A gift of madrigals and motets, Vol. 2 9780226762746, 9780226762715
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- Author / Uploaded
- Newberry Library. Manuscript. Case MS.-VM 1578.M91
- H. Colin Slim
- Philippe Verdelot
Table of contents :
Frontmatter
Introduction (page vii)
SERIES I. MOTETS FOR FOUR VOICES
1 Quousque non reverteris pax (page 3)
2 O clemens O pia virgo (page 11)
3 Aspice, Domine, de sede sancta tua (page 24)
4 Pater noster, qui est in celis (page 29)
5 Qui confidunt in Domino (page 36)
6 Ascendens Christus (page 50)
7 Gaudeamus omnes in Domino (page 65)
8 Congratulamini mihi omnes (page 72)
9 Victime pascali laudes (page 82)
10 Ad Dominum cum tribularer (page 92)
11 Hesterna die (page 102)
12 Ecce tu pulcra es (page 108)
13 O Domine Jesu Criste (page 118)
14 Joseph sancte (page 124)
SERIES II. MOTETS FOR FIVE AND SIX VOICES
1 Si bona suscepimus (page 129)
2 In te, Domine, speravi; non confundar (page 140)
3 O dulcissime Domine Jesu Criste (page 152)
4 Ave gratia plena (page 166)
5 Ave Regina celorum (page 173)
6 Quare fremuerunt gentes (page 187)
7 Ecce Dominus veniet (page 208)
8 Recordare, Domine (page 215)
9 Salve, Rex, pater misericordie (page 224)
10 Ego sum qui sum (page 238)
11 Eripe me, Domine (page 255)
12 Da pacem, Domine (page 265)
13 Sancta Maria, virgo virginum (page 270)
14 Congregati sunt (page 280)
15 Deus, in nomine tuo (page 292)
16 Nil maius superi vident (page 309)
SERIES III. MADRIGALS FOR FOUR, FIVE, AND SIX VOICES
1 Con I'angelico riso (page 319)
2 Deh, quant'è dolc' amor (page 322)
3 Donna leggiadr' et bella (page 325)
4 Amor, io sento l'alma (page 327)
5 I vostri acuti dardi (page 330)
6 O dolce nocte (page 333)
7 Quanta dolceça, amore (page 336)
8 Se ben' li occhi (page 338)
9 Quanto sia lieto il giorno (page 341)
10 Chi non fa prova, amore (page 344)
11 Sì suave è l'inghanno (page 347)
12 Con lacrim' et sospir' (page 350)
13 Madonna, per voi ardo (page 353)
14 Piove da li occhi (page 356)
15 Ognun si duol' d'amore (page 358)
16 La bella donna (page 361)
17 Afflicti spirti mei (page 364)
18 Donna che sete (page 367)
19 Lasso, che se creduto (page 370)
20 Dentr'al mio cor' (page 373)
21 Liet'è madonna (page 376)
22 Madonna, qual certeìa (page 379)
23 Cortese alma gentile (page 382)
24 Madonna, io v'amo et taccio (page 386)
25 Altro non è el mio amor' ch'el proprio inferno (page 392)
26 Italia mia, bench'el parlar' (page 398)
27 Donna, se fera stella (page 407)
28 Pur troppo, donna (page 413)
29 Quando nascesti, Amore? (page 418)
30 Ultimi mei sospiri (page 425)
Texts and Translations (page 433)
Citation preview
A GIFT OF MADRIGALS
AND MOTETS
BLANK PAGE
A GIFT OF ~~ MADRIGALS AND MOTETS VOLUME II
Transcriptions
H. COLIN SLIM
Published for The Newberry Library by
THE UNIVERSITY OF CHICAGO PRESS Chicago & London
The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London
© 1972 by The University of Chicago All rights reserved Published 1972
: Printed in the United States of America International Standard Book Number: 0—226—76271-8 (clothbound: Discussion and Transcriptions)
| 0-226-—76272-6 (paperbound: Transcriptions) Library of Congress Catalog Card Number: 73-172799
Contents
Introduction Vil SERIES I. MOTETS FOR FOUR VOICES
non reverteris pax1]3 23.1 QQuousque Oclemens O pia virgo Aspice, Domine, de sede sancta tua 24
45 Pater noster, qui est in celis 29 Qui confidunt in Domino 36
67 Gaudeamus Ascendens Christus 50 omnes in Domino 69
89 Congratulamini mihilaudes omnes 82 72 Victime pascali 10 Ad Dominum cum tribularer 92
11 Hesterna die 102 12 Ecce tu pulcra es 108 13. OJoseph Domine Jesu Criste124 118 14 sancte SERIES II. MOTETS FOR FIVE AND SIX VOICES
I2 InSite, bona suscepimus 129 Domine, speravi; non confundar 140 dulcissime Domine Jesu Criste 152 453 OAve Ave gratia plena 166 Regina celorum 173
67 Quare fremueruntveniet gentes 208 187 Ecce Dominus
89 Salve, Recordare, Domine 215 Rex, pater misericordie 224
CONTENTS
10 Ego sum qui sum 238 11 Eripe me, Domine 12 Da pacem, Domine 299 265 13 Sancta Maria, virgo virginum 270
14 Deus, Congregati sunt 280 15 in nomine tuo 292 16 Nil maius superi vident 309 SERIES III. MADRIGALS FOR FOUR, FIVE, AND SIX VOICES
1 Con l’angelico riso } 319 23 Deh, quant’é dolce’ amor 325 322 Donna leggiadr’ et bella 45 Amor, sento dardi l’alma 330 327 I vostriio acuti
67 Quanta O dolce nocte 333 dolceca, amore 336
89 Quanto Seben’ liocchi . 338 sia lieto il giorno 341
10 Chi non fa prova, amore 344 Il Si suave é Pinghanno 347 12 Con lacrim’ et sospir’ 350 13. Madonna, per voi ardo396 393 14 Piove da li occhi 15 Ognun si duol’ d’amore361 398 16 La bella donna
17 Afflicti spirti mel 367 364 18 Donna che sete 19 Lasso, che mio se creduto 370 20 Dentr’al cor’ 373 21 Liet’é madonna 376
22 qualgentile certeca 382 379 23 Madonna, Cortese alma
24 Madonna, io v’amo et taccio 386 25 Altro non é el mio amor’ ch’el proprio inferno 392
26 Italia mia, bench’el parlar’ 398 27 Donna, se feradonna stella 413 407 28 Pur troppo, 29 Amore?425 418 30Quando Ultiminascesti, mei sospiri
Texts and Translations 433
Introduction
THE THIRTY MOTETs and thirty madrigals in this volume are transcribed from four
extant sixteenth-century partbooks in the Newberry Library (Case MS.-VM 1578.M91)—cantus, tenor, bassus, and quintus et VI. The altus partbook, originally part of the set, is missing. Concordant sources have provided the altus parts for all but four of the motets and six of the madrigals. These ten have been composed by the editor.
The original clefs and mensuration signs are indicated at the beginning of each transcription, but modern bass and treble clefs are employed throughout. The original note value of a breve is reduced to the modern whole note, and regular barring per whole note has been adopted. Musica ficta has been added above the notes concerned in accordance with principles suggested by Edward E. Lowinsky in his foreword to my edition of Musica nova (Monuments of Renaissance Music, vol. 1, Chicago, 1964). The musica ficta is intended to apply only to
the note above which it is marked (and to the same note if immediately repeated), whereas accidentals found in the source apply throughout the measure, unless canceled.
