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Luzzasco Luzzaschi’s Madrigali per cantare et sonare: an examination through de-intabulation
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Luzzasco Luzzaschi’s Madrigali per cantare et sonare: an examination through de-intabulation
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Content
Luzzasco Luzzaschi’s Madrigali per cantare et sonare:
An Examination Through De-Intabulation
By
Eleanor K. Walters
A Thesis Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(EARLY MUSIC PERFORMANCE)
December 2024
Copyright 2024 Eleanor K. Walters
ii
Acknowledgments
I would like to extend the sincerest of thanks to those who supported me throughout this
process, including (but certainly not limited to) my parents, brother, friends, partner, and
teachers. Their wisdom, knowledge, patience, and care have been invaluable and greatly
appreciated. Thank you for your support.
iii
Table of Contents
Acknowledgments...........................................................................................................................ii
List of Tables...................................................................................................................................iv
List of Figures..................................................................................................................................v
Abstract...........................................................................................................................................vi
Introduction......................................................................................................................................1
Chapter 1: Intavolatura....................................................................................................................7
The Rules of Intavolatura..................................................................................................12
Chapter 2: The Madrigali De-Intabulation Project........................................................................14
Cadences and Musica Ficta...............................................................................................20
The Madrigals....................................................................................................................25
Chapter 3: Poetry and Text Underlay.............................................................................................28
Text Underlay.....................................................................................................................33
Chapter 4: My Edition...................................................................................................................34
Aura soave di segreti accenti.............................................................................................37
O Primavera, gioventù de l’anno.......................................................................................41
Ch’io non t’ami, cor mio? .................................................................................................44
Stral pungente d’Amore.....................................................................................................49
Deh, vieni hormai, cor mio................................................................................................53
Cor mio, deh, non languire................................................................................................57
I’ mi son giovinetta e rido e canto......................................................................................62
O dolcezze amarissime d’amore........................................................................................68
Troppo ben può questo tiranno Amore .............................................................................74
T’amo, mia vita, la mia cara vita ......................................................................................80
Non sa che sia dolore.........................................................................................................85
Occhi, del pianto mio cagione...........................................................................................90
Bibliography...................................................................................................................................95
Appendix: Texts and Translations..................................................................................................98
iv
List of Tables
Table 1: Aura soave di segreti accenti............................................................................................40
Table 2: O Primavera, gioventù de l’anno.....................................................................................44
Table 3: Ch’io non t’ami, cor mio? ...............................................................................................48
Table 4: Stral pungente d’Amore...................................................................................................51
Table 5: Deh, vieni hormai, cor mio..............................................................................................56
Table 6: Cor mio, deh, non languire..............................................................................................60
Table 7: I’ mi son giovinetta e rido e canto....................................................................................66
Table 8: O dolcezze amarissime d’amore......................................................................................72
Table 9: Troppo ben può questo tiranno Amore ............................................................................78
Table 10: T’amo, mia vita, la mia cara vita ..................................................................................83
Table 11: Non sà che sia dolore.....................................................................................................88
Table 12: Occhi, del pianto mio cagione.......................................................................................93
v
List of Figures
Figure 1: Luzzaschi’s “Troppo ben può questo tiranno Amore” lines 1 and 2..............................17
Figure 2: De-intabulation of “Troppo ben può questo tiranno Amore” measures 5-13.................18
Figure 3: Luzzaschi’s “O dolcezze amarissime d’amore” line 5...................................................26
Figure 4: De-intabulation of “Aura soave di segreti accenti” measures 7-10................................27
vi
Abstract
Luzzasco Luzzaschi’s 1601 Madrigali… per cantare et sonare for one, two, and three
sopranos is a written representation of an unwritten practice: the Concerto delle donne in Ferrara
during the 1580s and 90s. Luzzaschi’s document reveals some aspects of the performances by
the singing ladies of Ferrara through his written-out ornamentation as well as his use of both
partitura and intavolatura notation for a good vertical alignment of parts. Luzzaschi’s
intavolatura consists of a consistent four-part texture, which can be de-intabulated to reveal a
possible four-part vocal model. My de-intabulations are very keyboard-like and can be sung for
the purposes of examination of that texture created by the nature of intavolatura notation and the
process of notating intavolatura. The introduction provides background on the Concerto delle
donne, Luzzaschi, and Ferrara. Chapter 1 discusses intabulation and intavolatura, and chapter 2
covers my changes to the notated intavolatura in the process of creating a four-voice edition.
Chapter 3 discusses the poetic genre of the madrigal and the poetry in Luzzaschi’s Madrigali,
and chapter 4 presents my four-voice edition of Luzzaschi’s 1601 Madrigali print.
1
Introduction
Duke Alfonso II d’Este of Ferrara was an avid proponent of music in his court. One
manifestation of this was the Concerto delle Donne, a private group of women who sang highly
virtuosic music in the private confines of the court. The strict privacy with which the Duke
guarded their repertoire has resulted in gaps in knowledge surrounding many of the specific
practices of the Concerto delle Donne, given that the music they performed was not published.
The surviving examples of music published in and around Ferrara at this time can give insight
into some aspects of their performance and compositional processes.
The Concerto delle Donne was already established as an amateur ensemble in Ferrara by
the time a young Margherita Gonzaga arrived in 1579 to marry Duke Alfonso II d’Este of
Ferrara. The professional group was established in 1580 after the Duke took notice of the
daughter of a minor Mantuan noble, Laura Peverara, and instructed his new wife to obtain her as
a lady-in-waiting.1 The credit for the conception of the professional Concerto delle Donne often
falls to Margherita, but she was more interested in dancing. Some members of the Concerto even
danced in performance with her.2 The Duke was most invested in the creation and maintenance
of the ensemble.3 However, Margherita was heavily involved in the Concerto’s performances,
and they sang in her apartments for somewhere between two and six hours a day nearly every
day.4
Duke Alfonso employed several composers and poets in his court. Among the composers
are Luzzasco Luzzaschi (also teacher to the Concerto), Giaches de Wert, and Ludovico
1 Anthony Newcomb, The Madrigal at Ferrara, 1479-1597 (Princeton University Press, 1978), 8-11. Unless
otherwise specified, the terms Concerto and Concerto delle Donne will refer to the professional ensemble. 2 Newcomb, Madrigal at Ferrara, 35. 3 Nina Treadwell, “‘Simil Combattimento Fatto Da Dame’: The Musico-Theatrical Entertainments of Margherita
Gonzaga’s Balletto Delle Donne and the Female Warrior in Ferrarese Cultural History,” in Gender, Sexuality, and
Early Music, (Routledge, 2002), 28. 4 Newcomb, Madrigal at Ferrara, 68.
2
Agostino. Among the poets employed at court were Torquato Tasso, Giovanni Battista Guarini,
and Alessandro Guarini. The Guarinis were father and brother respectively to Concerto member
Anna Guarini.5
The members of the amateur ensemble were noble members of the court who were
trained in music as amateurs, as was expected of a courtier by society and described by
Baldassare Castiglione, who writes about the expectations of court in his 1528 book The Book of
the Courtier.
6 As a result of their nobility, they maintained their positions in court after the
amateur Concerto was dissolved to make way for the professional ensemble.7 Because the
members of the professional Concerto were not already nobles and most were unmarried, the
nobles of the court often assumed that they were courtesans in a time when professional women
musicians were, in fact, usually courtesans.8 Duke Alfonso II attempted to rectify this
assumption by securing husbands for the young and unmarried women from the eligible noble
bachelors of his court. These marriages also secured the women positions in the court.9 Despite
the fact that they entered court employed as professional musicians, the women who made up the
Concerto delle Donne were not listed as musicians in any documentation; rather, they were
Margherita’s ladies-in-waiting.10
5 Anthony Newcomb, “The Three Anthologies for Laura Peverara, 1580-1583,” Rivista Italiana di Musicologia, 10
(1975), 335.
6 Paulina Francisco, “The Virtuosi of Ferrara: The Concerto Delle Donne 1580-1601” (master’s thesis, University of
Southern California, 2017), 13.
7 Francisco, “The Virtuosi of Ferrara,” 7. 8 Susan McClary, “Soprano as Fetish: Professional Singers in Early Modern Italy,” in Desire and Pleasure in
Seventeenth-Century Music, 1st ed., (University of California Press, 2012), 81. 9 Laurie Stras, Women and Music in Sixteenth-Century Ferrara (Cambridge University Press, 2018), 218. 10 Francisco, “The Virtuosi of Ferrara,” 17.
3
The Concerto delle Donne was finally dissolved in 1597, when the heirless Duke Alfonso
II d’Este died and Ferrara came under Papal control.11 However, the Concerto saw the beginning
of its decline in 1589 when Duke Alfonso banned ensemble member and teacher Tarquinia
Molza from court due to her affair with composer Giaches de Wert.
