a d r i g a l i a V. v o c i d® A n to n io C i f r a
Romano. Rome: L u ig i Z a n n e tt i , 1 ^ 0 5 .
G iu n to k l a tomba ( 1 s t . )
Non d i m o rte s e i t u ( 2 s t . )
D a g li l o r t u che s e m ai ( 3 s t . )
E t amando morb ( 4 - s t .)
C i f r a , A n to n io . S c h e rz i e t A r ie a u n a . d u e , t r e . e t q u a t t r o v o c i p e r
c a n t a r n e l c la v ic e m b a lo , c h i t a r r o n e . d a l t r o s im il e i s t r o m e n to d i
A ntonio C i f r a Romano M a estro d i C a p e lla n e l l a S a n ta C asa d i L o r e to .
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293
V e n ic e : Giacomo V i n c e n ti , I 6 l 4 .
Ded. M ic h e le M o ro n i. L o r e to , 2 6 . IV . I 6 l h .
E ra l a n o t t e ( 1 s t . ) S o v e n te a l l r h o r ( 1 s t . )
L ’ in n a m o ra ta donna ( 2 s t . ) E de su o i s tr a n i ( 2 s t . )
P o i rim ira n d o ( 3 s t . ) In d i d ic e a ( 3 s t . )
C o s i a m ia v i t a ( h s t . ) S e n ta s v e g l i a r s i ( h s t . )
C i f r a , A n to n io . L i d i v e r s i S c h e rz i d i A n to n io C i f r a Romano M a estro d i
C a p p n lla d e l l a S a n ta C asa d i L o r e to , a u n a . a d u e , e t a t r e v o c i.
l i b r o p rim o . Rome: G io . B a t t i s t a R o b l e t t i , 1613.
S i v o l s e Armid® ( 1 s t . )
Alz& l e s t r i d a ( 2 s t . )
E lla cadea ( 3 s t .)
G l i f e d ’ tin b a c c io ( ^ s t . )
F resch* acque e c h i a r e ( 1 s t . )
Ma p e r p i u i s p iu g a r ( 2 s t . )
A v e n tu ro se v o i t e r r e v i c i n e ( 3 s t . )
Ben c a p i t a t a e t u b e n p o s ta ( h s t . )
Le v o s t r e v i e c i r c o n v i c i n i ( 5 s t . )
Di d o l c i n o t t e ( 6 s t . )
Con a c q u e dunque e t e r r e ( 7 s t . )
Perfc canzon m ia c a r a ( 8 s t . )
D al n o b i l p a r t o ( 1 s t . )
Q ual p i u b e l s e c o l ( 2 s t . )
V aghi f e l i c i a v e n tu r o s i ( 3 s t . )
Poco f o r a n d* O rfeo ( ^ s t . )
C ig n i a tn ic i d i Dio ( j i s t . )
C re s c a homai s* e s s e r ( 6 s t . )
N* a l t r a p i a n t a c o n v ie n s i ( 7 s t . )
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Quando l e vaghe ( 1 s t . )
Da tin l e g g i e r ( 2 s t . )
Ecco 1* i n g r a t a ( 3 s t . )
E l l a l e b e l l e (4 s t . )
E t u d o lc e m ia ( 5 s t . )
Qual alm a p iu ( 6 s t . )
E p o i v e n u to ( 7 s t . )
Da l e i c h e me ( 8 s t . )
Di p e r l e la g rim o s e ( 1 s t . )
E d i s s e ohime ( 2 s t . )
E t e i non m o r ir e te ( 3 s t . )
E t e lla d isse ( 4 s t.)
Non f i a ta r d o ( 5 s t . )
C o r f i n i , J a c o p o . H Prim o l i b r o d i m a d r i g a l i a c in q u e v o c i co n d o i d i a l o g h i
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1 5. V I. 1584.
C in ta d i f i o r ( 1 s t . )
G li o c c h i l u c e n t i ( 2 s t . )
La Dea ch e n e l ( 3 s t . )
I o f e l i c e p a s to r e ( 4 s t . )
P e r l e i pos* i n ( 5 s t . )
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295
C o s ta , G io v an n i P a o lo . I I Primo l i b r o d i m a d r ig a li a c in q u e v o c i d i
G io . P aolo C o s ta G enovese. V e n ic e : A ngelo G ardano &F r a t e l l i , 1610.
Quando l a b e ll * A urora ( 1 s t . )
L a sso che come v e g g io ( 2 s t . )
Cosx n o ia n d ' i o vd ( 3 s t . )
A llh o r c h e q u e ra n p o i ( 4 -s t.)
C o si i n l i e t o c a n t a r ( 5 s t . )
Madonn* a l mio l a n g u i r ( 6 s t . )
I I mem brar d e l mio S o l ( 7 s t . )
C o s ta , G io v a n n i P a o lo . I I Primo l i b r o d i m a d r i g a l i a q u a t t r o v o c i d i
G io . P a o lo C o s ta G enovese. V e n ic ei Angelo G ard an o , 1613.
G ia d i s f a t t o h a l e ( 1 s t . )
E sse ? non puo ( 2 s t . )
I o non h e b b i g iam a i ( 3 s t . )
0 b e l t a s e n z a esem pio ( 4 s t . )
C o rra n da g l i o c c h i m ie i ( 5 s t . )
Ma d* e s t a t e v e d ro ( 6 s t . )
Io mi d i s t r u g o a l S o l ( 7 s t . )
Un tempo amor ( 1 s t . ) Ma l a s s o i n u n ( ^ s t . )
N u lla o poco ( 2 s t . ) Che 'n c o n t r a amor ( 5 s t . )
Non s c i o i s e m ai ( 3 s t . ) Ma non s i ( 6 s t . )
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296
C ro c e , G io v a n n i. T r ia c a M u s ic a le d i G io v a n n i C roce C h io z z o tto n e l l a
q u a le v i sono d i v e r s i c a p r i c i £ *4-. 5. 6 . & 7 . v o c i . V e n ic e ; Giacomo
V i n c e n ti , 1595*
No d e d .
S* u d ia n s o v e n te ( 1 s t . )
D is s e i l Cucco ( 2 s t . )
R is p o s e i l R o s s ig n u o l ( 3 s t . )
G rave i l g u id ic e ( ^ s t . )
C ro c e , G io v a n n i. H Prim o l i b r o d e m a d r i g a l i a s e i v o c i d i G io v a n n i C roce
C h io g g io to . V e n ic e: Giacomo V i n c e n ti , 1 590.
L i e t a s p ie g a v a ( 1 s t . ) T i r s i m o rir v o le a ( 1 s t . )
A m ati L a u r i e M ir te ( 2 s t . ) F reno T i r s i i l d e s io ( 2 s t . )
Tu s e b e to g e n t i l e ( 3 s t . ) La b e l l a N in fa s u a ( 3 s t . )
V e r m ig iie r o s e ( ^ s t . ) C o si morirfc ( ^ s t . )
V aghi e c a r i a u g e l l i n i ( 5 s t . )
0 C o rid o n f e l i c e ( 6 s t . )
Ne l a s ta g g i o n n o v e ll a ( 1 s t . )
I o d® a rd e n t e d e s io ( 2 s t . )
Q ual tu o f i e r o d e s tin o ( 3 s t . )
0 d i t r a ram i e f r o n d i ( 4 s t . )
Meco g o d i u n d i l e t t o ( 5 s t . )
C ro c e , G io v a n n i. I I Seeondo l i b r o d e m a d r ig a li a c in q u e v o c i d i G io v an n i
C ro ce C h io z o tto V ice M a stro d i C a p p e lla d e l l a S e re n is s im a S i g n o r ia
d i V e n e tia i n S . M arco. V e n ic e; Giacomo V in c e n z i, 1592.
C o si Damon piangendo ( 1 s t . )
A r s i s p e r a i c a n ta n d o ( 2 s t . )
Tu dunque m ia nem ica ( 3 s t . )
E q u e s t* estre m o p i a n t o ( 4 s t . )
D e n tic e , S c ip io n e . H T erzo l i b r o d e m a d r ig a li £ c in q u e v o c i d i S c ip io n e
D e n tic e . N a p le s; G io . Jacomo C a r lin o & A nto n io P a c e , 1598.
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297
Ded. E r n e s to , A rc h id u c a d f A u s t r i a , n .d .
S p e n t' e ra n n e l mio c o r ( 1 s t . )
L ingua non p o t r i ( 2 s t . )
0 fere s te lle ( 3 s t.)
Non p e r v i v e r ( ^ s t . )
Tempo f u c h ' i o ( 5 s t . )
Or veggo l a s s o ( 6 s t . )
D onato, B a ld a s s a r e . H Seeondo l i b r o de m a d r ig a li a q u a tr o v o c i d i
B a id a s s a r e Donato^ V e n ic e : A n to n io G ard an o , 1 5 6 8 .
No d ed.
A qualu n q u e a n im a l ( 1 s t . )
E t i o da c h e ( 2 s t . )
Quando l a s e r a ( 3 s t . )
Non c re d o c h e ( 4 s t . )
Prim a ch* i o t o r n i ( 5 s t . )
Con l e i fo ss * i o ( 6 s t . )
D o r a ti , N ic o lo . L i M a d rig a li a c in q u e , a s e i . a s e t t e e t o t t o v o c i d i
N ic o lo D o r a ti , l i b r o seeo n d o . V e n ic e : G irolam o S c o t to , 1559*
D o r a t i , N ic o lo • H Primo l i b r o d i m a d r ig a li a c in q u e v o c i d i N ic o lo D o r a t i .
V en ice: A ntonio G ard an e, i j k y .
Ded. M. P i e r f r a n c e s c o . n .d .