Since the Newberry partbooks are frequently the earliest, and for some of these compositions the only, source, their readings have been adopted throughout. Spelling follows the Newberry partbooks; where they differ from one another,
that which occurs most frequently is used. Punctuation and capitalization are supplied by the editor. Variants in the text and in the music from concordant sources are indicated in the notes at the end of each work. (Abbreviations used to indicate concordant sources are explained in Appendix B to volume 1.) Variants in other sources such as obvious errors, division or combination of note values which does not alter the total duration of a given pitch, and rhythmic differences in cadence formulas are not included in the notes. In the section giving the translations of all the texts, most of those from the Latin are taken from The Oxford Annotated Bible with the Apocrypha: Revised Standard
Version, edited by Herbert G. May and Bruce M. Metzger (New York, 1965). For help with other Latin texts, I wish to thank Frederick Hammond and Fabio
| Vil
Bisogni. In translating the Italian poetry of the madrigals I gratefully ac- | knowledge the assistance of Frank D’Accone, Mrs. Gordon Merrill, and Michael Walensky.
BLANK PAGE
Series I
Motets tor Four Voices
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4. Bol.Q20: ® 8. Bol.Q20: 8
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1. Source: 1526-5; Att.1542: A clef. |
2. Mod.IX: dotted minim, three semiminims on C, B, B, A. 3. 1526-5, 1535-3, Att.1542, Vat.C.G.XII.4: no ligature.
4. 1535-3: “tua” only. 5. 1526-5: no ligature.
6. 1526-5: ‘‘et audi.”’ 7. 1526-5, Pad.Al7, Vat.C.G.XII.4: no ligature. 8. 1526-5, tenor only: “meam.”’ 9. Mod.IX, Ver.DCCLX: dotted minim, three semiminims on C, B, B, A. 10. 1535-3 lacks text repetition. 11. 1526-5, 1535-3, Mod.a.N.1.2.: “‘velut.”’ 12. Mod.a.N.].2.: two semibreves on B, G, followed by semibreve rest. 13. Vat. C.G.XII.4: C. 28
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> ?"n”..----— 29rr2_ oO fi, Ooet_..,, oo Or ? Oo ——_8 1 ee p_ (ry? te eer rr2ete. Er — OTBED ?—=O Fh- ya, ——— —re-f —— ——— Al-le-luya,9 Al-le-lu - | yao 1. Source: 1539-13. 2. 1549-10, 1549-10a, 1555-15: D, E-flat under ligature. 3. 1539-13, 1555-10, 1562-2: no E-flat. 4. Newberry tenor: ‘‘Alleluya”’ only. 5. 1539-13, 1555-10, 1562-2: no flat. 6. 1549-10, 1549-10a, 1555-15: black semibreve, two fusas on B, A, G. 7. Newberry: “‘et bymnum dicite Deo.” 8. 1549-10, 1549-10a, 1555-15: A, B-flat under ligature. 9. Newberry: dotted semibreve on G. 10. 1549-10, 1549-10a, 1555-15; two minims on GC, A. 11. 1539-13, 1555-10, 1562-2: no ligature. 12. Newberry: two semibreves on D, D. 13. 1549-10, 1549-10a, 1555-10, 1555-15: A. 14. 1549-10, 1549-10a, 1555-15: A, G under ligature. 15. Ligature only in Newberry. 16. 1549-10: black breve, minim on C, B. 17. 1549-10, 1549-10a, 1555-15: F, G under ligature. 18. All other sources: dotted semibreve. 19. 1549-10, 1549-10a, 1555-15: D, A under ligature. 20. All other sources: semibreve on D. 21. 1549-10, 1549-10a, 1555-15: D, E under ligature. 22. Ligature only in Newberry. 23. 1539-13, 1555-10, 1562-2: noG; Newberry: semibreve rest. 24. Newberry lacks text, save for “‘Alleluya,”? m.124, tenor only. 25. 1549-10, 1549-10a, 1555-15: A, B under ligature. 26. All other sources: dotted minim, three semiminims on CG, D, E, F. 27. 1549-10: G, D, and A, D under ligatures. 28. 1549-10, 1549-10a, 1555-15: E, D under ligature. 29. Ligature in Newberry only. 30. 1549-10, 1549-10a, 1555-15: D, B under ligature. 31. Newberry: “‘dabit vobis.”’ 32. Newberry: “Et dabit vobis.”’
33. Ligature only in Newberry and 1549-10. : 34. Ligature only in Newberry.
35. 1549-10, 1549-10a, 1555-15: A, B under ligature. 36. Ibid.: G, A under ligature. 37. Newberry: bassus lacks “‘autem’’; tenor has “‘enim.”’ 38. 1549-10, 1549-10a, 1555-15: G, D under ligature. 39. 1539-13: two fusas on B, A. 40. Newberry, tenor only: “‘cum.”’ 41. 1549-10, 1549-10a, 1555-15: F, G under ligature.
42. Ligature only in Newberry, 1549-10, 1549-10a. 43. Newberry, bassus only: “‘Alleluya.” 44. 1549-10, 1549-10a, 1555-15: D, G under ligature.
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1. Source: 1534-4.
3. W1539b, W1545b: no flat. '
2. Modern edition of 1534-4 misplaces clef; it is also in T; W1539b, W1545b: in Bar. clef.
4. 1538-5, W1545b, Bol.Q20: “‘appruit.”’ 5. Ibid.: breve on D, minim rest, minim, semibreve on D, E in mm.41-42. 6. Ibid.: ligature on B, A. 7. 1538-5: no ligature; Bol.Q20: no B-flat in bassus, mm.55, 135.
8. W1545b: F-sharp.
9. 1538-5: G;W1545b, Bol.Q20: previous A is a semibreve. 10. W1539b: no ligature. 11. Newberry and 1534-4 from here to close of prima pars and in parallel passage (m.149 to close of secunda pars) have “‘Alleluya”’ only. Text is adopted from 1538-5, W1539b, W1545b, and Bol. Q 20.
12. 1538-5: no ligature; W1545b: G, C, only, under ligature.
13. W1545b: no flat.
14. 1538-5,W1545b, Bol.Q20: semibreves on F, C, under ligature in W1545b. 15. 1538-5, W1539b, W1545b, Bol.Q20: no flat. 16. 1538-5: no ligature; W1545b: B-flat. 17. W1545b: F-sharp. 18. W1545b: dotted minim, three semiminims on G, F, F, E. 19. W1539b: no ligature; 1538-5, W1545b, Bol.Q20: semibreve G, semibreve rest. 20. 1538-5.W1545b, Bol.Q20: E, D under ligature. 21. W1545b: F-sharp. 22. W1545b, Bol.Q20: D, G under ligature. 23. 1538-5, W1545b, Bol.Q20: B, A under ligature.
24. See note 7. 25. See note 8.
26. 1538-5, Bol.Q20: no ligature. 27. 1538-5: no ligature.
28. See note 9. 29. See note 11. 30. See note 12.
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1. Source: 1549-12. 2. 1549-12, 1549-15, Lei.1006: semibreve on B. 3. Lei.1006: dotted minim, five semiminims on E, D, E, D, CG, B. 4. 1549-15: two minims on CG, B. 5. 1549-15, Lei.1006: four fusas on C, B, A, G, to avoid the parallel octaves. 6. Ibid.: semibreve on E. 7. 1549-12, 1549-15, Lei.1006: E.
8. Lei.1006: no flat. 9. 1549-15: no ligature. 10. Newberry erroneously has breve on A. 11. 1549-15, Lei.1006: no ligature. 12. Lei.1006: D. 13. Ibid.: B-flat. 14. 1549-12, 1549-15, Lei.1006: no ligature. 15. Lei.1006: no flat.
16. 1549-12, 1549-15, Lei.1006: no 3; all in black notation as in Newberry. 17. C-sharp in Newberry only. 18. 1549-12, 1549-15, Lei.1006: minim on D. 19. 1549-12, 1549-15: semiminim on A. 20. Lei.1006: two semibreves, minim on D, C, B. 101
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3. Pad.Al17: “Contra” in T clef.