12 Members Anna Guarini
and Laura Peverara both died shortly after the duke, solidifying the end of the Concerto delle
Donne.
13
Despite the Concerto’s short existence, its members were extremely well-trained.
Although the standards a singer must meet before performing with the ensemble are unclear, a
singer would not have performed until she was ready. Livia d’Arco, who arrived with Margherita
Gonzaga in 1579, was not recorded in any performance until 1582. This implies that she required
training before formally joining the ensemble. At just 15 years of age, she was significantly
younger than the other members who were further ahead in their training.14 In addition to their
teacher Luzzasco Luzzaschi, the Concerto members also had access to the highly trained nuns
whom they and Margherita visited often.15 These nuns, educated prior to entering religious life,
appealed to convents and their leadership particularly because of their musical abilities.16
At court, the rehearsals for the Concerto were extremely long, and pushing the limits of
singers and their voices, especially with respect to range and agility. They also performed with
choreographed hand motions and facial expressions. Their rehearsals were a spectacle that many
traveled far and wide to see; those privileged enough to receive an invitation to witness them
11 Anthony Colantuono, “Estense Patronage and the Construction of the Ferrarese Renaissance, c. 1395-1598,” in
The Court Cities of Northern Italy: Milan, Parma, Piacenza, Mantua, Ferrara, Bologna, Urbino, Pesaro, and
Rimini, ed. Charles M. Rosenberg. (Cambridge University Press, 2010), 198. 12 Stras, Women and Music, 295. 13 Francisco, “The Virtuosi of Ferrara,” 22. 14 Francisco, “The Virtuosi of Ferrara,” 14-15. 15 Stras, Women and Music, 223-224. 16 Stras, Women and Music, 228.
4
thought the Concerto’s rehearsals and performances were tasteful demonstrations of their
expertise, but did not stray into excess.17
Teachers of the Concerto delle Donne included composers Ippolito Fiorino and Luzzasco
Luzzaschi, as well as reputable singer Tarquinia Molza.18 Luzzaschi was the Concerto’s primary
composer.
19 His 1601 publication Madrigali di Luzzasco Luzzaschi per cantare e sonare gives
insight to the kinds of music the Concerto would have been performing.
Luzzaschi, a highly respected composer and member of the Ferrarese social community,
began his employment in the court of Alfonso II d’Este in 1564, and remained in Ferrara until his
death in 1607.20 After Alfonso’s death in 1597, Cardinal Pietro Aldobrandini negotiated the
transfer of Ferrara to papal control. The cardinal heavily supported the arts, became Luzzaschi’s
patron, and took him to visit Rome at least once.21 Aldobrandini had experienced the Concerto’s
performances, and was the dedicatee of the Madrigali print.22
Although published in 1601, four years after the dissolution of the d’Este court and the
Concerto delle Donne with it, Luzzaschi’s Madrigali gives explicit information regarding some
of the musical practices in the Concerto. Luzzaschi did not publish before this point due to the
Duke’s preferred secrecy regarding all things Concerto, as well as a perceived lack of interest in
music of this type outside of the court.
23 His decision to publish when he did was due in part to a
growing interest in the ornamented style of singing performed by the Ferrarese Concerto
amongst Roman musicians.24 The pieces contained in Luzzaschi’s Madrigali were likely
17 McClary, “Soprano as Fetish,” 82-83. 18 Stras, Women and Music, 218. 19 Francisco, “The Virtuosi of Ferrara,” 20. 20 Francisco, “The Virtuosi of Ferrara,” 18. 21 Augusta Campagne, Simone Verovio: Music Printing, Intabulations, and Basso Continuo in Rome around 1600
(Boehlau Verlag, 2018), 102-103. 22 Harriet Apperson Franklin, “Musical Activity in Ferrara, 1598-1618” (PhD diss., Brown University, 1976), 30. 23 Newcomb, Madrigal at Ferrara, 63. 24 Newcomb, Madrigal at Ferrara, 65.
5
composed in the 1580’s, during the height of the Concerto’s performances.25 The Madrigali
depict a specific method of performance, since they have fully written-out chordal
accompaniment. In fact, these accompaniments completely double the unornamented vocal lines
and add a bass line, which completes a four-voice texture.26 However, when accompanying the
Concerto, Luzzaschi did not use these fully realized scores, likely reading from just the bassline
to accompany the singers. These written-out accompaniments were intended for amateur
musicians outside of the Concerto who might not have the knowledge or skill to realize the
bassline themselves. The accompaniments also function well as standalone instrumental pieces,
since Luzzaschi’s accompaniment parts demonstrate a consistent four-voice texture.27 The fourvoice texture continues in the keyboard when one or more singing voices are removed from the
texture, which implies Luzzaschi felt that the accompaniment was more important than it had
been in previous musical traditions.28 Because these realized accompaniments double the
unornamented vocal lines, they can be expanded into four-voice texted madrigals for the
purposes of exploring the unique textures created by the process of intabulating the pieces into
Italian intavolatura notation, a unique blend of instrumental tablature and mensural notations;
these textures are explored in chapters one and two. However, the Madrigali do not tell the full
story of the Concerto’s performances. Their performances also included self-accompaniment on
various instruments by the singers, spontaneous improvisation of ornaments, sightsinging, and
performances without instrumental accompaniment.29
25 Newcomb, Madrigal at Ferrara, 53. 26 McClary, “Soprano as Fetish,” 89. 27 Stras, Women and Music, 267. 28 Newcomb, Madrigal at Ferrara, 66. 29 Stras, Women and Music, 263-264.
6
My goal in de-intabulating Luzzaschi’s Madrigali is to create one possible theoretical
“original” vocal model upon which the Madrigali could have been based, both for performance
and for study of the textures created by intavolatura techniques. 30 The most effective way to
learn about music is to make it, and this edition is singable by appropriate personnel for the
exploration of both the textures of Luzzaschi’s writing for the Concerto and of music that has
been de-intabulated from a source with no existing vocal model. Other possible approaches to
this project are briefly mentioned in chapter 1, but my approach realizes and demonstrates the
intavolatura texture in a vocal format. This project offers an exploratory tool for one possible
interpretation of this intavolatura.
Chapter 1 examines the practice of intabulation and the notation system of Italian
intavolatura, including the rules governing the process of intabulation and the printing process
used when printing the Madrigali print. Chapter 2 discusses the specific musical changes made
to the Madrigali intavolatura, including rhythm, cadential function, and editorial accidentals
related to musica ficta. Chapter 3 discusses the tradition of the poetic madrigal and its musical
counterpart as well as the origins of the texts included in the Madrigali print. Chapter 4 presents
the editions and a list of the changes made to the intavolatura for each piece.
30 Campagne, Simone Verovio, 159. Alexander Silbiger describes de-intabulation as using tablature notation to create
a multi-voice model.
7
Chapter 1: Intavolatura
Published in 1601 in Rome, Luzzasco Luzzaschi’s Madrigali… per cantare et sonare is a
stunning display of Italian intavolatura. In Italy, the term “intavolatura” referred to any piece of
music written in a tablature. In the case of keyboard music, intavolatura refers specifically to
music written in mensural notation reduced to two staves rather than in the open score notation,
or partitura, that notated the individual voices of a polyphonic work each on their own staff.31
Intavolatura provided the most accurate possible transcription of a polyphonic work within the
limitations of the two-staff system.32
Intavolatura technique was not always highly regarded, and Luzzaschi’s student
Girolamo Frescobaldi, among others, regarded the open score as a more valuable tool for study
and display of ability, with some going as far to say that intavolatura would harm their progress
as keyboardists.33 Skilled keyboardists found open scores were much easier to sightread, but
intavolatura provided a more accessible format for less skilled keyboardists.34 Intavolatura does
a great deal of the heavy lifting for the player, allowing them to simply learn the pitches and their
durations and present a convincing performance without the theoretical knowledge required to
mentally rework a polyphonic piece from open score while playing.35 The player does not even
have to decide which of their two hands should play which notes, as the two-staff format of
intavolatura provides that information clearly by placing right-hand notes on the top staff and
31 Campagne, Simone Verovio, 158-159. 32 Gregory S. Johnston, “Polyphonic Keyboard Accompaniment in the Early Baroque: An Alternative to Basso
Continuo,” Early Music 26, no. 1 (February 1998): 52. 33 Robert Floyd Judd, “The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard
Music in Spain and Italy c. 1500-1700, Selected Manuscript Sources Including Music by Claudio Merulo, and
Contemporary Writings Concerning Notations” (PhD diss., University of Oxford, 1988), 98-99. 34 Stras, Women and Music, 268. 35 Ian Pritchard, “Keyboard Thinking: Intersections of Notation, Composition, Improvisation, and Intabulation in
Sixteenth-Century Italy” (PhD diss., University of Southern California, 2018), 220.