S c ic c o v o lg o ( 1 s t . )
T aci t a c i c ru d e l ( 2 s t . )
S p i r t i ben ( 3 s t . )
Rozz* e b r e v e ( 4 s t . )
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298
D o r a t i , N ic o lo . I I Terzo L ib ro d e m a d r i g a l i a c in q u e v o c i d i N ic o lo
D o r a ti Capo d e l a M usica de!U.a i l l u s t r i s s i m a S jg n o r ia d i L u eh a.
V e n ic e : A ntonio G ardano, 1 5 6 1.
Ded. B e n e d e tto B u o n v is i. n .d .
P e rc h e l a v i t * § b re v e ( 1 s t . )
A v o i r iv o l g o ( 2 s t . )
Non p erch * i o non ( 3 s t . )
Dunque ch® i o non ( 4 s t . )
D olor p e rc h e mi ( 5 s t . )
S® a v o i f u s s e s i ( 6 s t . )
Dico ch* a d hor* ( 7 s t . )
D ra g o n i, G iovanni A n d re a , n Prim p l i b r o d e m a d r ig a li a s e i v o c i d i G io .
A ndrea D ragon! M a estro d i C a p p e lla d i S . G iovan L a te r a n o . V e n ic e:
L* H erede d i G irolam o S c o t to , 1584.
V ie n P l a c i d a e d i l u c e ( 1 s t )
G iu n g i a l c a r r o l e g i e r i ( 2 s t . )
Q u a li sa ra n n o i carm i ( 3 s t . )
S a ld o come c o lo n n a ( 4 s t . )
P e rc h e a v o t i ris p o n d a ( 5 s t . )
N el f i n t u o n i e s f a v i l l i ( 6 s t . )
D ra g o n i, G io v a n n i A ndrea. I I Seeondo l i b r o de m a d r ig a li a c in q u e v o c i d i
Giovan* Andrea D ra g o n i. V e n ic e : L* H erede d i G irolam o S c o t to , 1575*
Gill c c m in c ia v a i l s o l ( 1 s t . )
F re sc o d o lc e ( 2 s t . )
Non f u r l e s t e l l e m ai ( 3 s t . )
Ma l a s s o ( 4 s t . )
F a r p o te s s * i o ( 5 s t . )
Ma t u c h e n e ®1 ( 6 s t . )
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299
D ra g o n i, G io v a n n i A ndrea. I I Terzo l i b r o d e l l i m a d r i g a l i k c in q u e v o c i
c on uno a s e t t e n e l f i n e d i G io . A ndrea D rag o n i d a M e ld o la M aestro
d i C a p e lla d i S . G io. L a te r a n o . V e n ic e: L*H erede d i G irolam o S c o t to ,
1579.
London B r . Mus. (T )
D ra g o n i, G io v an n i Andrea* I I Prim o l i b r o d e m a d r i g a l i a q u a tr o v o c i d i
G io. A ndrea Dragoni M a estro dj C a p e l l a d i S . G iovan L a t e r a n o . V e n ic e:
L* H erede d i G irolam o S c o t to , 1581.
Alma b e a t a ( 1 s t . ) G ia d i Mennon ( 1 s t . )
A l t r i m o n ti ( 2 s t . ) Quando a c a so ( 2 s t . )
Q uale l a v i t a ( 3 s t . ) E ra i l le g g i a d r o ( 3 s t . )
P i a n s e r l e s a n te ( ^ s t . ) Le g r a t i e e *1 ( 4 - s t .)
Dunque f r e s c h e c o ro n e ( 5 s t . ) Alma o lim p ia ( 5 s t . )
N acqui p a r t e ( 6 s t . )
C o si d ic e n d o ( 7 s t . )
0 v e se co i n ( 8 s t . )
Ded. G io . e G io r g io , F r a t e l l i e C o n ti d i Mont f o r t . V e n e t ia , 1 . V H I .
1 5?^.
V e rg in e b e lla (1 s t.) V e rg in e i n C ie lo ( 1 s t . )
V e rg in e b e lla (2 s t.) V e rg in e b e n e d e tta ( 2 s t . )
V e rg in e b e lla (3 s t.) V e rg in e a l mondo ( 3 s t . )
V e rg in e b e lla ( 4 s t.) V e rg in e n on po ss* i o ( 4 s t . )
V e rg in e b e lla ( 5 s t . )
V e rg in e b e lla ( 6 s t . )
V e rg in e a l p a d re ( 7 s t . )
Due, F i l i p p o , 11 Primo l i b r o de m a d r ig a li a q u a t t r o v o c i c o n u n a s e r e n a ta
e t un d ia lo g o a o t t o n e l f i n e d i F i li p p o Due. V e n ic e : G irolam o S c o t to ,
1 5 ?0 .
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L* A r ia s» o s c u ra ( 1 s t . )
Ha t u p e r d a r a l c o r ( 2 s t . )
A p ri homai 1* u s c io ( 3 s t . )
Oime ch* io spasmo (*4-st.)
D u e to , A n to n io . I I Prim o l i b r o de m a d r i g a l i a c in q u e v o c i d e l R . M. A n to n io
Dueto P ia m o n te se . V e n ic e : Angelo G ard an o , 158*4-.
A c a so un g io rn o ( 1 s t . )
Vaga d* u d i r ( 2 s t . )
Con q u e l poco ( 3 s t . )
M entre ch* e U a (* 4 st.)
La b e l l a donna m ia ( 1 s t . )
Vedeami a p e r t a l v i s t a ( 2 s t . )
Con f r o n t e ru g ia d o s a ( 3 s t . )
A ll* h o r i o l a d e s t a i (* 4 st.)
Temend* i o d ' un r i o f i n e ( 5 s t . )
C o s i q u e l d o lc e bene ( 6 s t . )
E s s e n g a , S a lv a d o re . I I Seeondo l i b r o d e m a d r e g a li a c in q u e v o c i con a l q u a n t i
s e s t i e t d u i o t t a v i d i S a lv a d o re S s s e n g a . V e n ic e: A n to n io G ard an o ,
1561.
Ded. A ntonio S p in o la . n .d .
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E sse n g a, S a lv a d o r e . I I Prim o l i b r o d i m a d r i g a l i a q u a tr o v o c i d i S a lv a d o r
E ssen g a. V e n ic e : A n to n io G ard an o , I 5 6 6 .
Ded. G io . F i l . F o n ta n i. n .d .
0 ch e d o lc e p o s a r ( 1 s t . )
S ' odan q u i n o s t r e v o c i ( 2 s t . )
P o i sc en d a i l c a n to ( 3 s t . )
T a l c* hogg* i n pa c e ( 4 s t . )
P o i ven g a Bacco ( 5 s t . )
Onde d i novo a r d i r ( 6 s t . )
F a t t o r i n i , G a b r ie l e . L a C ie c a . i l p rim o l i b r o d e m a d r i g a l i a c in q u e v o c i
d i G a b r ie le F a t t o r i n i . V e n ic e : R ic c ia r d o Am adino, 1598.
Ecco l a C ie c a ( 1 s t . ) I n bo n a f e ( 7 s t . )
A s c o lta te m i ( 2 s t . ) S c i o lt o c o r ( 8 s t - )
C ieco amor ( 3 s t . ) 0 f u s t i s v e lta ( 9 s t .)
C o si c ie c o ( 4 s t . ) Dunque g i o c c a r ( 1 0 s t . )
Ma v o i g i o c c a t e ( 5 s t . ) M ira nume ( l i s t . )
Ma t u p u r p e r f i d o ( 6 s t . ) C o si s e i t u ( 1 2 s t . )
F a t t o r i n i , G a b r ie l e . La R o n d in e L la. seeo n d o l i b r o d e m a d r i g a l i a c in q u e
v o c i d i G a b r ie l F a t t o r i n i ^ V e n ic e : R ic c ia r d o Amadino, 16C&.
P e rc h ' i o p ian g * a l ( 1 s t . )
M* ha p u r l a d r a ( 2 s t . )
P o s s ' i o m o rir ( 3 s t . )
Con c h i co n c h i ( 4 s t . )
Tu p e r t im e r ( 5 s t . )
A nzi i f a v i ( 6 s t . )
T anto i l numero ( 7 s t . )
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Scendon d a l d e l ( 1 s t . )
Ecco R eg in a ( 2 s t . ) -
S o v ra nube d i r o s e ( 3 s t . )
R addoppia i l s o l ( ^ s t . )
Con a l l e g r o d o l o r ( 5 s t . )
A hi c h e n e l a s c i ( 6 s t . )
I o vo r i s p o s e ( 7 s t . )
P a r i s B. N. (C)
G iovane donna ( 1 s t . )
A llh o r s a ra n n o ( 2 s t . )
Ma p e rc h e v o l a ( 3 s t . )
Non f u r g iam a i ( 4 - s t . )
I temo d i c a n g ia r ( 5 s t . )
D entro p u r fo c o ( 6 s t . )
A q u a iu n q u e a n im a l ( 1 s t . )
E t i o da ch e ( 2 s t . )
Quando l a s e r a ( 3 s t . )
Non c re d o c h e ( 4 s t . )
Prim a ch e t o r n i ( 5 s t . )
Con l e i fo ss * i o ( 6 s t . )
F e b v re , J o a n l e . n P rim p l i b r o de m a d r i g a l i a c in q u e v o c i d i Jo a n l e
F e b v re M aestro d i C a p p e lla d e l A ndrea C a r d in a le d* A u s t r i a .