4. Pad.A17: ““quam’’; on extensive textual variants, see Slim A.
5. Pad.A17: dotted semibreve f'’-flat.
6. Ibid.: no sharp. 7. Ibid.: A.
8. Ibid.: semibreve on D. 9. Ibid.: E-natural, semibreve, minim on D, C. 10. =Ibid.: no flat. 11. Ibid.: no ligature. 12. Ibid.: two minims on A.
13. Ibid.: no flat.
14. Newberry: E-sharp (=natural). 15. Pad.Al7: semibreve on D. 16. Ibid.: no ligature. 17. Ibid.: concluding note, a longa. 117
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3. 1535-3, 1535-3: “Jesu Christe.” | 4, Halle 1147, Vat.C.G.XII.4: no sharp. 5. Rome Vall.: C-sharp. 6. Ibid.: two minims, semibreve, minim on C, B, A, C. 7. Ibid.: two minims on A. 8. Ibid.: semiminim on D.
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2. 1559-1: no ligature.
3. Newberry: “ij” (“Anna mater tua”). ; 4
4. 1559-1: minim, semibreve, longa on G, C, B (mm. 73° —75").
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1. Source: Rome Vall. :
2. Mun.401: in A clef. 3. 1545-3, 1546-5, 1546-6, Mun. 401: no ligature. 4. Reg.211-15: “Ego sum qui sum.” 5. 1546-6: no flat.
6. Vat.C.S.24: no ligature. | 7. Newberry: “‘ejus”’ in quintus only. 8. 1545-3, 1546-5, 1546-6, Mun.401: semibreve, minim on B, A.
9. 1545-3, 1546-5, 1546-6: minim, semibreve on G, B. .
10. Rome Vall.: semiminim, two fusas on C, D, E; emendation to agree with other voices, follows 1545-3,1546-5,1546-6. 11. Newberry, Bol.A. XXXIX: “Alleluya.”’ 12. 1545-3, 1546-5, 1546-6, Mun.401: semibreve on F. 13. 1546-6: dotted minim, three semiminims on F, E, E, D. 14. Vat.C.S.24: no ligature. 15. 1545-3. 1546-5, 1546-6, Bol.A.XXXIX, Mun.401, Reg.211-15, Vat.C.S.24: two minims on F, D. 16. Vat.C.S.24: no ligature. 17. Reg.211-15, Rome Vall. (altus): no “Alleluya.”’ 18. 1545-3, 1546-5, 1546-6, Bol.A.XXXIX, Mun.401, Reg.211-15, Vat.C.S.24: A, B only under ligature.
19. Vat.C.S.24: two semiminims on E, D. ©
20. 1545-3, 1546-5, 1546-6, Luc.775, Vat.C.S.24: no ligature. 21. Reg.211-15: “pax vobis.”’ 22. Vat.C.S.24: no ligature. 23. 1545-3, 1546-5, 1546-6, Mun.401: semibreve on E. 24. 1545-3, 1546-5: no “‘ipse.”’ 25. Bol.Q27(I), Rome Vall.: ‘ij’? (=“‘quia ego ipse sum’); 1545-3, 1546-6, Mun.401: “Alleluya.”’ 26. 1545-3, 1546-5, 1546-6: no ligature. 254
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1. Source: 1536-7. |
2. 1534-16, 1536-7, 1537-10, Flo.2495: in T clef. 3. Tutte le opere storiche e letterarie di Niccolo Machiavelli, ed. Mazzoni and Casella, p. 869: ““Arder.”’
4. Ibid.: “‘tutto.”’
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1. Source: 1536-7. 2. 1536-7, 1537-10, Flo.122-25: minim on D; 1544-20, Flo.2495 = Newberry. 3. 1534-16, 1536-7, 1537-10, Flo.122-25: “‘passi.”’ 4. 1536-7, 1537-10: two minims on F, E lacking.
5. Flo.2495: E-flat.
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CO. oo oS oo 9 OS —0oT FoOT OOo od o——-eoNv-'NWT7") ee ee Oa
fp eh ———_—§_—\_ f qqsay’zr sf °.i,PFfP@ @€4 Tj iT, T|7 ~—_A TT fr fT NT Oe a es a es ee a Sc Scan | ee re ee ee Em ay bt a a TS EL TE «es eeP= ee SS SS SS AS cS ie a a SS A SS eS SS a Se “eeeee0 1 Smal quel - - lial - la ter - ra, quel - lial -la | ter - Ya. b
a-a 9’ —-——_ 2 OO” 1 eo oO _(“"N’7-|-vw—Q?N--wWw—XaXa—"__a_—_—_ SD
J: 1°>---7[7wAUXwT#0ALh*({V{é_—— e"n—N-’x’—”.0.”.0_e?EE™"’. OTe a EO EB oe oS
mal quel - - lial-la ter - ra, quel- -lial -la ter - ra.
1. Altus composed by the editor.
, 340
,ey:eeiee
Cantus / 5 , TE Oe OOOO
Machiavelli (La Clizia, Prologue) Verdelot
fbf | |. a1??? a ee =,=|—_r ?—s—-**——— oe a= . rrTy ..”"”""—_____ =o__ty-?—_?_?_ oo _ oo EL— —* es
——— a ee a 8S OS A SY NT OE SNee SOeee NN [Br3= fey o_o, pt) | A a a | os |ta th F&F Sf Altus }) Quan - | to. sia lie-tg il] gior-no Nel qualle | co-sean-ti -
Quan -to sia |lie-to il gior - | no Nel qual le cose an-ti - | che
aS eS SS A FA SSSeAesPBesAaaAi SP EYAnA
Tenor f)
re a SS cc i nA OO eeaeee ee
ft) 10 3) . ee ee "
PO Sa SS ST FS ” A SOS OT Ol A (NS RNY SEbh SSES RSEE AS ES ONES OS( et —*"—— Ss oo Owe A EAS SE SS SS A SS OS SS A AS ee Eee ee ee EEE OO Eee OEEAEEE 7 ?'—_ OEYS OrSN A PY A AceAT Ca A aA-oI es"=n SS ST AFf
FSo- he davoi di-j|mo - street | ce-le ~- bra - - te, Si | ve- de, per-ch’in -
4)
f ,154).
, . 4) . . , A A OS SL 5 4) ° * e yt | | pf eee ft eT —
8 -ti - che So- no hor da voi di- | mo-street. | ce-le - -bra - te, EO hy PE SS NE AS «A NO TS cS A MU NE A RS LY ES OE SURO - ti -che So-nghordavoi di- mo - street ce-le-bra_ - - te, — A EEL SEES D7 AEE EES ERED (OEE COE ED SRST ENS OUERSSREESY TOY (SSO (SU RO
ny =e», | |Af Oy Ee ee EOE ee eee iy eT A| &OE —e— gy Nf i= 7 —_________--—__| . fs | - 2 es ZULU!