8
left-hand notes on the bottom staff.36 The nature of intavolatura provides ease of reading for the
player without showing the underlying polyphonic structure, despite its polyphonic origins.37
The aforementioned “less skilled” keyboardists are referred to frequently in scholarship
as “amateurs,” but that word carries a different weight today than it did at the end of the
Renaissance.38 Amateurs were trained in music but may have been less familiar with the art of
composing than their professional counterpoints, either by choice or situation. Women were not
trained in counterpoint, and perhaps relied on intavolatura to play.39 Other students of music
focused more on the art of performance than composition and played technically difficult works.
These students were called amateur-virtuosos.40 Neither group played the improvised fantasia
and lacked the strong contrapuntal knowledge required to intabulate polyphonic vocal music
themselves. These players are also likely removed from the vocal tradition and exclusively
practice within the keyboard idiom.41 This provided a market for those who did possess the
counterpoint skills to provide intavolatura for these technically-skilled amateurs.42
Duke Alfonso II’s restrictions on the publication of music performed by his beloved
Concerto likely meant that a significant portion of Luzzaschi’s oeuvre has not survived to the
present day or even past the Concerto’s peak, since Luzzaschi was their teacher and primary
composer.43 Luzzaschi states in the dedication of the Madrigali that he “desired to bring it back
to life as much as was possible for [him], bringing to the light of the world madrigals composed
36 Campagne, Simone Verovio, 166. 37 Pritchard, “Keyboard Thinking,” 65. 38 Campagne, Simone Verovio, 162. 39 Alison Kranias, “Verovio’s Keyboard Intabulations and Domestic Music Making in the Late Renaissance”
(master’s thesis, McGill University, 2006), 57. 40 Judd, “Notational Formats at the Keyboard,” 127. 41 Pritchard, “Keyboard Thinking,” 37. 42 Kranias, “Verovio’s Keyboard Intabulations,” 56. 43 Francisco, “The Virtuosi of Ferrara,” 19.
9
by [him] that were sung by those most illustrious ladies.”44 He published the Madrigali, at least
in part, to serve the “thesaurus function, representing and conserving a treasure deemed worthy
to be kept,” in this case the famous Ferrarese musica secreta of the 1580s and 1590s. It may have
also been used in performance. Although the vertical alignment of the intavolatura with the
partitura lines makes it much more difficult for multiple musicians to read off of the same copy
together the way separate partbooks allowed, visitors often noted in letters that the Concerto
sang from memory as in many other popular vocal traditions. The format of the Madrigali still
allowed for the performance of three memorized vocalists and one keyboardist reading from the
music.45
Luzzaschi’s reasons for choosing to use intavolatura when publishing the Madrigali were
likely manifold, but the crux of it lies in the above quote from the Madrigali dedication. To bring
the music back to life, he had to find a way to allow people to experience music that they could
no longer hear performed by someone else. Intavolatura may have filled that purpose. When
accompanying the Concerto himself in both rehearsal and performance, Luzzaschi used skeleton
scores, which had no added voices written down.46 The Madrigali, however, are consistently
notated in a three- or four-voiced texture, regardless of the activity of the vocal lines.47 These
voices in the texture of the intavolatura consist of the doubled vocal lines without ornaments, a
bass line, added inner voice(s), and added notes when a vocal line is resting.48 These added notes
44 June Riess Goldner, “The Emergence of the Role of the Solo Vocalist and the Position of Women as Singers”
(PhD diss., The City University of New York, 1987), 525-526. 45 Campagne, Simone Verovio, 136, 134, 138. 46 Stras, Women and Music, 267. 47 Newcomb, Madrigal at Ferrara, 66. 48 Campagne, Simone Verovio, 263, 249. Campagne considers the notes added to fill a vocal line’s rests to be an
additional voice, so perhaps there is an additional possible version of the de-intabulated Madrigali with five or more
voices that does contain every single note written in the intavolatura. This is not the approach taken in this project,
which examines the four-voice texture.
10
and voices likely represented what Luzzaschi improvised when playing with the Concerto.
49 His
desire to make the print as accurate a representation of the Concerto as possible indicates the
style and texture of the intavolatura likely resembles his own playing quite closely rather than a
simplified version intended for wholly unskilled musicians.50 Although they might not be exact
replicas of Luzzaschi’s playing, the Madrigali intavolatura can be analyzed for their musical
content and yield relevant results.51 Intavolatura allowed Luzzaschi to publish the music for the
Concerto that an amateur musician could have replicated in performance or enjoyed through
study long after the Concerto itself was gone.
Luzzaschi’s next issue was that of printing. Having secured the patronage of the Cardinal
Pietro Aldobrandini in 1598, Luzzaschi had plenty of money with which to publish. He had been
introduced at some point to Roman copperplate engraving, either through word of mouth in
Ferrara or on one of his many visits to Rome.52 Copperplate engraving required a printer skilled
in music, calligraphy, and engraving, all qualities found in Simone Verovio.53 Verovio was
already well known for his publications of intabulated canzonettas and the versatility of his
publications likely appealed to Luzzaschi’s unique needs.54 Madrigali is unique in its inclusion
of texted partitura vocal lines in approximate vertical alignment with the intavolatura.
55
Copperplate engraving yielded a printed result similar to hand-written music and allowed for the
more legible presentation of the extreme ornaments present in the Concerto’s repertoire since the
ornaments could be beamed together in units.56 Verovio’s copperplate engraving techniques also
49 Pritchard, “Keyboard Thinking,” 12. 50 Jane A. Bernstein, Printing Music in Renaissance Rome (Oxford University Press, 2023), 166. 51 Pritchard, “Keyboard Thinking,” 23. 52 Campagne, Simone Verovio, 103; Bernstein, Printing Music, 166-167. 53 Bernstein, Printing Music, 157. 54 Campagne, Simone Verovio, 164-165; Bernstein, Printing Music, 165. 55 Bernstein, Printing Music, 168. 56 Bernstein, Printing Music, 174, 168-169.
11
allowed for the mixed intavolatura and partitura notation to appear on one page, which provides
a much easier studying experience should the consumer of the Madrigali book choose to
purchase it for study.57
Using the Madrigali for study, especially of the accompaniment practices, presents some
issues. All 12 madrigals in the collection are accompanied with keyboard intavolatura, but the
Concerto was also accompanied by a larger orchestra, other singers, or even without instrumental
accompaniment.58 Even within those performances accompanied by keyboard, it is possible that
the notation in the Madrigali collection fails to depict a different style of keyboard
accompaniment. Additionally, Luzzaschi possibly made these accompaniments up just for the
purposes of this book and his own playing may have been nothing like it.59 This book is only part
of their practices and should not be treated as a definitive volume on the entire musica secreta
phenomenon. The de-intabulation of the Madrigali presented below illustrates one of many
possible evaluations of the intavolatura texture present there.
57 Campagne, Simone Verovio, 296. 58 Stras, Women and Music, 264. 59 Pritchard, “Keyboard Thinking,” 13-14.
12
The Rules of Intavolatura
The sole surviving source for rules that govern the process of intabulating a polyphonic
work into intavolatura notation is volume II of Girolamo Diruta’s 1609 treatise Il Transilvano,
which includes a section entitled Regula de Intavolar qual si voglia Cantìlena.60 His first step is
to write the chosen piece in partitura notation, if it is not already written that way. Then, on a
system with two staves, the upper staff with five lines and the lower staff with eight, write each
of the voices on those staves in the following order: the cantus or soprano first, followed by the
bassus, then tenor, and finally the alto.61 Diruta advises that the tenor and alto lines should
remain in the bottom staff with the bass line unless the line strays more than an octave above the
bass.62 If needed, an intabulator transposes voices by octave to allow the intabulation to be
played by two hands.63 These rules often result in a chordal texture in the left hand with a right
hand line free to ornament.64 When an intabulation is used for accompaniment, Dirura
recommends that the voices are doubled in the intabulation.65
Rests that appear in the original partitura lines are not required to be notated in
intavolatura, but rests can emphasize the entry of a theme, indicate voice crossing, or indicate
that the player should move one hand so the other can play the same note.66 The stem direction in
intavolatura is dictated by the hierarchy of pitches: on each staff, the highest note’s stem will be
up, regardless of the voice leading surrounding those pitches.67 Doubled notes do not get doubled
stems in Diruta’s rules.68
60 Pritchard, “Keyboard Thinking,” 102. 61 Campagne, Simone Verovio, 167; Pritchard, “Keyboard Thinking,” 103. 62 Campagne, Simone Verovio, 168. 63 Campagne, Simone Verovio, 170. 64 Pritchard, “Keyboard Thinking,” 42. 65 Judd, “Notational Formats at the Keyboard,” 131. 66 Campagne, Simone Verovio, 168-169. 67 Pritchard, “Keyboard Thinking,” 73. 68 Campagne, Simone Verovio, 172.