C o n s ta n c e : L eonhardo S tr a u b , 1^00. *
Se d i v o i c a n to ( 1 s t . ) C o si co n sen t* am ore ( ^ s t . )
O cchi ch e mi f e r i t e ( 2 s t . ) 0 f i n d e l v o l e r mio ( 5 s t . )
0 c h ia r i e v iv i s o li ( 3 s t . ) Nessun t i c h ie d e r a ( 6 s t . )
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F e l l s , S te f a n o . n Prim o l i b r o d e m a d r i g a l i a c in q u e v o c i d i S te fa n o
F e l i s d a B a r i M a estro d i C a p e lla d e l Domo d i B a r i . V e n ic e: A ngelo
G ard an o , 1585*
P e r p i a n t o l a m ia c a m e ( 1 s t . ) S o t to s e re n o e f o r t u n a t e c i e l o ( 1 s t . )
Hor p e n s a t e a l m io m ai ( 2 s t . ) P o i ch e d a l l e te m p e s ie ( 2 s t . )
S i m* & do le* i l to rm e n to ( 3 s t . ) G ia mi c re d e v a ( 3 s t . )
C o s i v u o l m ia v e n tu r a ( 4 s t . ) Quando l a s s o i l s o f f i a r ( ^ s t . )
S o lo m i v e g g io ( 5 s t . )
E s e c o lu i che ( 6s t . )
S ig n o r d e l c i e l o ( 7 s t . )
F e l i s , S t e f a n o . I I Seeondo l i b r o d e m a d r i g a l i a c in q u e v o c i d i S te fa n o
F e l l s d a B a r i M a estro d i C a p e lla d i B a r i . V e n ic e : Angelo G a rd an o , 1 ^ 3 *
Ded, D a n ie le C e n t u r i o n i . N a p o li, 1 5 . IV . 15 8 3 .
P e r a s p ro m ar ( 1 s t . )
Non hanno t a n t ' a r e n e ( 2 s t . )
E r r a i s c o rre n d * i n ( 3 s t . )
Ma q u e l g ra n Re ( h - s t . )
C osi q u e l ch e ( 5 s t . )
0 v o i g ia s ta n c h i ( 6 s t . )
S ig n o r i l le g n o ( 7 s t . )
F e l i s , S te f a n o . H Q uarto l i b r o d e m a d r i g a l i I c in q u e v o c i co n a l c u n i St
s e i e t uno echo it o t t o n e l f i n e d i S te fa n o F e l i s d i B a r i M a estro d i
C a p p e lla n e l Domo d i B a r i . V e n ic e : Giacomo V in c e n z i & R ic c ia r d o
Am adino, 1585.
I n f a l i c i o c c h i m ie i ( 1 s t . )
Dunque m iran d o i l s o l e ( 2 s t . )
S p e ra s ti o c c h i d o le n ti ( 3 s t . )
Deh p i a n g e t e alm en (h > st.)
F e l i s , S te fa n o • I I Q u in to l i b r o d e m a d r i g a l i a c in q u e v o c i d i S te fa n o
F e l i s d a B a r i M a e stro d i C a p e lla d e l Duomo d i B a r i . V e n ic e : A ngelo
G a rd a n o , 1583.
Ded. A n to n io P u te o . B a r i , 3 0 . V. 1 583.
Amor p o i c h e *1 m a r t i r e ( 1 s t . ) V a l le v e r d e e f i o r i t a ( 1 s t . )
Dunque c o r r e i e a g r a n ( 2 s t . ) V a lle r i c c a e s u p e rb a ( 2 s t . )
P i e t a ch* i n v i d i a ( 3 s t . ) Mai sem pre i n t e ( 3 s t . )
V a tte n e a h i f i e r a v i t a (h > st.) I n t e co n f e s t a ( 4 s t . )
Con o c c h io l i e t o m i r i ( 5 s t . )
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F e l i s , S t e f a n o , L ib ro no no d i m a d r i g a l i a c in q u e v o c i d i S te fa n o F e l i s
C anonico d e l l a r e g a l c h ie s a d i S . N ic o l6 d i B a r i . V e n ic e! Giacomo
V i n c e n ti , 1602.
D ed. N ic o lo P o n s i. B a r i, 2 8 . V I. 1602.
N e l ia b e l l a s ta g i o n ( 1 s t . )
I n u n b e l c h ia r o ( 2 s t . )
Ond* i o ch* e r a a l m ir a r ( 3 s t . )
E c o l t i havendo ( ^ s t . )
M e n tre t i f u i s i g r a t o ( 1 s t . )
M e n tre t i f u i s i c a r a ( 2 s t . )
Hor p i e n d* a l t o ( 3 s t . )
Hor tin l a c c i o (^l-st.)
L a s s o dunque ( 5 s t . )
Ben ch e s e n z a ( 6 s t . )
F e r ra b o s c o , A lfo n s o . IL Seeondo l i b r o d e m a d r ig a li a c in q u e v o c i d i
A lfo n so F e rra b o s c o g e n ti l * huomo d e ll* A lte z z a d i S a v o ia . V e n ic e :
Angelo G ardano, 1587*
A l l a d o le* om bra ( 1 s t . )
Non v i d e ( 2 s t . )
Un l a u r o mi d i f e s e ( 3 s t . )
P e ro p i u ferm o ( 4 s t . )
S e lv e s a s s i ( 5 s t . )
T anto mi p ia c a u e ( 6 s t . )
F e r r e t t i , G io v a n n i. I I Seeondo l i b r o d e l l e c a n z o n i a l i a n a u o li t a n a a c in q u e
v o c i d i Giovan F e r r e t t i . V e n ic e : G irolam o S c o t to . 1569.
D ed. G io . F e r r o . A ncona, 2 k , V.
A c a s o u n g io rn o ( 1 s t . )
Vaga d* u d i r ( 2 s t . )
Con q u e l poco ( 3 s t . )
M en tre ch* e l l a ( * te t.)
F i e s c o , G i u l i o . H Prim o l i b r o d i m a d r ig a li a q u a tt r o v o c i d i G i u lio F i e s c o .
V e n ic e : A ntonio G a rd a n e , 155^*
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305
D ed. D. A lfo n so d a E s t e . n .d .
P e r p d a n to l a m ia c a m e ( 1 s t . )
Hor p e n s a t e ( 2 s t . )
S i m* e dole* i l ( 3 s t . )
C o s i v u o l m ia ( 4 s t . )
Donna c h e v e s d e g n a te ( 1 s t . ) U d ite a m a n ti ( 1 s t . )
P e rc h e c h ia r o s e ve d e ( 2 s t . ) L a b a l l a Donna ( 2 s t . )
A nzi v i vfc b e n d i r e ( 3 s t . ) C a re am o ro se s t e l l e ( 3 s t . )
M* a l f i n p u r & c e n ie n to ( ^ s t , ) Hor a© ch© t r i s t o e s o lo ( 4 s t s )
No d e d .
Tanquam aurum ( 1 s t . )
Pomi i n c i e l o ( 2 s t . )
O gni r iv o ( 3 s t . )
Dunque donna m ia ( ^ s t . )
P e rc h e non poss* i o ( j> s t.)
G a b r i e l i , A n d re a . I I Prim o l i b r o d e m a d r i g a l i a s e i v o c i d i A ndrea G a b r ie l i
O r g a n is ts d e ll* i l l u s t r i s s . S i g n o r i a d i V e n e tia i n S . M arco. V e n ic e :
I d F ig L iu o l i d i A nton io G ard an o , 15 ? £ .
No d e d .
Ik l e C ia e rie ( 1 s t . )
Quando d a l m ar ( 2 s t . )
G ira v a n q u e l l e fogplie ( 3 s t . )
0 c a s o novo e str& no ( 4 s t . )
S i p o te s s * i o m o rire ( 5 s t . )
P e r m o n ti e p o g g i ( 1 s t . ) A m orosett* e b e n ( 4 s t . )
C hi s e i t u ( 2 s t . ) Quando sar& g ia m a i ( 5 s t . )
D olce m ia p a s t o r e l l a ( 3 s t . ) Vengo c a ro p a s t o r ( 6 s t . )
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Gastoldi, Giovanni Giacomo* Sacre Lodi a diver s i santi con una canzone
a l glorioso serafico S. Francesco di Gio. Giacomo G a sto ld i....a cinque
voci. Venice: Ricciardo Amadino, 1587.
Ded. Duca di Mantova. n.d.
Sacrati horrori (1 s t.)
Faticosi sen tieri (2 s t .)
Prendi l e piaghe sue (3 s t.)
0 tu prode animal (<lst.)
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308
Portu ben tu fa ta l ( 5 s t .)
Vive Ninfe (6 s t.)
Di te rimbomba (7 s t.)
Ma tu ch* a gran ragion (8 s t.)
Mentre che mai non posa (9 s t.)
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310
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No ded.
Standomi un giomo (1 s t.)
Ind i per a lto mar ( 2 s t .)
In un boschetto ( 3 s t .)
Chiara fortuna ( 4 s t .)
Una stra n ia phsdice ( 5 s t .)
A1 f in vid* io ( 6 s t .)
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313
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31U
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315
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316
Manenti, Giovanni Piero. Madrigali Ariosi a quattro voci con alcuni capricci
sopra a c in q u e....d i Giovamper Manenti Bolognese Musico del Sereniss.
Gran Duca di Toscana. Venice: Angelo Gardano. 1586.
Ded. Cappone Capponi. n.d.
Amor e questo i l fronte (1 s t.) Per pianto la mia came (1 s t.)
Amor son questi i vampi (2 s t.) Hor pensate a l mio mal (2 s t.)
Amor son questi i la b ri (3 s t.) Si m* 5 dclce i l termer.to (3st»)
Amor § ver che questa (h st.) Cosi vuol mia ventura ( h s t.)
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317
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318
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319
Marotta, Erasmo. Aminta music ale di Erasmo Marotta Siciliano della c itta
d i Bandazzo. i l primo lib ro de madrigali a cinque voci con -on dialogo
A o tto . Venice: Angelo Gardano, 1£>00.