a a ee ee ee >_> _ —_ o_o
" ) == °° °+| °° °»+| g@ | Qf. PY fa [er Pr Ty lL hE LUldLLhmeLULULrTTCLUDCTCLUGULULUL
SS oee*# 8 Or EO i
OS 9 a — EEE AR NS OY AEE OR SON RS RE CONES SUES NEG ONSEN ON OE ES ON LANNY SSRN
ve ie per - ch’in |-tor - no Tut - te le | gen-tea-mi-|cheSi so- noin
Si ve - de, per-ch’in-tor - no Tut-te le gen-tea-mi - che Si so -noin 341
4 SS20 ; 4 S)ra - - - Noi hel - - 2EE SDern, AOSE SS SS NNSS ST SY SY f) — fe ET‘ —. ee OE ee — — ) @o rr? os | || ~~ + |, _s —_lQ — TE... a Se 8 4.~2>0n00—2]
py So i S$ eg 6D
Tn See Oe es SS ee Se A a SS A ST Se A Sc Seen
SS a We que- sta par - -te ~’ra- gu na te. Ol, che ia no - strae ta te
ais’ @¢ @& TT PY 4 A A ES EE OE RE A NS NR” HE NS OS ES ORS SS
/) b e>.)a 8?,Gro
OS A OS NE ONES A CS AS ES ON RN SO NE ES EES od que- stapar - | te . Sra - te. Noi, |che la no- strae-| ta - te
ry fe) OS. _ eeeedee—e—eLLTLTLTTCS CLC TTTCUrLCOCSsC:CCCY|SCCCSsSYC!.CCtCtCCSCi—OC*itC™?F™O™—~‘—~™~;~S; RN ES NE ES SS Ne’ bo - sch’et | nel-le sel - | ve con- su - mia -mo, | Ve - nu-tian-| chor’ qui sia -
atyIZ «AS OS NS SRN SN PRON (ONS OS — — —— — — —— 9 — To ft ot TR gt 0 2 ey ee y——_4a ff ft Ee ee ee / eee ee ee ee Lee» EE Nee OO Se — ede eT ee od Ne’ bo - sch’et | nel-le sel - | ve con- su - mia - mo, Ve-nu -tian- | chor’ qui sia -
yD dE _ TS eeNE ""E... | SR | ES[|OY, | ao DS OEvEE A AOE EL RE ESLOL ES ENNS MSAEE AS OE NOES SEES nc(SN ESSSA NS SDEENS UC Pe — eee py hhTE a SS eT ce INI zg 0-3 a — a —_ re a a He a re HF i - stria - |mo- -. ri,—_— - stria{ mo - ri.
+ > ore eeESeee 0 a— A eSoe es CS AAA ES ~ee 8 Aet A
EF SE SS — ae A A EN OOS OO ES SS OS SS SSSNSSLS SN (SNS 1
| = ES N= EES RS ES ES NS AR NN NS A ANA A RE SO
- stYla-mo- fi, e_ sno - - strla - mo - Yi.
1. Source: 1537-9.
3. 1537-9: no sharp. |
2. All literary sources of La Clizia give: “Che le memorie antiche/Fa ch’hor per Voi sien mostre e celebrate,” for lines 2 and 3 except 1548 edition of La Clizia; see Osthoff T, I, 226, note 25.
4. 1550, 1588 editions of La Clizia: “‘antiche.’’ 5. 1533-2, 1537-9, 1540-20, 1549-33: “radunate.”
6. 1537-9: no flat.
7. 1537 edition of La Clizia: “Ogn’un cantando e nostri antichi amori’”’; 1550 and 1588 editions; ““Ognun cantando i nostri antici amori’’; 1556 edition: “Ognun cantando insieme i nostri amori.”’
8. 1537-9: minim, dotted semibreve on C, G.
9. Ibid.: no sharp.
345
10. Chi non fa prova, amore
Cantus. 5EET GEES TO/_f O_O4eee T_T ee
~ (2 | {f— a ee i Pm —m Machiavelli (La Mandragola, act 2; La Clizia, act 2) Anonymous (Verdelot? )
a OR RS NE RS ES OE «, EY SRS RNS SOE DUET >” A OE SE
Altus f) -". OO ——?— rr?_LF? ——_ | he1) 7? 9 _ f29 eo 2 er tye FH Ht HR ee ; Bassus _” Chi non fa pro - va,a-mo - Del-la tua | gran pos -
eee OyaS en «ES EN NS LS ESRS ES ES NU Eo LOR ee ee NS nnnOOnnnccAS RRSASNS ESOSSS SSRES ESASU ES Chi |non fa pro-va,a-| mo - re, Del -la_ tua
Tenor /
fee # 10 Ge ee re Oe — TS 8 chi non fa pro - va,a - mo - re, Del-la tua | gran pos -
ye 6A SSSF a ee ee eeOSee eeA Oeeee Cnn GSS OS SS ES ES A A on A A a eee §=8=es ——_————— nS HNL EE (OSES ORS SS OS CO RS EY OE SOS SR USOC Chi non fa pro~va,a - mo- re, Del - la tua gran pos -
A SS CS SS SY SE A ST Fs A A SY A TP 7 SS A NB ES NL DS ES PE SSSN =
pt fd", >
a RS ES EE RES RNS NNUOUCOSOS ROY CEN, OOS EEN OO RN AS NS TS SS OE | ES
- san - gajn-| dar-no spe - | ra Di |far mai fe- de ve - ra Qual sia del
cca ee es ee ee ees ee ee ee es es es ee ee eee = eee 8 gran pos - san-¢a,jn-| dar -no spe - ra Di | far’ maife -de ve - ra Qual sia del
SL SS SS YS SY OS A OS RS A aN82, RSA LE a TS EEOY OOS YSST RSOS OL EE(SO «= = GT I IIST SS LAR NO ES ORR DO
SS ST . SN SN 0 Se a es eT eee eS) CL Le fT =e __ pd) UlgleT pS a ee T_T ’BC ¢#ah + a rr 15 TT SS COR SOS A FA a PYVe nn SEaRR ET SSSS RL AS ES SS OS RR NS SS RE SS «ee es S -san - ¢a,in- |dar -no spe- | ra Di far maife - de- ve -ra Qual sia del
OE eS RT DE NETS ROSS O07 A P= ES OE SNS, SOS ROS RRR AN A ES CE = ES ee
- san - ¢ajn- dar -no spe -_ ra Di far mai fe - de ve - ra Qual sia del
a= ee es ee ee ee ee ee ee Pe
oe__i§ ee4} a _**______}|}___,—_____j—__,,_,, mol NE sa co-mee’ si vi = +,vein GG —_ WD A a ee es ee ee ee ee eee eee eee ee eee oN
DNS TS RS RS NE (COS SS SI FE CRN SR 8 ciel’ il piu al - | to va- lo - 2)Né sa co-me_e’ si vi - ve in| -se - me,et____
Deft dt aoN |
7 Fee ei ee ae Re ae ee es ee Ce. es a A a = a | A es ==
o_o? F— T_T?