13
Intavolatura often contains notes whose durations have been rewritten. In some cases, the
change of a dotted note into a tied one indicates a change in harmony.
69 In other cases, the use of
tied notes allowed players of certain types of keyboard instruments to restrike the note when
needed while allowing those who play other instruments to maintain the sonority without
restriking.70 Domestic musicians played whatever instrument they had in the home, regardless of
what was written on the music. These optional tied notes that allow for restriking allowed the
musician to make choices that fit their instrument and home.71 This rewriting of note duration
does lend itself to the reduction in rhythmic independence in each voice, obscuring some of the
polyphonic feel of the source material.72 These rewritten durations may also simplify rhythms
that were originally written for text.
The mensural nature of intavolatura allows for the optional application of musica ficta.
Unlike other tablatures which necessitated the notation of musica ficta within the tablature
system to yield a serviceable performance, intavolatura showed enough voice leading in its
visual presentation to permit the absence of musica ficta in printed volumes.73
The Madrigali is one of seven books of intabulations printed by Verovio.74 While Verovio
wrote the intavolatura for many of his other publications, Luzzaschi is likely the one who wrote
the Madrigali since the intavolatura is part of the piece itself rather than an arrangement of parts
into one whole.75 Even though Verovio was only responsible for printing the Madrigali and did
not create the intabulations himself, the Madrigali adhere to Diruta’s rules similarly to Verovio’s
other prints.
69 Campagne, Simone Verovio, 173. 70 Kranias, “Verovio’s Keyboard Intabulations,” 52-53. 71 Kranias, “Verovio’s Keyboard Intabulations,” 50. 72 Pritchard, “Keyboard Thinking,” 43. 73 Campagne, Simone Verovio, 178. 74 Campagne, Simone Verovio, 50-52. 75 Campagne, Simone Verovio, 126.
14
Chapter 2: The Madrigali De-Intabulation Project
Diruta mentions the modification but not the omission of notes when writing
intavolatura. However, sources of intavolatura with extant partitura models reveal that
intabulators favored omission of notes heavily over modification.76 This presents an issue for the
de-intabulation project of the Madrigali, which are not intabulations of a separate vocal model at
all.77 The edition below adds no notes to the Madrigali that did not already exist in the
intavolatura or partitura vocal lines in some octave. Perhaps another project could undertake the
modification of the Madrigali to preserve the general motion of the intavolatura while creating a
more imitative result through the addition of notes.
However, intavolatura sometimes adds notes that were not present in the original
material as has been discussed above with the addition of notes during the rests of vocal lines, so
notes have been removed from the texture in this de-intabulation project. The removal of these
notes most often preserves a pattern in imitation of another (usually the originally notated) vocal
line or because the doubling of notes in some of the original vocal lines prevents the existence of
a full four-note chord when de-intabulating for the purpose of singing.
The most common modification in this de-intabulation process is the change in rhythm.
The bass voice and added inner voices typically had note lengths much longer than the existing
vocal lines, preventing the addition of text to the lines as they were. The solo madrigals were
least difficult in this respect; they were often either completely homophonic with the vocal line
or imitated the vocal lines in such a way that both scenarios allowed for the easy application of
text. In this project, the original intavolatura rhythmic values and a natural-feeling declamation
of the text had a primary role in de-intabulation. This decision is based on Ian Pritchard’s
76 Pritchard, “Keyboard Thinking,” 116-117. 77 Newcomb, Madrigal at Ferrara, 66.
15
discussion of tablature voices and the resemblance to the keyboard idiom that is achieved when
using intavolatura.
Tablature voices result from the obscuring of polyphonic texture that results from
intavolatura notational practices, and are the individual voices that a player may hear in their
head while playing polyphony from intavoltura. Tablature voices are influenced by stem
direction and the visual illusion of voice leading.78 When de-intabulating the Madrigali, the
expansion of the intavolatura was guided by the original partitura vocal lines, which had
varying effects on reducing the reliance on the tablature voices that visually appeared in the
texture, since the unornamented lines present in the intavolatura mostly preserved the contour of
the original partitura vocal lines. The trios were least affected by tablature voices because of the
information provided by the original vocal lines. The task was simply to follow the vocal lines
through the intavolatura, then assign the notes which were not claimed to a voice that could
accommodate them during rests or through slight modification. Because the bass line in
intavolatura practice was always the bottom note on the bottom staff, I derived the bass line from
the bottom notes on the bottom staff as much as possible. The solos, however, consist of two
middle voices that have no model. The resulting middle voices are likely an expression of
tablature voices, which may in some moments feel like part of the vocal idiom and, in others, the
keyboard idiom.
Keyboard intavolatura has a chordal quality to it due to the obscuring of both
counterpoint and voice leading from an original model, which is evident in the de-intabulated
edition. This chordal quality is also found in written keyboard fantasias or improvised pieces.79
Luzzaschi’s tendency to fill every gap in the vocal lines with notes to fill out the texture in many
78 Pritchard, “Keyboard Thinking,” 130-132. 79 Pritchard, “Keyboard Thinking,” 30.
16
cases obscures the possibility of polyphony in the Madrigali. The chordal qualities therefore
dominate, and in this project a conservative approach to the modification of the texture yields an
example that primarily shows the texture in its expanded form rather than a truly polyphonic
model. The existence of tablature voices and the heavily chordal texture are not defects of this
approach, but rather demonstrate exactly the texture created by an intavolatura. The imitative
modifications still allow the edition to effectively demonstrate the intavolatura texture while
making the pieces a little more serviceable for an ensemble who may wish to sing them. This
approach that maintains the original intavolatura texture is one possibility, and another interested
party should take up the exploration of heavily modifying the notated intavolatura rhythms in
addition to adding the theoretically missing notes mentioned above to create a truly polyphonic
model.
After tracing the paths made by the partitura vocal lines through the intavolatura, I
added extra notes where they may fit. In some cases, the extra notes did not fit in with the vocal
line phrases if each vocal line was to retain all of its original pitches. Sometimes this was
rectified with slight modifications of rhythm. When that was not sufficient, I switched phrases
from two different vocal lines to maximize the inclusion of extra intavolatura notes. The
intavolatura preserves a strictly four-voice texture, but separating the intavolatura into singable
lines requires a modified texture from the partitura lines to maintain the preservation of the fourvoice texture. Never do the Madrigali intavolatura stray into a five-voice texture. Pieces that
include this line switch modification are duets “Deh, vieni hormai cor mio” and “Cor mio, deh,
non languire” and trio “Troppo ben può questo tiranno Amore.” See figures 1 and 2, with special
attention to the soprano and tenor in figure 1, line 1, fifth measure through line 2, fifth measure
and figure 2, measures 5 through 11, where the switch is located.
17
Figure 1: Luzzaschi’s “Troppo ben può questo tiranno Amore” lines 1 and 280
80 Luzzasco Luzzaschi, Madrigali di Luzzasco Luzzaschi per cantare e sonare A uno, e doi, e tre Soprani, Fatti per
la Musica del gia Ser. Duca Alfonso d’Este, (Rome: Simono Verovio, 1601), 25-26.
18
Figure 2: De-intabulation of “Troppo ben può questo tiranno Amore” measures 5-13
The partitura vocal lines are heavily ornamented, especially at cadences. These
ornaments are one of the Concerto’s most famous features, and become an important part of
early 17th-century style.81 The singers ornamented simultaneously, so they worked out ornaments
and wrote them down ahead of time, with onlookers marveling at the possibility to follow each
note in a book as the ladies sang.82 Ornaments became an integral part of the music, taking part
in defining the thematic material in each voice rather than occurring here or there in only one
81 Grove Music Online, “16th Century Italian Madrigal,” by James Haar and Anthony Newcomb, January 20, 2001,
https://doi.org/10.1093/omo/9781561592630.013.90000382130.
82 Newcomb, Madrigal at Ferrara, 59.
19
voice. Polyphonic music at the time demonstrates examples of the latter.83 The ornaments put the
singers’ exceptional skill on display and were at first intended primarily to show off. The later
madrigals, however, move towards more free expression and the ornaments are more directly
related to the text.84 Anthony Newcomb suggests that Luzzaschi wrote the solos in the Madrigali
first because they demonstrate almost exclusively cadential ornaments, while the duets and trios
explore more expressive diminutions and new harmonies for the purposes of text expression,
marking them as later compositions.
85 Luzzaschi makes use of bastarda-style diminutions, a
practice which originates from ornaments used by players of the viola da gamba, a six-stringed
instrument reminiscent of the modern cello. When playing in bastarda style, the bass instrument
or voice moves from an accompanimental function to a melodic function.