Ded. Sig. Cardinal Mattei. Homa, 1. I . 1600.
Al* ombra d* un bel saggio (1 s t.) Essend* io fanciuletto (1 s t.)
Ma la mia bella (2 s t.) Di questa parlo ahi lasso (2 s t.)
Cosi dicendo avicinS ( 3 s t .) Ma mentr* io fer rapina (3 s t.)
Io che fin ; 1 quel punto (4 s t.) E bevea da suoi lumi (4-st.)
E fatto non s& com* astuto ( 5 s t .)
La sempliceta S ilv ia ( 6 s t .)
Ne 1* api df alcun fio r e (7 s t.)
Ma mentre al cor scendeva (8 s t.)
London Br. Mus. (CB5)
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320
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321
Ded. A le s s . Z a m b erti. V e n e t ia , 3 . V.
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322
Medici, Lorenzo. I I Secoado lib ro d elle canzoni a tre voci di Don Lorenzo
Medici da Soresina. Venice: Giacomo Vincenti, 1^04.
Ded. Sig. Conte Sigismondo Martinengo. Gandino, 3 . I . 1604.
Nel cantar pari (1 s t.)
Clori (2 s t.)
Dhe vieni Clori mia ( 3 s t .)
Demand un par (4 s t.)
Paris B. H* (C)
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323
Git cominciava i l so l ( 1s t .)
Fiasco dolce soave ( 2s t .)
Non fur le s t e lle mai (3 s t.)
Ma lasso vedrd mai (^ st.)
Far potass* io vivace (5 s t.)
Ma tu che ne color ( 6s t .)
Mel, Rinaldo d el. Madrigaletti sp iritu a l! a tre voci di Rinaldo del Mel
... .l i b r o quarto. Venice: Angelo Gardano, 1596.
Ded. Dorothea di Lorena. Roma, 20. VIII. 1596.
Voi tu tt' opre di Dio (1 s t.)
Autunno verno (2 s t.)
Montagn* e c o lli (3 s t.)
Voi tre fa n cin lli ( 4 s t .)
Cantiamo i l padre (5 s t.)
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327
A il: her ch© 1* alba (1 s t.) Gil ftt chi m* hebbe cara (1 s t.)
Ninfe ch* adome i l sen ( 2 s t .) Et io come cortese (2 s t.)
Vaghi augellin che con (3 s t.) 0 caro amante dal (3 s t.)
R ivi, fontane, e fiume ( 4 s t .) Amor de f2t ch* io (**-st.)
Benigno Amor che di (5 s t.)
Apriche piagge e v a lli ( 6 s t .)
Monte, Philippe de. Mnsica sopra I I Pastor Fido di Filippo de Monte Maestro
de Capella della Sacra Cesarea Maesta dell* Imperatore Rodolfo I I . . . .
lib ro secondo a sette v o ci. Venices Angelo Gardano. 1600.
Ded. Princ. Don Ferdinando Medici, Granduea di Toscana I I I . Praga,
1. I . 1600.
Deh prima che tu (1 s t.) Questo mi resta (1 s t.)
Godiam che *1 tempo (2 s t .) A lu i fien (2 s t.)
Rimira d* ogn* intom o (3 s t.) Viver io fortunato ( 3 s t .)
Quella che l l (^ st.) Tutti questi pur sono (4 s t.)
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328
Poi che lasso m* § to lto (1 s t.) Spent* eran nel mio cor (1 s t.)
Ch* io sento ad hor ( 2 s t .) Lingua non potria mai (2 s t.)
Come so le a qui i l sole (3 s t.) 0 fere s t e lie homai (3s t .)
Ove l e lu e i giro ( 4 s t .) Non per viver signor ( 4 s t .)
Ella leggiadra e snella (5 s t.) Tempo fu eh*io cantai ( 5s t .)
VerrS giamai quel tempo (6s t .) Hor veggio lasso che ( 6s t .)
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329
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330
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331
Nanino, Giovanni Maria. H Primo lib ro d elle canzonette a tre voci di Gio.
Maria Nanino. Venices Angelo Gardano, 1593.
Ded. Conte Alfons. Roma, I . 1593*
Erano i capei d* or (1 s t.)
E *1 viso di p ieto si color (2 s t.)
Non era 1« andar (3 s t.)
Uno spirto celest* un vivo sole ( 4 s t.)
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332
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333
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33U
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335
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339
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3U0
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3U1
Ponte, Giaches de* Ciwguawta Stanze del Bembo eon la musica di sonra composta
per M. Giaches de P o n te ....a quatro v oci. Venice: Antonio Gardane,
15U5:
No ded.
Ne 1® odorat® (1 s t.) Quant® in m ille (2 6 s t.)
A cui piu ch® a lt r i (2 s t.) Rose bianche (2 7 st.)
La qual in somma (3 s t.) -Se non fcss* i l (2 8 s t-)
A quest© confortando ( h s t .) Cosi piu d9 un error (2 9 s t.)
Fedeli miei (5 s t.) Et per bocca di lu i (30st«)
Et se pur f ia (6 s t.) Et la vostra bellezza (3 1 st.)
Si come la dove (7 s t.) Ahi quanto indegni (3 2 s t.)
L® una ha ®1 governo (8 s t.) Qual fora un (3 3 s t.)
Et vanno argumentando ( 9 s t .) Non v i mando (3 h st.)
Perd vorrei ch® andaste (lO st.) Pasce la pecorella (3 5 s t.)
Accingetevi dunque ( l i s t . ) I I pregio d® hcnestate (3 6 st.)
Cosi detto disparve (1 2 st.) II qual errando (3 7 st.)
Le piramide (1 3 st.) Come a cui v i (3 8 st.)
Qual credenza (I h s t.) Com* havrian posto (3 9 s t.)
Et son hor questi (1 5 st-) Non d gran meraviglia (hOst.)
0 donna in questa ( l6 s t .) Mirate quando (h is t .)
Amor e gratioso ( l? s t .) Quant® esservi (h 2 st.)
Perd che non la (1 8 st.) Che giova posseder (h 3 s t.)
Anzi non pur amor (1 9 st.) Ma che non giova (4 h st.)
Questa per v ie (2Gst.) Perd che vo i non (h 5 st.)
Questa fe dolce (2 1 st.) Cosi voi v i (h 6 st.)
Questa fe (2 2 st.) 0 quanto d dolce (h 7 st.)
La qual hor cinta (2 3 s t.) Puosi morta chiamar (4 8 s t.)
Questa novel lamente (2 h st.) Ond® io v i dd (h 9 st.)
Cosi dinanzi a voi (2 5 st.) Anchor d irei (5 0 st.)
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3U2
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3U3
Pozzo, Vincenzo dal. H Primo lib ro de madrigali a quattro voci con tin
dialogo a o t t o .. .. d i Vincenzo dal Pozzo Maestro di CarspalTa n el Duomo
d*“ Imola. Venice: Ricciardo Amadino. 1^00.
Ded. Sig. Rodrigo A lidosi. Venetia, 5. X. 1600.
Moria Sireno aventuroso amante (1 s t.)
Tarda i l PastoreUa (2 s t.)
String' e g li a le dolcissime parole (3 s t.)
Cosi moriro (h st.)
London Br. Mus. (C)
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3kh
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3U5
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3U6
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3U7
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3U8
Bore, Cipriano de. II Secondo lib ro de madrigali a quatro voci con una
canzone di Gianetto sopra di Pace non trovo con quatordeci stanza
di Cipriano de Bore. Venice* Antonio Gardano, 1557*
No ded.
Da fuoco co si bel nasce (1 s t.) by Palestrina
Bapace ingord' e (2 s t.)
Amo9 e non nacque ( 3 s t .)
Da 1* empia gelosia (h st.)
Si s i vince tal* hor (5 s t.)
0 e ffetto rio che *1 piu f e lic s (6 s t.)
Amor non volev* io (7 s t.)
Non mi sferr* i l crude! (8 s t.)
Poi che la v ista (9 s t.)
Io non ho lingua (1 0 st.)
L* a lia cagion del mio fesao ( l i s t . )
Misero stato de gl* amanti (12st»)
Fuggir devriassi se fuggir (1 3 s t.)
Satio di tormentarm' amore ( lh s t .)
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3 h9
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350
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351
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352
Sessa, d' Aranda. II Primo libro de madrigali a quatro voci del Sessa
d* Aranda. Venice: Li F ig liu o li d i Antonio Gardano, 1571.
Ded. Don Pomper dalla Noia. n.d.
Deh dove senza (1 s t.)
Dove speranza mia (2 s t.)
El fio r ch* in c i d (^ st.)
0 in fe lic e o miser* e che (4 s t.)
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353
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35k
No dad.
Porgetesai la lir a (1 s t.) Vaghi e l i e t i (I 2 s t.)
Indi sovra (2 s t.) Venga i l piu (1 3 st.)
Sorgi signor (3 s t.) Fugga da me (lh s t .)
Deh sorgi Appollo (h st.) He me tempests (1 5 st.)
Mira come (5 s t.) 0 d i fausto ( l6 s t .)
La tua bianca (6 s t.) Ma i l so l rivolge (i7 s t e)
La madre di ( ? s t .) Deh frena i l (I 8 s t.)
Ascolta Appollo (8 s t.) A ltri fio r non (1 9 st.)
Deh viene ( 9 s t .) Ben t i prometto (2 0 st.)
Ecco che fuor (lO st.) Biedi hor aaai (2 1 st.)
0 di per me ( l i s t . )
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355
No ded.
L9 aria s 9 oscura (1 s t.)
Ma tu per darm* a l cor (2 s t.)
Apri homai (3st*)
Oime ch9 io spasmo (^ s t.)