S ciel’ il pin al - | to va- lo - re; 2)Ne sa co-mee’ si vi - vein -
aes EStT ENE NU Wh ET Sn, ee ee=eee aOR TL et=SC eee ee SS ARNES EOE To” A OS ES ee
ciel’ il pia al- to va lo - re} 2)Né sa co -mee’si vi -vein - se-me, etmo 344
lp f) ,
4 20 s ee ee oe oe rr OO ee EO oS So
fot EEA2ESee«SS ee aee SY KS OEeee Eb. eee 4 ee.=e Ae
/CN.:| @ TT. _ fe eee ee - se me, etmo -| re, Co- me si |se- gue il dan-no_el si fug- ge,
TESS|TS a@ a2 YK MO - San Seana OL ST A TS A ff A ASe SY iEP Ae NO Ol ESLE RO Cy “ft | A2 -Te LOlO-Oy fl)
2 9 8TOE OEa _—_ 8 mo - re, Co - me si se- gue jl dan - nge’l __ben’ - si fug - ge,
SS Sr A SS SS SS LAS — SS
fo _f___@ | © _@ _©__@—__| a ___—?— oe Po =E
6 ¢ d ey RE Ett C—O ee o_o . 4 OT F?— ot Fr a. waRe ee | |__| T_T eS
OS ccSe °SSSCY SS SS eS SL Se Wc Se -Se SeesSn See EE aS SSTTSO SS SS TSaTTSD SS LYSY A SL SO SN SOT A ON 8 ise - me, et mo-+4 re,Co-me = si se- gue jl dan-nge’l | ben’______si fug - ge,
- re, Co - me si se -gueildan- - ng e’l ben’ si fug - ge,
ma se stes - so Men’ d’al - trui, co- me spes - so Pa - ur’ et
& 3)¢? > 49 : 4) ’ Ca SS Fk a NS — Eee OE FT A e YaSa tec— De Ee se
oN YU dA ——_ [Aan oo FE or Sr
Machiavelli (La Mandragola,act 4; La Clizia, act 5) Anonymous (Verdelot? )
|
Si sua - ve e Vin - | ghan - no Al fin con-doc SS INY eS SS SS SS eS eS ST Se SS enn fap eS WO Coe ee = 2 ne Se a )| ne Ve Ry 2 = eee EE EL EE OO = A (YD OOO ON
Altus2) f
i a Se See : TyyO a oo rr —>— ot hr? ooo ———oo sua - ve é Vin - | ghan - no Al fin con-doc -
a —>— >ryYO fri$f as NYSh A OF7es AA; A SS SS SS ©See —_ -tim - ma - gi-| na- toet ca r Ch’al - | trui- spo - | glia d’af_SE a es ee a me aee es es As2 2Ss VeTe |Liaodie bee ee Ee .eeee - eeeeeeeee * eeeee eee 0 eeTE, eee eee eee _ eee S. tim - ma-gi -| na - toet ca - Ch’al_- trui spo -| glia daf- -
A | TEaAESASS a SS Se ES a SsSY a Sneenee REeSSSARS RR My
-tim- ma-gi - na -toet ca - ro, Ch’al - trui spo - glia daf -
eTEScE STOS nSA WS aTE ES TS CSSS SS ASN ES NS ES TSSS ES
oo oeAro0 hSe—a eo ——— Fr DA) = ee i peg! ff _ Be [gees BIL oe Bese ems
a
PNOe he COCO le Oe ee Oo Oe CO ee oo eo
Se ee Ee S S wy dC ee PO Od ed —m® A A Aa - Se oe a -
_——— -— | aos 7. oe i SD oo aSeeeeeF"="2 S . fan - po Et dg! -ce 3)fa - | ceo- — gni gu. |sta - toa-ma :
ST ST ee SS SY Sa ay Pa ee ae se SS eS ES ee OKO COO COE es SS A TS SE TS SS SE SS SP AS RNSS ~a 8 - fan - no, Et dol -ce 3)fa - | ceo - gni_ gu - | sta- toa- ma
- fan - no, Et dol-ce 3)fa - ceo - gni gu -_ sta-toa-ma -_ ro. 347
f) ~ oe, ‘ wee” OF 7
A 20 fe #4) oo oh Oe er eee LS CI A an —_ a Oo ce I (ee es
LS —_ae LT SL LS _1_4 NG BE AA Wan poy ts p__@ EP"AeeY ee ST "eee A eeeES eee SRA Cee eeeSE eee SS eee oO eee re - me--diqal - - to_et ra - ro, Tu = mo- str’il drit- to cal -
2NS A eS S(O eS anS a“SOS eeNCR a T_ a YS ee soCA OO TTN”’TNTwA-—"-8—_ ANSP. —F -—* SO ee ed Bo re - me - dio al - toet ra --—=s ro, Tu mo- str’il drit - to cal -
Jf SS __"7Dj-"“xnx’v’."")|— EOE Se| 2ES — Fe. NOHuA“ANr...— SS fh Rs _____________|______9 __ | [____ ?_ SO o_o /— OU ees aDR ESMTS NA_|-NER A~_ ve4RS nn ==> ao”[—__< RN ED ee SO «=| eeio] es ATe HEES ES RS RS LS LO RUD OS ee f)
Fo re - me- dio al- - to et ra - ro, Tu mo -str’il drit - to cal -
oT — oT > Eo — —FOO TTT? aooo LS LT >
> SS EE NS YE nc eee eee ee ee ae ae ee ee ee 1 ~_Se e a CE ES EE ON CRY > "EE «= CE CS| SS nn O re -me_ - dio al - to_et ra - Yo, Tu mo- stril drit - to cal -
) Eh——— — —D OOOO OED OTNe EO Ee EoEo EE yo oF OO or DP NO ES a A = ee a $8 es OEE a, —_ f 25
, @£e 6 ~~ »| 2p. 2 Oh ~Va Val -meer-| ran - ti; Tu, col tuo gran va - lo - re, Nel far’ bea -
f) 4 | em dmeT gm ccBeae. Lee eee” wee TA Te Se ll Cdl“ Clg ES EE,
ZOESsAesAaS a a? SSAAS a es SRANNEG a a es ey a eeMN es YS SeaSa ()™~
a> EE en ee ee eee ee ee eee eee ee eee ee ee eee eee eee ee ee eee eee eee eee
lrem oo| DUO —.—._ '-.— ee IO ei eeea aCG mlTC OeOKTQ Koy—_t_F Og lllC GT OC AM OI i 8 - Va Val - meer- ran - ti; Tu, col tuo gran va - lo - re, Nel far’ bea -
o. Ya Val-meer-| - ran -ti; Tu, col tuo granva- io - re, Wel far’ bea -
oo oS OOi DQ. FA ns oa es ns nn a a) SS—— A eeoT A— CeeEo=eBD" Ae een
- Val Val -meer- ran - ti; Tu, col tuo gran va - lo - re, Nel far’ bea -
|VP7 6304 5) Ce a OS RRS SE A a CS NOS OS SS RS UNOS OR ee e -©- to al - tru, fai ric -cO,a -mo - re; Tu vin - ci, 6)sol coi
wee le A l@we _» “=
& ] e f e ° . e e 6) e SP CN SS (eS Pc es A ee eeES ee esES ee bE nn eySSS a PY Se ee ee eee
ARIE EE GE eee ae eeEN ee esGAS Ce ee SRS ee ee esA ee(Se es ee —— oSeeaoe iee_sN’N7"—"_[_ i> i?eeEO oe OFS A) RS MN OS gO l—mLULULULULUdLll el OLY LLLLCUt—‘i‘Cstsi‘“‘i‘“SC‘(N;;SC(“‘(SRSCOtC‘(‘(COCC (Tm
-to al - trui, ai ric - cO,a-mo - - re; Tu vin - ci, sol col wT
6
DAS ee a il >} ——___f—__} +} ___+__+_+____ + 8 ~to al - trui, fal ric -CO,a-| Mo -_ re; Tu vin - ci, 6)sol Col
TSES EECS vn EY A ES OSNL NS- A NS) = ee es” EENSNS —a —_NUES =
—_}-___|___@___,}- —__|—___}_______—_}+__—_}+_-#—__ 3 ——_-++ -_4—_ ——— > Sq SH SK }]AHTT-]
-to al - trui, fai ric - cO,a- mo - re; Tu vin - ci, §6)sol col 348
I
— eo
740 45i
aho SSeee A = SS cee / 35
Ea RS SS, NE MT A NE US OE > OOS NE ONES SUCRE SRS ANNINS ORS (A
tuoi con - si-_ gli sanc - ti, Pie - tre, ve -ne -nie’
& . ° ° e e . 9 FS A a ES SS SXA Ss SSeS ST Co ST
FSRRSY RO LY OONE OES OS EN EY NS NP aON ™ | «URES NONSEEY—>SE OEE EESRY «AS~ ee-SE eM es—RS SUN QO, BO f)
f)
tuoi con - si- ghi sanc 7 ti, Pie - tre, ve -| ne - nie’n - | can : . -
™ PS a c - | ha
id tuoi con- si- gli sanc - ti, Pie - tre, ve - ne - - nieNn-can :_» ——ES — =—_ | 7srs7pa TF EE —_ A = MS SS "VMm"M'Y"“_—_——_ OS OY > SS AS AS EE?—=. OS OS 7a
NS a CT a SO SS S ( . W
eT a a SS (Sn FA A OS RY © = = & « ° e 9 bed p : # fH 4 S&S eo a e 9 ° tuoi con - si- _ gli sanc - tl, Pie - tre, ve - ne -nie’n-can - ti, Pie -
A ee EE ee ee eee eee EOE OE eee eee eee ee EEE EEE Leew —=e eT —=l—>p EET —e— EET en ee , LJ ws we wa ee wwSO
LS ST SSSSAT [SS SE A A STS _ —_ S OS _ASee AOS —bY —SSS ES ON ho NBaSEN NN EL SNES NSSOY CRS (CS - ti, Pie - - tre, ve - | ne-nien-can_ - - ti. PE ES MS ES A RD SS (1 Fs RA SS NS SON SYON SR OP BatEY AST S" eeES - =2 eAeSOP «= | 2Dh es ee RN NS RE SS SE MRRN *SN ESee. dh,SE A f)
OD eS© ES ee SS I SEa Rcce © ES OY - ti, Pie - - tre, ve -| ne--nie’n-can - ti.