86 These diminutions
occur at cadences and allow one voice to reduce several polyphonic lines to one line or allow a
voice which is prepared to perform one cadential function to switch to another cadential
function, as is the case in the Madrigali. The switching of cadential function alters the effect of
the cadence.87
83 Newcomb, Madrigal at Ferrara, 76. 84 William Vernon Porter Jr., “The Origins of the Baroque Solo Song: A Study of Italian Manuscripts and Prints from
1590-1610” (PhD diss., Yale University, 1962), 173. 85 Newcomb, Madrigal at Ferrara, 57, 60. 86 Seth J. Coluzzi, Guarini’s “Il Pastor Fido” and the Madrigal: Voicing the Pastoral in Late Renaissance Italy
(Routledge, 2023), 310. 87 Pritchard, “Keyboard Thinking,” 294.
20
Cadences and Musica Ficta
Luzzaschi and his contemporaries used modes to compose their music, which came with
conventions and figures that became common practice over the hundreds of years of use.
Cadences are considered moments of repose, where voices come together to form perfect
consonances. The voices may then move on if there is more music to be sung, or the voices will
stop and the piece will end.88 Only unisons, perfect fifths, and octaves are considered perfect
consonances. The third and sixth are considered imperfect consonances, while the second, fourth,
seventh, and tritone are considered dissonances.89 Cadences have four possible cadential
functions a voice may perform on its way into a perfect consonance at a cadential moment. Each
function is named after the voice in which it resides when the strongest cadential effect is
desired. The cantizans, named after the cantus line, approaches the perfect consonance from
below and ascends by step.90 The tenor line gives its name to the tenorizans, in which the voice
approaches the perfect consonance from above and descends by step.91 Bassizans function can
only occur in the bass voice, but the bass voice is not required to perform this function. The only
required functions to form a cadence are the cantizans and tenorizans. The bassizans leaps to the
finalis, named after the final note in a chant, either up by fourth or down by fifth.92 The altizans
is the least important function in terms of cadential weight. It maintains the fifth degree,
progressing into the perfect consonance by staying on the same pitch.93
88 Caleb Michael Mutch, “Studies in the History of the Cadence” (PhD diss., Columbia University, 2015), 77-78. 89 Sarah Mead, “Renaissance Theory,” in A Performer’s Guide to Renaissance Music, ed. Jeffrey Kite-Powell, 2nd
ed. (Indiana University Press, 2007), 359. 90 Seth J. Coluzzi, “Structure and Interpretation in Luca Marenzio’s Settings of Il Pastor Fido” (PhD diss.,
University of North Carolina at Chapel Hill, 2007), 151. 91 Marcos Pupo Nogueira and Fernando Luiz Cardoso Pereira, “Imitative Polyphonic Density and Cadential Plan for
Two Motets of the Mid-Sixteenth Century,” Musica Theorica 1, no. 2 (2016): 116. 92 Mead, “Renaissance Theory,” 351; Coluzzi, “Structure and Interpretation,” 152. 93 Nogueira and Pereira, “Imitative Polyphonic Density,” 116.
21
The strongest cadential effect with two voices is achieved when the cantizans appears in
the top voice and the tenorizans appears in the tenor.94 The addition of the bassizans in the bass
line creates a perfect cadence, and the altizans in the altus yields a full cadence.95 The functions
may be moved to other voices (with the exception of the bassizans, which must be simply
dropped if the bass must perform another function) to vary the strength of the cadence, especially
for textural emphasis.
96
The terminal cadences in the Madrigali all result in sonorities with four notes: a doubled
root, a fifth, and a third. The addition of the imperfect consonance of the third is called for by
early figured bass authors, who write that final cadences should contain a major third.97 Editorial
accidentals indicating musica ficta was added in this edition to this end, which additionally
usually caused two restatements of very similar music set to the same text to match from one
repetition to the next. However, the addition of the third in the final sonority required a sacrifice
of either the interval of the fifth in cases where the other three voices cadence to a unison or
octave, or one of the essential cadential functions.98
The use of bastarda-style diminution to switch a voice’s cadential function occurs only
twice, at the end of trios “O dolcezze amarissime d’amore” and “Troppo ben può questo tiranno
Amore.” In “O dolcezze amarissime d’amore,” the diminutions drive the top vocal line to the
cantizans function, while the middle vocal line ornaments to arrive at the altizans function. In the
intavolatura, however, there is no reasonable way to interpret the reduction of these ornaments
and still arrive at the original cadential function. The top line would be serviceable, but the
94 Charles W. Dill, “Non-Cadential Articulation of Structure in Some Motets by Josquin and Mouton,” Current
Musicology 33 (January 1982): 40. 95 Coluzzi, “Structure and Interpretation,” 153; Nogueira and Pereira, “Imitative Polyphonic Density,” 117. 96 Dill, “Non-Cadential Articulation,” 40. 97 Campagne, Simone Verovio, 252. 98 Mead, “Renaissance Theory,” 360.
22
middle line would be rather awkward, and this option would ruin the imitative passages that
currently exist between the lines. The effect is especially interesting, with the third vocal line
arriving at the major third at the top of the texture at the expense of the tenorizans cadential
function. The effect of the cadence is diminished by the major third which appears above the
cantizans function because the three voices are equal in range and the cantizans’ appearance in
the middle vocal line rather than the top does not change its pitch location in the texture as it
would if the voices were not equal. The situation is nearly identical in “Troppo ben può questo
tiranno Amore,” but the cantizans function switches from the middle line to the top. The third
still appears above the cantizans function, creating the same aural experience.
Musica ficta, or the pitch modification of notes without written indication to do so, has
two main purposes: for necessary causes, or per causa necessitates, and for causes of beauty, or
per causa pulchritudinis. “Necessary” causes are further divided into two cases: mi contra fa,
diabols in musica and una nota super la est cadendum fa. Editorial accidentals indicate musica
ficta in this edition above the staff, while accidentals that appear in the original print in either the
intavolatura or partitura lines remain within the staff for ease of visual identification of editorial
additions.
When using musica ficta in a case of mi contra fa, a performer aims to avoid the “Devil
in music,” or the tritone caused by the mi of one hexachord against the fa of another.99
Hexachords, or groups of six notes, are segmentations of the full range of allowable pitches, or
the gamut, created as a memory aid.100 The notes that make up a hexachord are arranged in the
following intervals from bottom to top: three whole steps, one half step, then two whole steps.
The pitches that make up the half step are referred to as mi and fa, similar to modern solfege. The
99 Mead, “Renaissance Theory,” 357. 100 Mead, “Renaissance Theory,” 344.
23
only allowable accidental in the gamut is a B flat, which meant there were only three possible
hexachords: the hard hexachord with a B natural, the soft hexachord with a B flat, and the natural
hexachord with no B at all.
101 An interaction of mi and fa can be thwarted by either adding a
sharp to a fa to make it mi, or a flat to a mi to make it fa.
102 This practice is notated in modern
editions with added accidentals above the music so as to not confuse original notation with
editorial musica ficta markings. A significant portion of editorial accidentals in this edition fall
under this category.
Una nota super la est cadendum fa describes the case in which a phrase contains a single
note that is one step above the highest note in the hexachord. In these cases, that single note must
be sung as a fa, which requires a flat on that note. If the phrase continues to rise in pitch beyond
one note, the first note above the original hexachord must be sung as a mi, remaining natural
rather than flat, and mutate into a new hexachord to continue the phrase.103 Musica ficta in cases
of una nota super la may help avoid a tritone within a melodic line but were added also simply
as common practice.104 Few editorial markings of this kind appear in my edition.
Musica ficta was also historically added because it sounded good, or per causa
pulchritudinis.
105 Editorial markings in this edition which fall under this category include the
raising of thirds in terminal sonorities.
In this edition, editorial accidentals appear when a phrase obviously required the
continuation of an accidental across bar lines but was not indicated in the original. In select few
101 Mead, “Renaissance Theory,” 345. 102 Mead, “Renaissance Theory,” 357. 103 Adam Knight Gilbert, “Iuxta artem conficiendi: Solmization and Counterpoint ca. 1500,” Historical Performance
2 (2019): 30.
104 Mead, “Renaissance Theory,” 358. 105 Mead, “Renaissance Theory,” 358.
24
locations where notation was unclear or the provided notation produced a less-than-ideal sound,
the likely intention is marked.
25
The Madrigals
Overwhelmingly, my modifications to the intavolatura aim to prioritize text setting and
imitation. Rhythmic modifications for text placement appear as the most frequent modifications
in all twelve madrigals, and primarily enforce a natural declamation of the text.
I was careful and conservative with my modifications for imitation, and they usually
involve the shortening of notes for rhythmic imitation or removal of notes that would have
obscured an imitative figure. Additionally, there are chords in the intavolatura that contain only
three notes when it makes sense for there to be four. These are instances of doubled notes that do
not appear doubled as a result of a missing doubled stem in accordance with Diruta’s rules. In
these places, the voice with the “missing” note doubled an existing voice.