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356
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357
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3S8
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359
No ded.
Accingetevi tu t t i (1 s t.)
Da l 9 altra parte (2 s t.)
Eeco Mastra del campo (3 s t.)
In tanto grida (4 s t.)
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360
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
361
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
362
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363
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36k
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
365
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366
Zenaro, G iulio. Madrigali gpirit o a li a tre voci~ d±~ Giulio Zenaro da Salo.
Venice: Giacomo Vincent!, 1590*
Ded. A less. Gaaib&longhi» Venetia., 10. VI. 1590.
Quando disease It illutninar la terra (1 s t.)
Inansi ch* apparisse la bell* alba (2 s t.)
0 beato quel sacro e t ehiaro giorno (3 s t.)
De nostro ciech i error (h st.)
Piil gratie che nei c ie l (5 s t.)
G li antichi padri (6 s t.)
Di terra s v e lli hormai (7 s t.)
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367
15552^ Prim o lib ro d ella muse a ouattro voci madrieali a rio si di Ant,
Barre e t a ltr i diversi autori, Rome: Antonio BarrS, 1555*
Ded, F elice Ursina-Coloima. n,d,
Dunque f ia ver dicea (1 s t,) by Ant, Barre
Sa quest® a itie r (2 s t,)
Deh ferm* amor ( 3 s t .)
Ma de chi debbo (h st,)
C *«kg4 ( l a w * } fcyT All*bw P f l i w a
Manda l e ninfe (2 s t.)
Bccoti pur che la fe lic e rosa (3st*)
Et sim il a i parenti (*rst,)
F elice poi ( 5 s t .)
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368
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
369
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370
2
1579 Corona de madrigali »■ ***** voci d i diversi see a ll er.ti salmi musici.
lib ro oriao. Venice? Girolamo Scotto, 1579*
Ded. Cornell© Comiani. Venetia, 15* II* 1579.
Mentre la greggia sua (1 s t.) by Alessandro Striggie
Poscia fra tanto (2 s t.)
Occhi voi che (3 st.)
0 dolce bocca (4>st.)
E s* a buon fin (5 st.)
Cosi l e sue speranze (6 s t.)
Vaten plena di (? st.)
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371
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372
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373
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31k
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
375
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376
APPENDIX B
AN INDEX OF ITALIAN TEXTS SET AS CYCLIC MADRIGALS ea. 1540-1614
A pied1 un giovinetto.
Nasco, Giovanni. 5 st. a3-6. (1557, 1562.)
Accingetevi t u t t i.
Vecchi, Orazie. 4 s t. alO. (1590, 1594, 1595.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
377
A hi c o r s e p u r s e i c o re *
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Alma beata. Sannazaro. Arcadia.
Amor da ch® ^1 t i .
Essenga, Salvadore. 7 st. ah-8. (1561.)
Amor da 5. dardi.
Primavera, Giovanni Leonardo. 5 s t. a5. (1566.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
379
Amor n® § causac
Merulo, Claudio. 9 s t. a3. (1580* 1586.)
Amor se maio
Essenga, Salvadore. 5 st. a4-8, (1561.)
Amor se v o i.
Verso9 Antonio i l . 4-st. a5. (1600.)
Amor se vuoi.
C avalierij Paolo, h s t, a5. (1585-)
M ieheli, Domenico. 8s t . a3=8. (1 5 & 0
Amor t u v o i c h * i o d i c a .
Andrd longi da te .
Cangiasi, Giovanni Antonio, h st. a3. (1602.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
380
A u g e l li amor p s i .
Aura g e n t a l g .
B aci so a v i e c a r i . G io v a n n i B a t t i s t a G u a r in i .
C ag g i a t e r r a .
C a n tia m N in f e .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
381
Che g io v a p o s s e d e r . Bembo. S ta n z e .
G a b r i e l i , A ndrea, 4 s t. a3. ( 1 5 7 5 , 1 5 8 2 , 15 9 0 , 1 6 0 7 .)
W ert, G ia c h e s d e . 4 s t. a4. (1 5 6 1 , 15SZ, 1564* 1 5 7 0 , 1 5 8 3 .)
Che p r o mi v i e n .
Caim o, G io s e p p e . 6 s t. a4. ( 1 5 6 4 .)
A l b e r t i , In n o c e n z io . 6 s t . a 4 . ( 1 6 0 ? .)
B e l l a s i o , P a o lo . 7 s t. a5. ( 1 5 8 2 .)
G o s te n a , G io . B a t t . 7 s t. a4. (1582.)
G ra d e n ig o , P a o lo . 6 s t . a 3 - 6 . ( 1 5 7 4 .)
M a g ie llo , Dom enico. 6 s t . a5* ( 1 5 6 7 .)
M o sto , G io v a n n i B a t t i s t a . 6 s t . a5* (1 5 7 8 .)
P r im a v e ra , G io v a n n i L e o n a rd o . 6 s t . a5« (1 5 8 5 » )
V e c c h i, O r a z io . 6 s t . a 4 . (1597* 1 5 9 8 , 1 5 9 8 .)
V i n c i, P i e t r o . 6 s t . a 5 . ( 1 5 7 9 .)
C h i non s a c i o .
M e ru lo , C la u d io , 4st . a4. (1 5 7 9 , 1 5 8 8 .)
Ch* i t* a m i.
C a s e n t i n i , M a r s i li o . 4 s t» a5* ( 1 6 0 9 .)
C h i v i d e r a a i;
T e m asi, B i a s io . 7 s t. a5. ( 1 6 1 3 .)
C hi v o i * u d ir e . S a n n a z a ro . A r c a d ia .
C hi v u o i s e n t i r .
Menon, T u t to v a l s . 4 s t. a3. ( 1 5 8 8 .)
C hi v u o i v ed ere un bo SCO.
P h ilip s , P e te r. 4 s t. a6. (1 6 0 3 , 1 6 1 5 .)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
382
C h ia r c f r e s c h e £ d o l e i a c q u e * P e tra rc h * C a n z o n ie re * Canzone*
A rc a d e L t, J a c o b . 5 s t . a3 -5 * ( 1 5 5 5 , 15 5 5 , 15 5 5 , 1 5 6 1 .)
C a s t r o , G iovan de* 5 s t . a5* (1 5 9 ^ * )
M azzone, Marco A ntonio* 5 s t* a^* (1 5 6 9 .)
P a l e s t r i n a , G io v a n n i P i e r l u i g i d a* 5 s t* a k . (1 5 5 8 .)
C h ia r* e g ra to .
P o r t a , C o s t a n ti o . lO s t. a^. ( 1 5 5 5 .)
C h ia ro S ig n o r c h e d a 1 ' a l t i e r o m o n te .
B r a s s a r t, O liv ie r . 7 s t* a3 -6 * (1 5 6 ^* )
Chiunflue s n i r a i n q u e s ta b r e v e v i t a *
R u f f o , V incenzo* 7 s t* a^. ( 1 5 6 0 .)
C ie c o am or* G . B . G uar i n i * I I P a s to r f i d o .
C ie c o Amor non t i .
C in q u e c c n p a g n is
P a l l a v i c i n o , B e n e d e tto . 6 s t* a 5 -7 * (1 6 0 6 .)
C i n ta d i f i o r * u n g io r n o *
C a s u la n a , M sd ale n a . 5 s t* a4* ( 1 5 7 0 .)
C o r t e l l i n i , C am illo* 5 s t* a 3 -5 * ( 1 5 8 ^ .)
C in tia tu s e i p iu b e ll a *
M e ru lo , C la u d io * 5 s t* a5* (1 5 6 6 * )
C l o r i d e l v ago SL pjno*
L e o n i, Leon* 6 s t* a5* ( 1 5 9 1 , 1 6 0 7 .)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
383
Co i v e l t r i i n a n z i c
Com' a l p a r t j r .
N asco, G io v a n n i. 4 s tc a4. ( 1 5 6 ? .)
Come i n va g o .
G a s t o ld i , G io v a n n i G iacom o. 4 s t. a5. (1 6 0 2 .)
Come i n f e r a o .
O d d i, F la m in io . 5 s t. a4. ( 1 6 0 8 .)
C a n c in eo , M ic h e la n g e lo . 7 s t . a 5 . ( 1 5 9 0 .)
P a p a li a , G io v a n n i M a ria . 7 s t . a 5 . (1 5 8 9 .)
P a s e a r o l a , G io . Tomaso d e B e n e d t i c t i . 7 s t . a 5 . ( 1 5 8 9 .)
Come v a e o a u g e l l e t t o .
O d d i, F la m in io . 5 s t. a4. ( 1 6 0 8 .)
Come vago a u g e l l e t t o .
P e l i o , G io v a n n i. 5 s t. a5. (1 5 7 8 .)
Con s e co n d * a u r a a l p i n s e re n o c i e l o .
C o n tra i d i s e g n i .
S t r i g g i o , A le s s a n d r o . 7 s t. a5. ( 1 5 9 6 .)
C o p p ia g e n t i l c h * u n .
M onte. P h i l i p p e d e . 7 s t. a7. (1 5 8 0 , 1 5 9 2 .)
C o s i Damon p ia n g e n d o .
C ro c e , G io v a n n i. 4 s t# a5* (1 5 9 2 .)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
P a l e s t r i n a , G io v a n n i P i e r l t d s i da* i4 st. a4 . (1557$ 1569$ 1571$
1 5 7 7 .)
Da l e C im e r ie *
G a b r i e l i , A ndrea* 5 s t. a6. ( 1 5 7 4 , 1 5 8 7 .)
D al d i c h e *
H o s te , d a Reggio* 8 s t* a 3 -4 . (1 5 5 ^ * )
D al n o b i l c a r t o .
D a lle fiam m e.