A —Le T_T NES «UTS Sn A SOS A SS RS2OS STES A NS WSESDN - tre, ve- -ne - nie’n - can - ti.
1. Newberry’s scribe removed a stroke through C in the cantus.
2. The editor has reconstructed the altus from the arrangement of the madrigal for lute in Melchiore de Barberiis, Libro quinto, fol. 18, no. 18. 3. Martelli, Rime: “‘torna.”’ 4. Newberry: A, erroneously.
5. Barberiis inserts three additional measures between m.30 and m.31.
6. Martelli, Rime: ‘“‘ognhor coi”; Colchester La Clizia MS: “‘sol con é tua consigli sancti.”’ 349
i
e5e5
Anonymous Verdelot 12. Con lacrim’ et sospir
SF SS SS SY SS Ha _——
Cantus f)
1) T_T Con - cri OS - | m’et 8 - cA spi’,OS Con RE la - criAltus (\ la SR OR SEm’et ESsoSS
fe ___EEE EE SV A WE _.4 Lee Lee eee
{te— a | 9 or 8 . i SS SS)OF? a? —_..__. OT Or —— 3 tf
, - spir’, - - i- 2ge, - -Or oo —————/?— er? a8 aSL SO(OY SOROSS SOOO SS CTC SO ” A MNT EALESS SN COON
——___ po
pA Nee EE rAT=etofESE —TY /—Te— pole Ce OS I Ann LURNNUORennS OP 200i CARAS NN RO A ET SS (OO
A a SE A A SO SO Con la - cri- m/’et so - spir’, Con la-cri_ -
n°
cA. oo BEE EE. a 7 pe 7 }— o>—_ _*-——_ 2 EEE?" Eee
-spir’ ne gan do _ a eee 0 a ne SNES NN NN” A GE ee ee ee ek,
ee eS
~— —?t ——#* — 9» —_}-?* ——_ 9-9 og | ro te?
& ; 9 ey ~~?
rf o_o rn
10 4 yp LT A yp A a Aft a A__ oF SN -m’et so -spir ne -| gan - do por-
DS ES NS RN RSOSNN RSNG SSSON EE SS ES EES RRO NENOES CS AONON OyNR)= A NN CANS SE ON OEES A EES OS AS OCU >” A -m’et so - spir’ ne - gan-do- por - ge, Ma - don-n’i___ de - si - a - ti ba - -
ESESTT ST ST-SS FS OOSS NSSL A AASS SSVS SS SY Ae
LS TL A ST SS A TS a
&..
Ag eeSe lOec=eDc "=e t—‘“(C A a mm Se ST a SS SS SLO_O ~A
Cy ir ee or? Fr? Eh _ Pao ee
Fee eC EE LS le —ee—CsCOCCOUrCSSCONC NEF me -st’al no - str’a - mo | |
no - str’a - mo - - -re, O era -
Q——_— er? ee Oe OD -st’al_ no -str’a 5 - mo - re, ase - mo - re, A) SS A SS A eS SS SSS SYOT... —ES eS © peYSSS OEE EEO CE SL. ©ee SSS 2]
VF A #NeEy SEAAA OES OS OY °C || «=(UU A OF, YO OO ES SO CS AON >” AUER CERNE
OE 3) me - st’al no - str’a- mo - - re, O
ff 69A ccnn FT SS TT SS A Sa aee (SS 25
A SS - aOO SY -(SS A SSS SS SeCc Se RS RSSTa ST (ESSY OO ——_A )
SL ae ” SEE “ee Aa PF a IaS A?SS SS-— Sf~_ EYAS ° QO |SS _aSea S/_ll ES |i_a Sa FS Se ee ST A SY S&S 9° x * . ° A} °
SF rr i 9 er
a a A cc SS A CS SS A SS SS A A ON SS - toet dol - ce no - do O- |v’io si lie - toin | ser- vi- tu mi
a| Ee Se esEE Oe eee es SeTT eS Se Se Sc Sel SO _ eC f
i@): EEE ___ aOE,ES AoeOO) AS A4SSSSNOO enULE CC, A LS? 2. g¢ZF - @/| zs A. ZOO ECO LT LLL Lm :wy oes ™ eo fee a ae ™ 2). —_e_ a ?— o'r ~ PO _L ——_P ODOL ——......_ | | | |) [|oe[|oST @ UT ey — ef
NB 7 A carrer ee a SS SOS RN SO NUS SY CESSES CO ES (SOOO
NB A Raa WANE LOCO ? OO Ee | |) @- | | &@....__¢@q4. fee rr S€ee ae eS Oe (ET
oe} __ =» 4 CO en a) ee mi go - do, mi go: - do.
1. Source: 1530-2. 2. 1534-15, 1540-20: in Bar. clef.
3. 1530-2, 1534-15: “mesto sia el.”’ |
4. 1534-15: two breves on C, G under ligature. 5. 1530-2: semibreve on B; emendation to agree with other voices, follows 1540-20. 352
Anonymous Verdelot _4A79g b | a: a a SO NT 13. Madonna, per vol ardo
, _ 4 b —_ PAS ee a GO Bassus b 4) re oe :—‘—‘ b—10 /+5)>ft qt FE Cantus !)