I removed the most notes from the trios. Because some of the vocal lines double each
other in places, the intavolatura provides extra notes to complete a four-note chord. By following
the vocal lines, some of these filler notes were not usable in the de-intabulation. Some cases
could include filler notes by following the voice leading provided by the intavolatura rather than
the vocal lines, as in “O dolcezze amarissime d’amore” edition measure 24. See the penultimate
measure of figure 3. In this location, two of the three vocal lines cadence on an octave which is
also doubled by the bass. The final chord is therefore three notes rather than four. However, if the
de-intabulated voices follow the intavolatura there, they cadence on a four-note chord instead.
When this solution was not possible, I removed a note. Some cases made it possible to remove
the filler note, but other cases allowed the original vocal line note to be replaced with the filler
note to fill out the chord.
26
Figure 3: Luzzaschi’s “O dolcezze amarissime d’amore” line 5106
“Aura soave di segreti accenti” presents an odd case of note removal in measure 9 of the
de-intabulation, which includes the removal of the second iteration of a chord from the
intavolatura. The repeated chord is easily played by a keyboardist, but not sung by a vocal
ensemble. The keyboardist would not have to move their hand to play the second chord, simply
restriking the notes from the previous chord. Vocalists, however, would have to choose between
an incomplete chord or strange motion after the cadence. The soprano continues to a new
imitative passage with the statement of a new figure, which leaves the other three voices to cover
the note the soprano left. See measure 9 in figure 4. If the full chord remained, the tenor would
have to jump up to an F#, and the alto up to an A. This is unidiomatic movement after the
cadence. The chord is not needed in the texture because the soprano provides forward
106 Luzzaschi, Madrigali, 22.
27
momentum for the piece to continue in an imitative fashion. The removal of this chord allows the
imitation to come to the forefront of the texture.
Figure 4: De-intabulation of “Aura soave di segreti accenti” measures 7-10107
All changes made to the intavolatura in the creation of this edition are detailed in charts
immediately following each piece, along with their location and justification.
107 Luzzaschi, Madrigali, 1.
28
Chapter 3: Poetry and Text Underlay
The musical genre of madrigal derived from a shift in poetic thinking. In 1525, Pietro
Bembo published his Prose della volgar lingua, in which he redefined how the sound and
rhythm of the words themselves should relate to each other and to the meaning of the larger
poem.108 Prior to Bembo’s writing, the frottola was one of the dominant poetic genres, including
a wide variety of subgenres.109 Music composed for the frottola was strophic and homophonic,
and the rhythm was determined by the text meter, resulting in “square and monotonous”
rhythmic textures.110 The madrigal evolved out of the frottola beginning with Petrarch, whose
poetry was of much higher quality than the poetry before.111 One of the many subgenres of
frottola was the canzone, and the setting of one stanza of a canzone to music was a madrigal
because it was, by nature of being a single stanza, through-composed rather than strophic.112
Bembo’s Prose marked a shift from expression of the form of the poetry to the expression
through the rhythm and sound of the poetry, aided by the use of through-composed forms such as
the madrigal.113 He discusses gravità, or “majesty,” and piacevolezza, or “sweetness.” These
terms not only relate to the high and low rhetorical styles, but also describe the sounds and
rhythms of the words themselves.114 The elements of poetic style that Bembo describes that
contribute to gravità and piacevolezza are suono, numero, and variazione. The third of these is
the governing principle of the other two, and describes that suono and numero should vary often
108 Dean T. Mace, “Pietro Bembo and the Literary Origins of the Italian Madrigal,” The Musical Quarterly 55, no. 1
(January 1969): 68. 109 Everett B. Helm, “Heralds of the Italian Madrigal,” The Musical Quarterly 27, no. 3 (July 1941): 306. 110 Helm, “Heralds of the Italian Madrigal,” 307, 312, 314. 111 Theodore Baker and Alfred Einstein, “The Madrigal,” The Musical Quarterly 10, no. 4 (October 1924): 476;
Helm, “Heralds of the Italian Madrigal,” 310. 112 Alfred Einstein, “Italian Madrigal Verse,” trans. A. H. Fox Strangways, Proceedings of the Musical Association
63, (1936-1937): 84. 113 Mace, “Pietro Bembo,” 68. 114 Mace, “Pietro Bembo,” 69.
29
to create contrast.115 Suono describes rhyme, and can indicate either gravità or piacevolezza
when the rhymes are located far from each other or in close succession, respectively.116 Numero
describes the quantity of syllables.117 Musical composers favored poems with much variazione,
since this allowed them to use expressive techniques, such as imitation, to their fullest.118 Bembo
also describes the poetic madrigal as a free form, with no set rhyme scheme, number of lines, or
number of syllables per line.119 Madrigals are often between seven and eleven lines with between
seven and eleven syllables each.120 Bembo’s writings, although from the early 16th century, are
echoed in the early 1580’s in a lecture by poet Filippo Massini, which demonstrates their lasting
effect.121
The madrigal as a musical genre attempts to embody Bembo’s three elements and was the
ideal genre for experimentation with dramatic expression.
122 The rhythmic irregularity that
resulted from the natural rhythm of the language embodied Bembo’s variazione, and the
harmonies became dictated by individual words or phrases rather than the larger form of the
poem.123 Melodies were no longer the primary means of expression, allowing rhythmic and
harmonic expression to serve a role as well.124 Music and text became more organically related,
no longer relying on the form as much as before.
125
115 Mace, “Pietro Bembo,” 72. 116 Mace, “Pietro Bembo,” 71. 117 Mace, “Pietro Bembo,” 70. 118 Einstein, “Italian Madrigal Verse,” 87-88. 119 Lorenzo Sacchini, “The Cinquecento Italian Madrigal in Theory and Practice: The Case of Filippo Massini
(1559-1618),” Mediaevalia 39 (2018): 222. 120 Einstein, “Italian Madrigal Verse,” 80. 121 Sacchini, “The Cinquecento Italian Madrigal,” 230. 122 Helm, “Heralds of the Italian Madrigal,” 316. 123 Mace, “Pietro Bembo,” 75-76. 124 Mace, “Pietro Bembo,” 78. 125 Helm, “Heralds of the Italian Madrigal,” 315.
30
Of the twelve poems set to music in Luzzaschi’s publication, sources for eight have been
identified. Giovanni Battista Guarini, father to concerto singer Anna Guarini, is well represented
in this collection, having written at least seven of the twelve poems. Giovanni Battista Guarini
entered the service of the Ferrarese court in 1567, and the confinement of court poet Torquato
Tasso in 1579 secured Guarini’s post as chief poet in the court.126 He was tasked with writing
poetry for the Concerto, and likely interacted with Luzzaschi. This relationship allowed
Luzzaschi to set so many of Guarini’s poems to music before their publication.
127 Guarini’s
poetry was popular; composers set his poetry to music more than 1900 times in the late 16th and
early 17th centuries.128 His brief poems contained contrasts that appealed to madrigal composers,
contrasts which came from Guarini’s expert employment of Bembo’s three elements of poetic
style. Guarini’s poetry also embodied sprezzatura: the ability to achieve accomplishments
without the outward display of effort, a popular trait among musicians as well.129
Guarini wrote his Rime del molto illustre Signor Cavaliere Battista Guarini, dedicated to
Cardinal Pietro Aldobrandini (the very same who would later become Luzzaschi’s patron), in
large part in the 1580s, but Guarini modified the poems heavily to make them shorter and didn’t
publish them until 1598.130 However, certain poems had been set to music much earlier than
that.131 The Rime includes the nearly unchanged poetry for solo “Ch’io non t’ami, cor mio?,”
126 Grove Music Online, “Guarini, (Giovanni) Battista,” by Barbara Russano Hanning, January 13, 2015,
https://doi.org/10.1093/gmo/9781561592630.article.11899.
127 Coluzzi, “Structure and Interpretation,” 84; Francisco, “The Virtuosi of Ferrara,” 23. 128 Nicholas R. Jones, A Poetry Precise and Free: Selected Madrigals of Guarini (University of Michigan Press,
2018), 16. 129 Einstein, “Italian Madrigal Verse,” 90; Jones, Poetry Precise and Free, 11. 130 Jones, Poetry Precise and Free, 9; Gary Tomlinson, Monteverdi and the End of the Renaissance (University of
California Press, 1987), 86. 131 Grove Music Online, “Guarini, (Giovanni) Battista,” by Barbara Russano Hanning, January 13, 2015,
https://doi.org/10.1093/gmo/9781561592630.article.11899.