B ona, F r a V a l e r i o , 4 s t. a3* ( 1 5 9 2 .)
D anzava c o n m a n ie re . B a rto lo m eo G o t t i f r e d i *
M a ss a in o , T i b u r tio * 4 s t. a5. ( 1 5 7 8 .)
M onte, P h i li p p e de* 4 s t* a4* (1569* 1585*)
De l a t u a g r a t i a *
P e l i o , G io vanni* 4 s t* a5* (1 5 7 8 * )
T_*
P e l i o , G io v a n n i* 5 s t* a6* ( 1 5 8 4 .)
S e s s a , d* A ra n d a . 4 s t. a4. ( 1 5 7 1 , 1 5 8 3 , 1 6 0 5 , 1 6 1 9 .)
Deh f r a c o t a n t e a i e 0
P e l i o , G io v a n n i* 4 s t. a6. (1 5 8 4 * )
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
385
Deh r i s o l v i a n d u n t r a t t o * S annazaro* A r c a d ia *
D el f re d d o Rheno* P e tra r c h *
D e s tr a d i q u e l am or.
D i c h e t * am m iri s t o l t o .
A n e r io , G io v a n n i F ra n ce sc o * 1 2 st« a3* (1 5 9 9 * )
Di p e n s i e r i n p e n s i e r * P e tra rc h . C a n z o n ie r e . C anzone.
W e rt, G ia c h es d e . 6 s t . a 5 . (1563s 1 5 7 2 , 1 5 9 2 .)
R a m p o llin i, M a ttio * 6 s t , a h - 5 . ( n . d . )
Di nerle lagr-igose*
Coma, A n n ib a le . 5 s t. a5. (1587*)
Di p ia n e e r a a i d i g r id a r . A r io sto . O rlan d o f u r i o s o .
(X X III: 125 f f . )
Berchem , J a c h e t . 8 s t. a^. ( 1 5 6 1 .)
P ic a c h i v u o i*
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
386
D ic e a l a b e l l a * Gasparo T orelli*
T o r e l l i , G a sp a ro * 5 s t* a5* ( 1 5 9 8 .)
T^-inpi c a p r a r n g v ^ l o * S a n n a z a ro * A r c a d ia *
Don* io Donne*
N a n t e m i , M ic h e la n g e lo • 4 s t* a5* (1 6 0 9 * )
Donna m e n tr e i l c o r m io * C u r z io Gonzaga*
V e rd o n e h , C o m e lio * 6 s t* a6* (1 6 0 3 * )
B a r r S , A n to n io * 4 s t* a ^ e (1 5 5 5 , 1 5 5 7 , 1 5 5 9 , 1 5 6 2 , 1 5 6 5 , 1 5 6 9 ,
1 5 7 8 , 1 5 8 2 , 1 5 8 * .)
B erch em , J a c h e t* 6 s t* a*t-« (1 5 6 1 * )
G a b r i e l i , A n d re a , * * st. a3* ( 1 5 7 5 , 1 5 8 2 . 1 5 9 0 , 1 6 0 7 .)
M e ru lo , C la u d io * 6 s t . a3* ( 1 5 8 0 , 1 5 8 6 * )
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
387
E n9 l a c a ld a E s ta te . F ra n c e s c o B o z z a .
B e r ta n i, L e lio . 5 s t. a5* ( 1 6 0 1 .)
S cco c h * i o v e g g io a o r i r . O r a tio G u a rg u a n te .
M onte, P h i l i p p e d e . 7 s t* a 6 . ( 1 5 9 1 .)
Scco la Cieca.
F a t t o r i n i , G a b r ie l e . 1 2 s t. a5. (1 5 9 8 .)
Ecco S i l v i o .
M o n te v e rd i, C la u d io . 5 s t. a5« (1 8 0 5 - 1 6 0 6 , 16 0 8 , 1610, i 6 i i ,
iolJs 16159 16159 1620.)
Ecc* o s c u ra ti i c h ia r i r a g g i. F ra n c e s c o C h r i s t i a n ! .
E c c o ti Arno t r a m u i l l o .
G a l i l e i , V in c e n z o . 6 s t. a5« ( 1 5 7 ^ .)
B ercheai, J a c h e t . 8 s t . a*fr. ( 1 5 6 1 .)
G a b r i e l i , A n d re a . 8 s t . a 3 . (1 5 7 5 , 15 8 2 , 15 9 0 , 1 6 0 7 .)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
388
E ra l a n o t t e .
C i f r a , A n to n io , 4 s t. ek. (1 6 1 4 , 1 6 2 3 .)
E rano i e a o e i d* o r . P e tra rc h . C a n z o n ie r e .
F ade fiam m a.
V i n c i, P i e t r o , ^ st. a5. ( 1 5 8 ^ .)
F e r i t o fug,.
A n e rio , F e l i c e . 6 s t . a 5 . ( 1 5 8 7 .)
F e rm a t* c o rs o v o s t r o .
N asco, G io v a n n i. 4 s t. a3 -5 « (15**8»)
F i g l i a d i p r im a v e r a .
A n t o n e l l i , Abundio da F a b r ic a . 6 s t. a5. ( 1 6 1 ^ .)
F i e l i o im m o rta l d* im m o rta l p a d r e .
P a l e s t r i n a , G io v an n i P i e r l u i g i d a . 3 0 s t. a5. ( 1 5 9 ^ .)
F - tlli l e g g i a d r * e b e l l e .
P h ilip s , P e te r. 8 s t . a 8 . (1 5 9 8 , 15 9 9 , 1 6 1 5 .)
F i ll id a a la p ju che i l l e u s t r i b ia n c a . S a n n a z a ro . A r c a d ia .
P rim a v e ra , G io v a n n i L e o n a rd o . 5 s t= »5= (1 5 8 5 * )
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
389
R e s s e tto , S te fa n o . l? s t. aM~60 (1 $ 6 7 » )
F r e s e h * acque e c h i a r e .
Fuggon l e s t e l l e .
T o r e l l i , G a s p a ro . ^ st. a3* (1 5 9 3 * )
F u o r f u o r i 3 Muse*
B a c c u s i, I p p o l i t o * 6 s t. a5 -6 . ( 1 5 7 2 .)
G i£ c o a in e i a v a 11 s o l .
D ra g o n i, G io v a n n i A n d re a . 6 s t . aU-5» (1 5 7 5 * )
M e l, R in a ld o d e l . 6 s t . a 5 - 6 . ( 1 5 9 * 0
G ilt d i Mennon.
D ra g o n i, G io v a n n i A n d re a . 8 s t. a4. ( 1 5 8 1 .)
Gilt d i n o v e l l i .
O l i v a , G io s e p p e . 4 s t. a5* (io G O .)
Gilt d i s f a t t o h a l e .
A n e r io , F e l i c e . 7 s t . a 4 - 8 . ( 1 5 9 0 , 1599*)
C o s ta , G io v a n n i P a o lo . 7 s t . a*f. ( 1 6 1 3 .)
M a s e n a l li , P a o lo . 6 s t . a**. ( 1 5 8 2 .)
Gilt f it c h i m* h eb b e c a r a . B o c c a c c io .
Gilt h a v e a 1 * e t e r a a man.
M onte, P h i l i p p e d s . 8 g ts a5* ( 1 5 8 1 .)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
390
G i£ p e r t o m a r .
M a r r i, A s e a n io . 6s t. a6 . (1 5 7 4 , 1578*)
G ia c e a d i p r o p r i a .
B e i l i s , G iov an n i B a t t i s t a d e . 5 s t. a5® ( 1 6 1 4 .)
G io ia m* abonda a l c o r . Bembo. S ta n z a .
M e ru lo , C la u d io . 4 s t. a4. (1 5 7 9 , 1 5 8 8 .)
B a c c u s i, I p p o l i t o . 6 s t . a5® ( 1 5 7 0 .)
F a y a , A u r e lio d e l l a . 6 s t . a5» (1 5 8 4 .)
G a b r i e l i , A n d rea. 6 s t . a 4 . (1 5 6 8 , 1 5 8 9 , 1 5 9 0 .)
M a re n z io , L uca. 7 s t . a 6 . (1 5 9 5 , 1 6 08, 1 6 0 9 , 1 6 1 0 .)
Mauro d e S e r v i, P a d re F . 6 s t . a 4 , (1 5 7 1 * )
Mayo, G io v a n n i A n to n io . 6 s t . a 4 . (1567®)
N o la , G io v a n n i Domenico d a . 6 s t . a5® ( 1 5 6 4 .)
P o r t i n a r o , F r a n c e s c o , o s t . a 3 - 6 . (1550®)
R o s s e l l i , F r a n c e s c o . 6 s t . a 4 . (1 5 6 0 , 1 5 6 0 , 1 5 6 2 , 1 5 6 2 , 1 5 6 5 , 1 5 69,
1 57 3 , 1576, 1 5 8 8 .)
V i n c i , P i e t r o . 6 s t . a 4 . (1583®)
a n o n . 6 s t . a 4 . ( 1 5 5 4 .)
C i f r a , A n to n io .
4 s t . a5® ( 1 6 0 5 .)
Dentice, Scipione. 4 s t . a5* ( 1 5 9 8 .)
M a re n z io , Luca. 4 s t . a5® ( 1 5 8 4 , 1 5 89, 1 5 9 3 , 1 5 9 4 , 1 6 0 7 , 1 6 0 9 .)
G l o r ia b e l l a c h e f a ?
S p a v e n ta , S c ip io n e * 6 s t. a4. ( 1 6 0 8 .)
Gode l a t e r r a .
V e c c h i, Orazio® 4 s t. a3® (1 5 9 7 , 15 9 8 , 1 5 9 8 .)
Sai lasso io mi c r e d e a .