SES SSSS A RNS A A NS A TS TC NE COS SE CE SOASRO .A SS (TS RE RE SUES ORSN CNN SS” 2 Ma -_ don- - na, per vol ar - do, Et voi nonXlo cre -de_ Altus 2)
ES Oo — ———————?— o'r te Oe 7 A7O_O OS AESaEEaNEaNSSa a a ORSY a LES RS ES OSST ER ESA AS RE NO ane NS I CU OSE LR RON RS — AY §—_ NS ENE A RS SOROS CUS RE OSES
: f)aTSASSSSSS SY TS RE SS A A SS CS SN ~ ST SSATSS ASO _— ™HEE Se
Tenor id Ma -don - per voi ar- | do, Et voi non 3)lo cre - de -
: ~~) _ a or ds? rh rer
sd Ma - don - - ma, per voi ar - do, Et voi non 3)lo cre - de ; EE 2 OE ET © SE EE” RY AE nA RS AS TS ES CS ES «=, A Ma ~- don- - na, per voi ar - do, Et voi non3)lo cre - de -
om a es A.» 4 O_o O_Oa ?_rr Pf > | —— —— | oo ——
fay —} —___ff —____|_}_t_t_] 4 —_ f ff rrr P|jt BND£A—__ / De —_} DT Se_} Se —_ A a =}P___|._g# }—__________,____p_§|— —»:—, SO SS SS A aOSNS ES EN NE NS YS NOTES EE SUS RC NSS OE AES LNA AS NE ES (|= _ A e
S - te, Per -|ché non pi - a quan - to bel - la___—s_ se - - te, Per -
————————— aeea..SS SS 7 >O86 A As py P—_}———_?— EE SS == ee ee SeOF p+A otOT orcn OO eee eeSS Ee LS OO A EE OOO OOO
ee inj ooee wm ee Ul ln ee Le COC “a
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CE, CS ve WE a ©” EE aOSS A TScS VYRS — ES ,_ AO NAS AO 5 A(OOO «, SR y EE NSASONS NEnA EY OES RNS AEROS SY
- te, Per - ché non pi - a quan -_ to bel -la se - te, Per -
li _ ee
| ee —=p Se eee SO OE aOS AaA SS/ Ss A i| Aa NSSeNS OEEE «SS Ey §=— i pt en SP SS eS «AES A «= SSS__.c LE TS TT SS ST SS SS OS SO cece sce: — 6 SS TT SS SS SY Ses SS Snel -ché non pi - a quan - to bel -la___—s- ses -:*'{:«é¢te. Ogn’ ho - raio mi -roet
WA YY es & ‘N 3 . e SS ee a 7 bheS |__|egaS oe Rf $$$} ee OEee EEE
I ES SUESS UE wc O_O A ESSO A EEA A AA A aAE A SS SE CE 8 ché non pi - a quan-to bel -| la se - te. Ogn’ ho -raio mi - roet NF a RS SEES AS SEL SS CORRES ND ARR GOONIES AES RAMSEY CRGROOION (SUS
Ec WE SS OT ©OES «A En, CY(I > | «= LF LS LS CT, TTSNE A SASS SOS AS ES SSUES (a) OOO EN SS ND NN AE - che non pi - a quan-to bel -|la____ se - te. Ogn ho -rajo mi - roet
a A OE — TS | SS SO SON A NT -che non pi - a quan - to bel -la_ se - te. Ogn’ ho - rajio mi -roet 353
f) 4) H # f) ~™ - 6) § “ ° 9 & “ . 7)
oe Ee 20
TS PD) TT aT eee oT ST CSaS SSLLL SS SODC=*S ST Se A a ee ee NG) A nn a a ma Pf Et eg ttt gt LX a A ES A LS TS ONSEN DONS = UE ORNS RS RE EE ES ES EE ES EE UE GN
guar - do. Se tan -ta cru - del -| ta can - |giar’7)vo - le -
aFO = guar - do. Se tan - ta cru. -del - | ta can - | giar’//vo - le -
LC Cs SS SS EN ES OS (SSN SOOT SNES Dac A TS AT AY SO NS A MS AY YO A Ses
ye
TT TZ &, guar - do. Se tan -ta cru - del - ta can -_ giar’7)vo -le - -
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NTT EEE EE Tee Tf g ? bs Noe ° > DP A ye AON a se ee
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ar - dot Et per mi - rar vo ~-| strabel-tain-fi- | - ni- ta 4Laeea eee ee OS eee eee eee ON ee eeOO ee ee NS eee OOeeOE «_cee > Oe NEOe nAee4ee |=”eeaeee ee Che per voi | mo+q et ar : do? Et per mi -| - rar vo ~-| stra bel- tain- fi- " ni- ta CS AE SI OO A___} Aee7if= LO TR ~_ep Eee( —_F#ff ns ff TS fTes "/e mm Ap A—-@-______+ Ek SSWE ee ee ee
Che per voi mo-rq et ar - do? Etper mi -rar vo - strabel - tain-fi- ni - ta 354
pe 4 35
type |} —__—__|_ | _,}_ 2» —__,_ _@ _| # ¢ | | |__| eo, | + f+ OD
Et vol so - | la ser- vir bra - - - mola vi - - ta, . ob
o-_-_ EF Wh _________-|»-____, oS SO A A A> -_-_FH>F™P$PH6UterenenNnnnnN’N’_..1”-"“.0+.3:00-UA6A0co0r>ou0.. SE A NE ST” ES SE BE YRS OSU A=” ES A ..c
A pt \ Tt LI _-NXV’-_|_”
wre «a YY yo wy Ty,t yj § ff Tg tT i{Tf{f Tr iff F'’2Z2 24 [| @ aA -— TFETE=FOm-”VPté@#row~”?E>*2E.-N." @"0_ ~@n” [SSH 2° (“”"=2xa02-0:-—EQqN0.,:.:ED EO NY? Oe
oh. o_o —j—__} bp ET Oe OO Lee
le”f Et vol so - la ser - vir bra - mo la__ vi - ta,
7 4 40 ! pp gs Ct ee ee ce se es ee a |
_ OOOO LZ OD” oe OTZF OT OOOOEE2E _oe o0eoeT7ANF>F>H@”0mm@]=—>_0_ fy a ~~ TT —~7, [|_| [_OO&__T{T {[_j\ [| fz G€EE| —E | f-EEJJ
TT ee TS A aA aS A ee A A KO © oO A A A AP GY A A HS A A iY @¢€£F ZF *F | j ” iJ Jj» FF | it #“@ a lt SEE SNE >, ce1 2 grin Y AC Tf flu hL|l CI COCOULLCUWmCti“‘C“‘(“lSSOt(‘(ai‘la“’ OG gg |lCOUP.U.U.ULULULULTLUm™ UG _@ | | |e, 34W_|+_o—__——_+
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IKA DPST OO LDA UIC? OOSE Oh aCS A ”O—E—evnNrTaO--UF.(/7Ho27N’-’-"-'..” 7AAAASA LSScSSSSSO AA RN SSDBSN SSA SSAS [SSSSSnSSSSSES 5|
Bee wi wef ef memo ef ||
Pee —Jee.LPeeEL ifan Ee“xAE”rZ’rsltzXx~-v.ae eee ee es en ee ee eee eeJII—ETT_ ee eee 2 eee 0 - OO eee EE eee Oe ee. Ee eeeoe I
SO NnrT"*Y"-— 8 et ——__} dt eo. oO. OI OE Ibt (=rb€ Er iA wy» A - ~~ {TTTr {TTSerTTDT [| @ Tj QJ[\Pr @£€@ I gf f | jf Et voi so- la ser- vir bra - -mo Jja_ vi - ta.
1. 1537-9, 1540-20: in S clef. 2. Source: 1537-9. 3. 1533-2, 1537-9, 1540-20, 1549-33, Flo.2495: ‘“‘me 1’credete.”’
4. Flo.2495: E-flat.
5. 1540-20: F-sharp. 6. 1537-9: dotted semibreve on C. 7. Flo.2495: ‘“‘vole.”’
8. 1537-9: F-sharp. 355
14. Piove da li occhi
Anonymous Verdelot Cantus h 5) 4 5
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LEReeeEsnO CORSOT ENNLOND cee AE A SN = BE a EECORD SS EE ESON NS SS OS ES = SS OOS —_ A”
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1. 1537-9: inM clef, one fourth lower, no flat. 2. Source: 1537-9: in T clef, one fourth lower, no flat. 3. 1537-9: in T clef, one fourth lower, no flat. 4. 1533-2, 1537-9: in B clef, one fourth lower, no flat. 5. 1537-9: C-sharp. 6. 1533-2, 1537-9: “‘spiriti.”’ 7. 1537-9, 1540-20, 1549-33: “‘la.”’