31
duet “Cor mio, deh, non languire,” and trio “T’amo, mia vita, la mia cara vita.”132 Trios “Troppo
ben può questo tiranno Amore” and “Non sà che sia dolore” also appear in Guarini’s Rime, but
appear in modified form in Luzzaschi’s Madrigali.
133 Guarini’s madrigal “Quest’è pur il mio
core” from his Rime makes up the majority of the text for Luzzaschi’s trio “O dolcezze
amarissime d’amore,” whose first line is pulled from act III, scene I of the same Guarini’s play Il
Pastor Fido.
134 The source text for solo “O Primavera, gioventù de l’anno” appears directly
preceding the first line for “O dolcezze amarissime d’amore,” but was modified by Benedetto
Varoli and later published in his Della nova scelta di rime.135 Luzzaschi’s use of this particular
variation of “O primavera, gioventù de l’anno” places the composition of the music at or after
1589, because two words from Varoli’s 1585 manuscript were changed to his 1589 publication.
The changed words are what appear in Luzzaschi’s version, which means the earliest reliable
date for the music is 1589.136 Varoli was not using the published version of Il Pastor Fido for his
variant readings, since Il Pastor Fido was not officially published until 1589, having been in
literary circles for critique since 1585.137
The duet “Stral pungente d’Amore” is so far the only piece of poetry with potential
authorship other than Guarini. A similar poem by Giulio Solico appears in Rime de gli academici
affidati di pavia, and could have been modified by Guarini to more closely resemble the text that
appears in Luzzaschi’s Madrigali.
138
132 Giovanni Battista Guarini, Rime del molto illustre Signor Cavaliere Battista Guarini (Venice: Giovanni Battista
Ciotti, 1608), 56, 56, 53. 133 Guarini, Rime, 61, 57. 134 Guarini, Rime, 52; Giovanni Battista Guarini, Il Pastor Fido: Tragicomedia Pastoral (London, 1601), 76. 135 Guarini, Il Pastor Fido, 75-76; Coluzzi, Guarini’s “Il Pastor Fido,” 265. 136 Coluzzi, Guarini’s “Il Pastor Fido,” 266. 137 Coluzzi, “Structure and Interpretation,” 64. 138 Rime de gli academici affidati di Pavia (Pavia: Girolamo Bartoli, 1565), 132.; “Madrigali per Laura Peperara, ”
Tactus, https://www.tactus.it/tc530001-luzzasco-luzzaschi-1545-1607-jaches-wert-1535-1596-lodovico-agostini1534-1590-paolo-virchi-1551-1610-girolamo-frescobaldi-1583-1643-madrigali-per-laura-peperara.
32
The remainder of the poetry has unreliable attribution at best. Duet “I mi son giovinetta e
rido e canto” is modified by an unknown from Bocaccio’s Decameron. The modifying poet was
likely someone from Ferrara due to the existence of settings by Luzzaschi and other
composers.
139 Solo “Aura Soave di segreti accenti” could be Guarini’s, as it seems to paraphrase
the opening line of one of his ballattas. The text also seems to allude to the secrecy of the
Concerto’s music and the late (but hopefully welcome) publication of the music long after the
ensemble’s dissolution.140 Duet “Deh, vieni hormai, cor mio?” and trio “Occhi del pianto mio
cagione” do not seem to have supported attributions yet.
139 Anthony Newcomb, review of Madrigali per cantare e sonare a uno, due e tre soprani (1601), by Luzzasco
Luzzaschi, ed. Adriano Cavicchi, Journal of the American Musicological Society 21, no. 2 (Summer 1968): 224. 140 Stras, Women and Music, 263n.
33
Text Underlay
In the original print, the text is underlaid in the partitura lines rather nicely. At cadences,
the ornaments sometimes prevented the preservation of the original underlay in my edition. The
lower voices, originally without underlay, required attention. The most natural declamation of
text took precedence, and I put emphasis on placing accented syllables in musically accented
locations.141 I treat the underlay separately in each voice due to the primary importance of the
text for each line, but in many locations homophony and imitation allowed for the underlay in
different lines to be the same.142 I repeat text in certain places to ensure the inclusion of as much
of the intavolatura notation in the edition as possible. These repetitions are seldom single words
and are usually short phrases.143
141 Soonjung Kim, “Performance Practice in the Early Italian Madrigal (1520-1550): Guidelines for Choral
Performance” (DMA diss., University of Southern California, 2005), 80. 142 Kim, “Performance Practice,” 80. 143 Kim, “Performance Practice,” 77.
34
Chapter 4: My Edition
My edition presents the madrigals in the same order that they appear in Luzzaschi’s
Madrigali print. Each de-intabulation is followed by a list of the modifications made to that piece
in order to create a singable polyphonic version. They are listed in charts which detail the
location of the modification in both original print and edition, the original and modified notation,
and the justification for the change. Because the ends of staves in the prints do not indicate
whether the measure should also end, one cannot count measures from the beginning of both the
print and my edition and arrive at the same location. In order to address this in my edition, I
interpret any measures at the end of a staff followed by a measure in the next staff containing one
breve of music or more to be separate measures. I interpret any end-of-staff measures followed
by a measure in the next staff containing less than one breve of music to be a single measure that
bridges two staves. The following system is implemented in my charts to assist in locating my
modifications:
“Print line” refers to the grand staff in the original print. They were not originally numbered, but
they can be counted from the beginning of the piece.
“Print measure” refers to the measure number within the grand staff identified in the “print line”
column. The furthest left measure will always be “print measure” number 1 for each grand staff.
“Edition measure” refers to the measure in the edition.
“Edition vocal line” directs the reader to the correct vocal line in the edition.
“Original notation” details the original notation as seen in the print.
“Changed notation” details the notation now seen in the edition.
“Reason” describes the reason for each modification.
Texts and translations may be found in the Appendix.
35
My edition proves that it is possible to create a singable vocal model from Luzzaschi’s
intavolatura and demonstrates the texture that results from intavolatura. This texture resulted
from Luzzaschi’s original conception of the music, since his intavolatura likely resembled his
own playing with the Concerto. By exploring the unique intavolatura texture, we can explore
Luzzaschi’s Concerto.
36
Madrigali per cantare et sonare...
Aura soave di segreti accenti.........................................................................................................37
Table 1................................................................................................................................40
O Primavera, gioventù de l’anno...................................................................................................41
Table 2................................................................................................................................44
Ch’io non t’ami, cor mio? .............................................................................................................45
Table 3................................................................................................................................48
Stral pungente d’Amore.................................................................................................................49
Table 4................................................................................................................................51
Deh, vieni hormai, cor mio............................................................................................................53
Table 5................................................................................................................................56
Cor mio, deh, non languire............................................................................................................57
Table 6................................................................................................................................60
I’ mi son giovinetta e rido e canto..................................................................................................62
Table 7................................................................................................................................66
O dolcezze amarissime d’amore....................................................................................................68
Table 8................................................................................................................................72
Troppo ben può questo tiranno Amore .........................................................................................74
Table 9................................................................................................................................78
T’amo, mia vita, la mia cara vita ..................................................................................................80
Table 10..............................................................................................................................83
Non sa che sia dolore.....................................................................................................................85
Table 11..............................................................................................................................88
Occhi, del pianto mio cagione.......................................................................................................90
Table 12..............................................................................................................................93
Luzzasco Luzzaschi
arr. Ellie Walters
Aura soave di segreti accenti
5
10
Soprano
S.
S.
Alto
A.
A.
T.
Tenor
T.
B.
Bass
B.