Baccusi, Ippolito* 6 s t. a6. ( 1 5 7 2 .)
3 archem , J a c h e t . 6 s t. a4-5® (1 5 5 5 , 1 5 5 5 , 15 5 5 , 1 5 6 1 .)
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391
Haime d o lc e m io b e n e .
C a n g i a s i , G io v a n n i A n to n io . 6 s t. a3» (1 6 0 2 .)
H oeei che d e l .
I n g e g n e r i , M a rc ' A n to n io . 6 s t. a5. ( 1 5 7 2 .)
Hor c h e l u c e n t * e c h i a r a .
S t r i g g i o , A le s s a n d r o . 5 s t. a5. (1 5 6 0 , 15 6 0 , 1 5 6 6 , 1 5 6 6 , 15 6 9 , 1 5 8 5 .)
B e l l a s i o , P a o lo . 6 s t . a5* ( i 5 7 8 . )
C o r f i n i , G ia c o p c . 6 s t . a 5 - 6 . (1 5 6 5 * )
Hor c h e z e n h ir o s n i r a .
C r i v e l l i , A rc h a n g e lo . 6 s t. a5. ( 1 5 7 9 .)
w r c h e *1 d e s t i n .
S p a le n z a , P i e t r o A n to n io . 6 s t. a 3 -^ . (1 5 7 * 0
I p a n s ie r v a g h 9 i .
P o rd e n o n , M arc! A n to n io . 6 s t. a5. (1 5 6 * 0
2. t n o i c a p p e l l i . S a n n a z a ro . A r c a d ia .
M acque, G io v a n n i d e . h s t . a5« ( 1 6 1 3 .)
Q u a g l i a t i , P a o lo , h s t . a h . ( 1 6 0 8 .)
I I di ch* apersi.
P a c e ll i, A s p r ilio . 7 s t. a^. ( 1 6 0 1 .)
I I magnanimo P i e t r o . L u ig i T a n s illc .
I I s o l Ouando.
N a sc o , G io v a n n i, h s t. a 3 -5 « (1 5 5 7 , 1 5 6 2 .)
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392
I I s o l s i m o s tr a ,
I I tu o a i u t o d S ig n o re .
P e l i o , G io v a n n i. 5 s t. a6. ( 1 5 8 4 .)
I n o u a lo h e s t r a n i o .
G a l i l e i , V in c e n z o . 7 s t. a5. ( 1 5 8 7 .)
I n q u e l l a p a r t e d o v * Amor.
V a le n z o la , P i e t r o . 8 s t. a5® ( 1 5 7 8 .)
I n q u e s to v e r d e P r a t o .
I s n a r d i , P a o lo . 7 s t. a5. ( 1 5 8 1 .)
In una v a lle .
V a r o tt o , M ic h e le . 5 s t. a 5* ( 1 5 8 6 .)
I n f e l i c i o c c h i m ie i .
F a L is , S te f a n o . 4 s t. a5. (1 5 8 5 * )
Invita alma.
S t r i g g i o , A le s s a n d r o . 6 s t. a5. (1 5 9 7 * )
I o eo n o sco i l n i o .
O r i s t a g n o , G i u l io . 4 s t. a5* ( 1 5 8 8 .)
I o s 8 sommo M o to re .
P e l i o , G io v a n n i. 4 s t. a5* ( 1 5 7 8 .)
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393
Io vo cangiar.
Hoste, da Reggio* ^ st. a4~5« (15^?> 1556.)
La bens. Pea,
T resti, Flaminio. 4 s t. a5* (1596.)
La b e n a donna mia*
Eremita, G iulio. 6st* a6* (158**, 1602.)
La dolce vista.
L ’ altr* hler.
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39k
L* aurora vien.
R ossetti, Stefano. 8 s t. a**-6. (1560.)
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395
Luce d* aria.
Resta, Agostino. 4 s t. a5-6. (1580.)
Luci beate.
Zoilo, Annibale. 5 st. a*t-. (1563*)
Kadonn* e aorta.
R u f f o , V in c e n z o . 8 s t. a 3 -8 . (1 5 5 * 0
M ai n o n vo p jfr c a n t a r . L u ig i A la m a n n i.
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396
Mentre Cintio.
Mentre pensoso io .
Mentre poco.
Mentr* io v* adoro.
M* ha panto.
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397
Nasce la pena,
Agostini, Lodovico* 5st* a6* (1581*)
Ne la ouesta stagion.
Spontoni, Bartolomeo* 10st* a3-6* (1561*)
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398
Non ha tante.
Lasso. Orlando di. 6 s t. a3-6. (1563- 156^. 1566. 1567. 1570.
1573, 1586.)
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Perabovi, Filippo Maria* ? s t, a5-6. (1588.)
Spontoni, Bartolomeo. 7 s t. a^. (1558.)
0 baei aventurosi.
Magni, Benedetto. 8 s t. a5. (1613.)
P r iu li, Giovanni. 8 s t. a5. (1607*)
Rossis Salamone. 8 st. a5* (1603.)
0 ben soarsi.
Bottaccios Paolo. 9 s t. a5. (1609.)
0 Jesu. dolce.
Palestrina, Giovanni P ierlu ig i da. 8 s t. a5* (1581, 1604-.)
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hoo
0 Rossignuol. Bembo.
Nasco, Giovanni, ^ st. a^-7. (1557 » 1562.)
0 sola o senza.
Caimo, Gioseppe. 5s i , a5* (158**.)
Oecbi adei.
Nasco, Giovanni. 7 s t. a3-7« (1557# 1562.)
Portinare, Francesco. 6 s t. a5. (155^*)
Odi dal c ie lo .
P elio, Giovanni, lis t. a5. (1578.)
Partir cortviemmi.
Parrnnri donna.
Caimo, Gioseppe. ^ st. a5« (1586.)
Per monti bo sc h i.
Massaino, Tiburtio. 6 s t. a5. (1571=)
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h oi
ferche mente.
M U lev ille, Alessandro. 10st. ah, (1584.)
Perch* io niang* a l.
F attorini, Gabriele. 7 st. a5» (1604.)
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U02
Porgetemi la .
Spontoni, Bartolomeo. 2 1st. a5. (1567.)
Porgettemi la lir a .
A gostini, Lodovico. 7 s t. a^. (1572.)
Chamatero, Ippolito. 6 st. a5. (1569.)
Panto g ii f u i.
Monte, Philippe de. **st. a5» (158?®)
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U03
Quand* i l di veggio*
Vespa, Girolamo* h s t. a5* (1576.)
Quando i l d i.
Spontoni, Bartolomeo. 9 st. ah-5» (1583.)
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UOU
Quando le vaehe*
Coma, Annibale,* 8st* a5-6. (1568.)
Quando veggio.
Orologic, Alessandro. 6 st. a5* (1586.)
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U05
Questa di paradiso.
T igrini, Oratio. 7 s t. a^o (1573®)
Rendimi i l cor.
P iccio n i, Giovanni. 5 st. a5* (1582.)
Riser l e piagge.
Mel, Rinaldo d e l. 5 st. a3. (159M
Rose novelle.
Romano, Alessandro. 5 st. a3 -5 * (1 5 7 5 * )
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Rivolto al ciel.
Sacrati horrori.
Gastoldi, Giovanni Giacomo. 9 s t. a3-6. (1587.)
Sacri fonti.
Sciocco TOlgO.
Se d i voi canto.
Febvre, Joan l e . 6st. a5* (1600.)
Se t ® hA pun to.
Se mai m il 1® amoroso e c ie co .
Dragoni, Giovanni Andrea. 6 s t. a5* (1575*)
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Se t a l erger a l c i e l .
Perabovi, Filippo Maria. 7 s t. a3-6. (1588.)
Wert, Giaches de. 7 s t. a3-6. (1577, 1584.)
Se voi deste a l .
Monte, Philippe de. 4 s t. a6. (1580, 1592.)
Sentiagsi e n r illo .
India, Sigismondo d '. 4 s t. a5. (1611.)
Sentovi di lontano.
Anerio, Giovanni Francesco. 4 s t. a3. (1599.)
Si caldo e s i .
T igrini, Oratio. 5 s t. a6. (1582.)
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U08
Si volse Armid* e l .
C ifra, Antonio, ^ st. a3* (1613.)
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h09
S o la f r a s u o i p i u c a r l s
B i a n c i a r d i , F ra n ce sc o * 9 s t. ( 1 6 0 6 .)
S o le a d a l a f o n ta n a d i m ia v i t a . P e tra rc h . C a n z o n ie r e . C a n zo n e.
R a a p o l l i n i , M a tt io . 6 s t. a ^-5 * (n . d .)
V in c i, P ie tr o . 5 s t. a6. (1 5 7 9 , 1 5 8 3 .)
S o r g i s u p e rb o . F ra n c e s c o B e l la n o .
B a r r e , A n to n io . 5 s t. a5. (1 5 5 5 * )
S c t to s e re n o e f o r t u n a t o c i e l o .
F e l l s , S te f a n o . 7 s t. a5. ( 1 5 8 5 .)
S o v e n te a l l ’ h o r . T o rq u a to T a s s o . Gerusalem m e l i b e r a t a .
(viiV 19 f f .l
C i f r a , A n to n io , k s t. a4. (1 6 1 ^ , 1 6 2 3 .)
S o v ra u n a v e rd e r i v a . S a n n a z a ro . A r c a d ia .
A nim uccia3 G io v a n n i. 6 s t . a 3 - 6 . ( 1 5 ^ 7 , 1 5 ^ 7 .)
B e H * h a v e r , V in c e n z o . 7 s t . a ^ -5 * (1 5 8 7 .)