357
Ed De b|
°99 Anonymous Anonymous (Verdelot? ) Cantus 1) |) f) Re) FT a SS eS A a A A. NYET ES NS ANes A LE SNS Fa Bae8) ee OS es ee ee ee eeNSa aeSN aA STASa ce 15. Ognun si duol’ d’amore
Altus 2) [| a: #4 ST SE SS SS Ss —— A oS —— OOS Ea WOR es ee ee le ee PE OS ne:or ES Tenor 2) — r gn a —— re Io me ne lo t._ irr? Bega) TS a Se Se SS SE SS ea at Ok OS I BT A NE EE ee NL A —_ S OR= NNN OO, WN ES OP A
gnun si duol’d’a- | mo, -__ re: Io me ne =e} NY SE EE EE A | A cS SS CS TE A SR SS MS A a
O-gnun si | duol’____ d’a -mo- - . : n -
f) f 10 Oe ee ee oD ee
A OS NS nA ES EE nADRANG 7 E:T A . WO SR RYOS OERS RT RESOURCE AS RENE A Senne
a EY SS AA SY —— ~ SenEE — Sen ' be NYA qBa) ye — i? O - gnun si | duol’d’a-mo - re: Io
SSA...SS ANS? cs PeON Fae TD aSN at a, BI Se ™ eS oe ene por ese ron Gener Io me ne lo - do,
LS A LS OED OE cecceems EES URRSEOOE ,, EE EE EUS RN NS RS COS A ORCS CN COSCON ON lg OC nd) a eLLLLUg /) eCOe AK g l O Oe OO
2 LE cs SS SS SSS A SS SS a
CX at CES DO NL A LE SS SENN So SS NS RE EES NETS OOSRENOS fo, YS ES SCENTS SCENES WSO
DN) 2" ” ee ee ee a L___gi ___{| |__| —__ | | _—_@§#—_a_4.—_" +__—_t"—_1—
Ce Ne ee es a Rs A Te
ES TS SeoraS es eS Sc Se SV — ae A —— ————— — Sa” ?—— B OS FS LS RRS OSCE SOURCES NELSON COS OSES MARREESOE CUTOUTS A RE
FS a a ee ae - a a A Selene Sime ne lo - do, Io me _ ne lo - do, Che poi ch’jio | son’ den -
A ¢ o¢ 15 Fe ee ET ems i A TS SA TT ee ee ee es r -G@ “ cy [| © ee eee EET TTT OTE OEE eee EE
Do NS OS nANUL EE” EY SSOU SS EY ES ES A A ESCS OE «A SUN CO SS NS NY NN= OS NS LO EES ONO A eS SeSNES SS SS AcA.cc SSS SS a Sa a Io me ne lo - do, Che = poi ch’jo son’-_______ den-tr’ai toi
AE ey PY Sr A Py ee eee ee en SS SSNS LACES NON ARS CS CS ROS SS SR ENS GE ( toi lac - cien-| tra - to Piu ch’al - tro in -| na -mo - Ya -
lac - - ci.en-| tra - 4 to Piu ch’al - troin-]na - mo -ra_ -
‘ei oo | @ P| Te Teer eee EE EE Yy—__,—_______|_, __@ —__2_____@_®_@ _}_________}—__f_@ __#
A es SL \a as a es es a hess Se Se
a a RS (SS (SO
8 _ trai toi lac -clen -| tra - to Piu ch’al-troin-}na-mo-ra_- to, piu —ch’al-tro in-
lac - cien- tra - to —____ Piu ch’al-trq in-na- mo 358
je ee a e I, 4Or
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tea a a ee = ee es ee ee ee ee nO nn §=
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for LO SS ES —?>7 SS aS SS LS9A 2 A Aeo, A A PS ???
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a a a a A a A a cae a
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rt yi
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a gi - ta, Sciol-| ta di quel -la spo - glia, Che | fu re - fu -gioet Fr a SS OY OS NS NS NS NS NE OS OY RS IS TS OC IES AS a —
es eS en eT ST ce A Pee eed ee COTO =m Oe A SS SS A SS SS A TS SY ST CN A A SR A - - eS ce - _Ai =(NS| TS aS ee SS A TS OS A Se ST eS cc Fc AS ST SD SY ee [CE SS SS A Se SS CT — Le ee A A Se cee See RY n,n We | ES ES EE
) = 7 ————— /) 10)
& gi - ta, Sciol - ta di | quel-la spo - |glia, Che fu re - fu sey gi - ta, Sciol - ta di quel-la spo ~- _— glia, Che fu re-~ fu- gioet sol
del-lioc - chi} vo- stri, Si | vol-gea die- tr’et | sen - til du-ro pian - to, Che
A A ee ee es ee Ae a See IPie Ee es es es a es ey Se ed i lm lle lm dn “DT iy as — “| if A ff | YF f PY YY | 24 | ff | a fg IY ———————————— fey —_ft——f po me : ) ¢ —fo — —
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TE TT Ee Ee
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fEefEE _— f 11) OD
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S di -ce: Che | si fain ter- r’,on -| de so - spi -raet ce: , ol OO onME OS? PQ@qoNNo2-22N TEoO ee WON EE occ] ec A L.-T «TS cS NE ON hee OU Ol
ee em a ee e—m “mL —=e—=e di - ce: Che si fajn ter- r,on- de so - spi -raet di - ce:
1. Source: 1536-7. 2. For textual variants see vol. 1, pp.172and179. 3. 1536-7, 1537-10: = altus (mm.4-6) of reconstruction. 4. Ibid.: = cantus of Newberry, octave lower; therefore altus reconstructed as above (mm.4-6). 5. 1534-16, 1536-7, 1537-10: tenor and bassus differ from Newberry and Flo.2495 (mm.5-9). 6. 1537-10: minim on A. 7. 1536-7, 1537-10: two minims on D. 8. C-sharp only in Newberry. 9. B-sharp (=natural) only in Newberry and Flo.2495.
10. 1536-7, 1537-10: two minims, dotted minim, semiminim on C, B, A, G. |
11. Mod. y. L.11.8.: octave lower.
363
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17. Afflicti spirtl mel
Anonymous Verdelot Cantus f) q 5
LT A TT PT OE ee es
AN OS RR ee ee ee ee ee ee ee ee ee ee: es ee
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1. Source: 1537-9. 2. 1537-9, 1540-20, 1549-33: “belle bella.” 3. Flo.371: “Come tra Vherba.”’
4. 1549-33: no ligature. 5. Martelli, Rime: “togliendone.”’
6. Ibid.: “Ne.”
7. 1533-2, 1537-9: F, E under ligature. 369
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1. 1537-9, Flo.2495: in M clef. 2. Source: 1537-9. 3. 1549-33: no sharp.
4. 1533-2, 1537-9, 1540-20, 1549-33: “Gia non harrei perduto.”’ 5. 1533-2, 1537-9: no ligature. 6. Sharp (=natural in m.20) in Newberry only. 7. 1556-27: “SE’n ancor mi vorria.”’ 8. 1533-2, 1537-9, Flo.2495: “labbr’apersi.”’ » 9, 1533-2, 1537-9, 1540-20, 1549-33: no ‘‘Ma.”’
10. Flat in Newberry only.. . 11. Sharp in Newberry only.
372
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3. c.1538-20: G, C under ligature. .
4. 1540-18: no ligature.
5. Newberry: “‘ij’’ calls for “Vel puo giurar’ amore,” but there are insufficient notes.
6. c.1538-20: no flat. 7. 1540-18: no ligature. 8. c.1538-20: D, G under ligature.
9. 1540-18: no ligature. |
10. Flo.122-25: E-flat. 11. 1540-18, Flo.122-25: no ligature.
12. Flo.122-25: two minims, semibreve, longa, all on G, repeating “‘inteso.”’ 391
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