C a p u t i, M a n ilio . 6 s t . a ( 1592. )
Mayo, G io v a n n i A nto n io c 6 s t . a**. ( 1 5 6 7 .)
M e n ta , F ra n c e s c o . 6 s t . a5* ( 1 5 ^ . )
anon* 7 s t . a 3 - ^ . (1 5 6 0 , 1 5 6 2 , 1 5 6 2 , 1 5 6 5 , 1 5 6 9 , 1 5 7 3 , 1 5 7 6 , 1 5 8 1 ,
1 5 8 2 , 1 5 8 8 , 1 5 9 2 .)
S p e n t* e ra n n e l m io c o r .
B u o n a v ita , A n to n io . 7 s t , a ^ . (1 5 8 7 .)
D e sq u e sn e s, G io v a n n i. 6 s t . a5* ( 1 5 9 ^ .)
M onte, P h i l i p p e d e . 6 s t . a 5 . (1 5 7 5 , 1 5 8 8 .)
P arm a, N ic o lo . 6 s t . a 5 - 6 . ( 1 5 9 2 .)
S o e r a r non s j p o t e a .
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S p e sso i l c a n to a d a m a re .
A g o s t in i . L o d o v ic o . *+sfc. a 5 . ( 1 5 7 0 .)
S p i r i t o S a n to .
P a l e s t r i n a , G io v a n n i P i e r l u i g i d a . 1 0 s t. a5. (1 5 8 1 , 16C&.)
S ta n o t t e m i.
S ta n c o e non f a t i o .
S ta n c o giA d i s o l e a r .
M onte, P h i li p p e d e . 6 s t. a6. ( 1 5 9 0 .)
C a s t r o , G iovan d e . 6 s t . a 3 . (1 5 8 0 , 1 5 8 2 .)
L a s s o , O rlan d o d i . 6 s t . a 5 - (155?» 1557* 1 5 6 0 , 1 5 6 2 , 1 5 6 5 , 15 6 6 ,
1567, 1 568, 1 573 , 15 7 3 , 1 5 7 4 , 1 5 8 5 .)
M e l, R in a ld o d e l . 7 s t . a 6 . (1 5 8 8 , 1 5 9 3 .)
R a m p o iiin i, M a tt io . 7 s t . a 3 - 6 . ( n . d . )
Su l a f i o r i t a r i v a .
N a sc o , G io v a n n i. 4 s t. a ^ . (1 5 5 ^ , 15 5 5 , 1561# 1 5 8 ^ .)
R u f f o , V in c e n z o . * te t. a 3 - 6 . ( 1 5 5 ^ .)
S u b i ta fiam m a.
E s s e n g a , S a lv a d o r e . 6 s t. a^. ( 1 5 6 6 .)
S* radian so v e n t e .
C ro c e , G io v a n n i, ^ st. a5« (1 5 9 5 , 15 9 6 , 1 6 0 ? .)
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P e s e n t i , B e n e d e tto * 9 s t* a5* (1 5 9 1 * )
S * un s o r c h e *
Esc-viga, S a lv a d o re * 6 s t« a^s (1 5 6 6 * )
S v e e l i a t i ardm a t r i s t a *
Tanouam auram*
Te m e n tre s e h e r z i .
T i r s i m o rir v o l e a * G* B* G u a rin i*
C ro c e , G io v a n n i, 4 s t . a 6 . (1 5 9 0 , 1 5 9 1 , 15 9 ^, 1 6 1 1 , 16 1 8 , 1 6 3 0 .)
P i c c i o n i , G iovanni* ^ s t . a5* (1 5 8 0 * )
T o r a a s t i a l a tu a *
G h e r a r d i n i, A rc a n g e lo * & s t. a5* (1 5 8 5 * )
Tre gratiosi.
M els R in a ld o d e l* 4 s t« a3* (1 5 8 6 , 1 5 9 6 .)
T re so n l e g r a t i e *
M e l, R in a ld o d e l . ^ st. a3* ( 1 5 9 ^ .)
TJdite amantj*
F la c c o m io , G io v a n n i P i e t r o , ^ s i* a3* (1611=)
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U12
Un g io rn o a P a l e s a c r o .
C om posite s e t t i n g . [ i p p o l i t o B a c c u s i, I p p o l i t o S a b in o , O ra z io
V e c c h i, G. G a b r i e l i , L uca M a re n z io , G io . d e M acque, O r a ti o
C olom bano, Gio* C a v a c c io .} 8 s t . a 6 . (1 5 9 2 , 1 5 9 6 , 1 5 9 9 ,
1 6 0 1 , 16 1 2 , 16 1 3 , l 6 l h , 1 6 1 6 , 1 6 1 9 .)
Un ta a o o amor ^
C o tto n e , G io v a n n i P i e t r o . 6 s t. a h -6 . ( 1 5 7 2 .)
B e r to l d o , S p e r in d i o . 8 s t. a 3 -7 * (1 5 6 1 .)
Una l e g g i a d r a e t b e l l a .
V a l le v e rd e e f j o r i t a .
F e l is , S te fa n o . 5 s t. a5* (1 5 8 3 * )
V eggio i n c i e l * una s t e l l a .
R o ta , A n d re a . 6 s t. ah. ( 1 5 9 2 .)
V e rd i p a it s i e P e tra rc h . C a n z o n ie r e . C a n zo n e.
V i n c i, P i e t r o . 8 s t. a5= ( I5 8 h .)
V a rg in o b a l l P e tra rc h . C a n z o n ie r e . C a n zo n e.
A s o la , G io v a n n i M a tte o . l i s t . a 3 . (1 5 7 1 , 1 5 7 6 , 1 5 8 2 , 1 5 8 8 , 1 5 9 6 .
1 6 0 3 , 1 6 0 7 .)
B a c c u s i, I p p o l i t o . l i s t . a 3 . (1605= )
B a s t i n i , V i n c e n ti o . l i s t . a 5 - 6 . ( 1 5 7 8 .)
M i l l g r i l l e , A le s s a n d r o , l i s t . a h . (1 5 8 h .)
P a l e s t r i n a , G io v a n n i P i e r l u i g i d a . 8 s t . a 5 . (1 5 8 1 , l 6 0 h .)
P o r t i n a r o , F r a n c e s c o , l i s t . a 6 . (1 5 6 8 , 1 5 6 9 .)
Romano, A le s s a n d r o . 9 s t . a h . (1 5 6 2 , 1 5 8 5 •)
R o re , C ip r ia n o d e . l i s t . a 5 . (1 5 h 8 , 1 5 h 8 , 1 5 5 2 , 1 5 5 7 , 1 5 6 0 , 1 5 6 2 ,
1 566, 1 5 9 3 .)
V e rg in e b e l l a .
D ue, F i l i p p o . 7 s t. a o -7 . ( I5 7 h .)
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Y e rg in e e G e n i t r i c e .
A g a z z a r i, A gostin© s ^ s t. a3. (1 6 0 7 .)
Y e rg in e i n c i e l o .
Y e rg in e s a c r a c h e s o l a ,
A s o la , G io v a n n i M a tte o . 7 s t, a3. (1 5 7 1 , 1 5 ? 6 , 1 5 8 2 , 1 5 8 8 , 1 5 9 6 ,
1603, 160?.)
V e z z o s e tta f a n c i u l l a ,
R a v a l, S e b a s ti a n o , 4 s t, a3» (1595®)
V ezzoso s c o g l i o .
V in e i, P i e tr o . 6 s t. a5. ( 1 5 8 ^ .)
V ie n P l a c i d ! a .
D r a g o n i, G io v a n n i A n d re a . 6 s t. a6. ( 1 5 8 ^ .)
Y irg o v e t u s t a t i s .
M onte, P h i l i p p s d e . 7 s t. a7. (1 5 8 9 * )
V oi m i n o n e s te i n f u o c o . Bembo. G l i A s o la n i. (Is x v i . )
G o s te n a , G io v a n n i B a t t i s t a d a l l a . 4>st. a**-. ( 1 5 8 2 .)
I n g e g n e r i , Marc* A n to n io . 4 s t . a 6 . ( 1 5 8 6 .)
P a l e s t r i n a , G io v a n n i P i e r l u i g i d a . 4 - s t. a4-. (1 5 5 8 .)
S o r t e , B a rto lo m e o , ^ s t . a ^ . (1 573*)
V oi s e t e b e l l a .
S c h u y t, C o r n e li o . ^ s t. a5» ( 1 6 0 0 .)
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V oi t u t t * ot>re d i M o ,
M el, R in a ld o d e l* 5 s t* a3* (1 5 9 6 * )
V o lg i q ua sfr*
A n te g n a ti, C o n s t a n ti o . ^ s t. aM-, (1 5 7 1 * )
Z a f ir r u b in i* A r io s to * Or la n d o f u r i o s o .
(XXXIV8 f f.)
^anzarstta tslhcr*
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105
VITA
v o c i b y Luca M a re n z io : An A n a ly s is a n d T r a n s c r i p t i o n ," w as s u p e r v is e d
a t e a c h in g a s s i s t a n t s h i p i n t h e M usic D e p a rtm e n t a t t h e U n i v e r s i ty o f
r e s e a r c h a s s i s t a n t f o r t h e M u s ic o io g ic a l A rc h iv e f o r R e n a iss a n c e M a n u sc rip t
S tu d ie s a t t h e U n i v e r s i t y o f I l l i n o i s . She r e c e i v e d a d i s s e r t a t i o n g r a n t
t h e f i r s t p a r t o f t h e y e a r r e s e a r c h i n g m a t e r i a l s i n E u ro p ean a r c h i v e s and
t h e se co n d p a r t a t t h e U n i v e r s i ty o f I l l i n o i s . She i s c u r r e n t l y te a c h in g
a t New York U n i v e r s i ty .
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