ne
Sve
pi
re Sve
glias res roe
a
glias ti
là
là
ti
mi vaa
do
co dor
ve di do
chieal
so
per rec
ra grese tiac
mo
te
ve
cen
Per
l'o re
Au
ve
ti
do
mo
Che
dor mi vaa
pe
re
tran
vi
di
do dor
ra ve ti
mo
dor
ti
so
là
Che
glias re
do
Sve mi
mo
cen do
res
per l'o
ti pi
rec
là re
chieal
a
te vi
se tiac
co
gre
Sve glias mi
Au
re
ve ro vaa Per e
pe tran
ve vaa
ne
re
a
vaa res
se
co
pi
gre tiac
là
rec chieal dor
ti re
per l'o
glias mo
cen
Sve ro te e
vaa
ti
re mi
ra
Sve glias
vi
ve
do
dor
so di Che do
do
tran
ve
pe ne
mo
ve
ti là
Au
mi Per
Che
chieal
roe
tiac
vaa
Au pe
mi
se
te
gre
vaa pi
ti
re
dor vi
ne tran
ve res
a
Sve glias
do
ra so
là Per
dor mi
re
ve
glias mo ti
do
Sve
ti mo re
ve do
per l'o
di
rec co là
cen
37
15
20
25
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
Spi Spi tal
mo
di ti
ro
to gen
si cuta di sa vi
tu ri
o trea
pet
sen ta Vir
rain
l'al
me fù
ma le
nel
pri spenMen
to si
vo
che mi de
Vis
vo vi
quel spi
o ti
che
tù
vien
Da ras
Hor
ras ti d'A mor
ta
tu
tuo
di spi tuo
me
pet
quel
si
cu
tu
vo tù
o
nel de
Vis
ta
pri
l'al ma sen Vir
Da Spi ras
mo spenfù
gen
vo rain
vienche
ta ro
Hor
di vi
ta
d'A tal
ti
si
ri
che mi mor o
trea
to vi
Men
le
ti
to
sa
vo
to
o
mo
si
ri
mi
trea
to
sa
le
o Menpri vo
che Spi ras
ta Hor vienche
pet
Vis
nel d'A
spen
Da tù mor ti
di tuo spi gen
de
tu quel
di ta fù cu rain
l'al
vi
ma sen
si vi me
tal
ta ti Vir
ro
cu me rain
ras d'A mor
to ti
Vis si vi
le
che nel pet
di
vienche
fù
l'al
vo Da to
ma
vi
sen
o
mi tal
Hor ta Vir
ta
o Spi de
tu queldi tuo ri
ras siti tù
mo ro sa
ti
gen
pri
Spi
vo Men spen
tù
trea
ta spi
38
40
35
29
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
l'u
li ce
vi
vi taol
Fe
ce
to
Fe tre vi taol
le
le
Fe
vi
li ce l'u
sa
li
sa
tre
ta
sti
ce Fe
to sti
ta
li
sti
taol
l'u
ta tre
tre
ta
sa
Fe lili Fe
ce
ce
taol
l'u
to
le
vi
vi
ce sa sti
ce
to
Fe li
vi
li
le
Fe
vi
vi taol sa le
le ce
vi
vi li
ta tosa
ce
Fe li l'u sti
l'u
Fe li
Fe tre li ce ce
to sti
ta Fe
vi taol
tre
sti
taol
taol tre
Fe li
ta vi
l'u leto sti
li to
le ce Fe
sa
vi
vi sa
ta
tre
li ce
Fe vi li ce l'u Fe ce
39
Table 1: Aura soave de segreti accenti
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed Notation Reason
1 2 2 Alto 1 minim G 2 semiminim G text pattern from original soprano
vocal line
1 2 2 Tenor 1 semibreve D 2 minim D text
1 2 2 Bass 1 minim C 2 semiminim C text pattern from original soprano
vocal line
1 4 4 Alto 1 minim C 1 dotted semiminim C and 1 fusa C text pattern from original soprano
vocal line
1 4 4 Tenor 1 minim F 1 dotted semiminim F and 1 fusa F text pattern from original soprano
vocal line
1 4-5 4-5 Alto tie removed tie text
1 5 5 Alto 1 minim A 2 semiminim A text
1 5 5 Tenor 1 minim D and 1 minim E 2 semiminim D and 2 semiminim E text
1 5 5 Bass 1 minim Bb 2 semiminim Bb text
2 4 9 Alto 1 minim A removed not needed, filler note. works
fine in keyboard playing but
does not work well in voices
2 4 9 Tenor 1 minim F# removed not needed, filler note. works
fine in keyboard playing but
does not work well in voices
2 4 9 Bass 1 minim D removed not needed, filler note. works
fine in keyboard playing but
does not work well in voices
3 4 15 Tenor C# C natural ficta avoid conflict with bass
3 5 16 Alto F natural courtesy accidental was sharp in previous measure,
which conflicts with bass
4 2 18 Soprano B natural Bb ficta avoid minor second with bass
4 2 18 Bass B natural Bb ficta avoid minor second with bass
5 3 23 Alto 1 minim F 2 semiminims F text
5 3 23 Tenor 1 minim C 2 semiminims C text
5 4 24 Alto 1 dotted minim A 3 semiminims A text
5 4 24 Tenor 1 minim D 2 semiminims D text
5 4 24 Bass 1 semibreve D 2 semiminims and 1 minim D text
5 5 25 n/a semibreve rest removed mistake in printing likely
5 5 25 Alto no note doubled soprano semiminims C, A complete phrase
6 1 26 Tenor no note doubled bass semiminim D complete phrase
6 2 27 Tenor no note doubled bass semiminim D complete phrase
6 3 28 Alto no note doubled soprano semiminim E complete phrase
7 4 23 Tenor breve 2 semibreves text
7 6 34 Alto tied semibreves 1 breve visual clarity
7 6 34 Bass B natural Bb ficta avoid conflict with alto
9 1 40 Tenor breve 2 semibreves text
40
Luzzasco Luzzaschi
arr. Ellie Walters
O Primavera, gioventù de l'anno
5
9
Soprano
S.
S.
Alto
A.
A.
Tenor
T.
T.
B.
Bass
B.
re
ma
ri
no
de
vel
Bel be
di
ri D'her
tù
vel
ven
lia
mad lia
l'an
no vel di
et
di fio
la vel le
re mo
O
be
mad
no
le no Tu
ra gio
no di fio Bel
ve
la
mo
O ve
et
ra
ri
Pri
D'her
ma
ri
Pri
mo
Bel la ri vel et
la
ri lia Tu
Pri ma
mo
Bel vel
O
no no mad
ra
fio
lia
ve O ve ra
vel
D'her no
no et
mad be di
gio l'an
no
D'her
Pri ma
le
vel le
di ri
de
re
di
tù
re
ven
be
di ri
fio
la
ri
O ve de
no
ven tù
mad fio re
mad re di
Pri ma l'an
Bel fio vel
Pri
no
ma
vel lia
mo Tu
no et
be no
di
D'her a
ra O
mo
vel li vel
le
di
ri
Bel la
D'her be
ri
ve gio
le et
ra
di no ri
la
re
no
O
di
mo
no
de
le et vel
D'her
ri D'her Tu
ri be
vel
re
fio ri
ve
be
ma ra
vel lia
no
gio
ri lia
no
ven
di mo
l'an
mad
Bel mad
O
le
Pri
no
la
ra
di
ma
Bel di fio
ve
vel et
Pri tù
41
14
23
19
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
sei dian sei
las ri
ben
so
Tu
zi
zi si
dian
vez
ri pur
tor
zo
bel
ze
la Ch'e
mi
quel
la sae
ben
bel
ni spe ran
Ch'e
le
Ma
Ma nisen
la
zaica e De
si
la Tu ben
vez
ri gior
zo sae
quel ri pur
Ch'e bel
pur sei
ni
ri dian la Tu
la
ri Ma sen ran ze
Ch'e bel
zai
zo
ca spe
la
zi
mi e
sae
ri pur dian si Ma
vez
vez
ben
so
la
ben
quel
las
zi si
ni le
Tu ben
tor De
sei quel
ri
zo sae
gior
ri la
pur
ben
dian
so ran ze
Tu
ri tor
sae ben bel Tu la
sae
ni
ben sei
bel
quel zovez la Ch'e zi si
Ma sen
sei
zi
le spe
dian zo
ni De
ri
quel la Ch'e
zai gior
vez
ca
si Ma
ri
pur
las mi e
so
zo
zo
quel
ben
quel la Ch'e sae
gior
sei
ri De
Ch'e
bel la Ma
ca ni e
sei
zai le
pur
ni spe
ri dian vez
ben
zi
ben
ran
Tu Tu bel
si
pur la
ze
ri zi
ri tor
si sae
mi
la vez
Ma
dian
las sen
42
36
27
31
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
ch'un
po
son cai io Si
non son
i
io gia
non roa
i tru
quel
gl'oc
po
i
Si
roa
Si
chial quel
gia
Ma ch'un
tru ca
tru tem
tem ca roagl'oc
gl'oc
chial
roa
i
tru
i Si ca
chial chial
fu
gl'oc
fu
tru tem
non Si
gl'oc
ca
roa
roa
ca po
son
ch'un fu
tru
quel i Si
ca roa
gia
chial
non son io
gl'oc chi
io
Si
gia
i
Ma
ca gl'oc
gl'oc
roa
i
quel ch'un chi
chial
tem i po fu Si
quel
po
non son ro gia a
gia
ch'un
chial potru io
io
son
Si
non
gl'oc
i
tem
Ma quel
ca
po
Si
roagl'oc
chi
ca ch'un
chi
Si
fu
tem
roa i
tem i
ca roagl'oc gl'oc
fu i
tru
ca
Si
ch'un
chial
fu
po
i
i ch'un tem
fu
non gia
i
gl'oc chial
Si
tru i Si
gl'oc
son fu
ca roagl'oc ro chial chi ca a al
gl'oc chial
tem
roa
ch'un
io
quel
son gia quel
io
non ca
tru
ch'un Si
Si
i
i
tem
Ma
po fu
ca i po
tru
roa
i
tru
43
Table 2: O Primavera, gioventù de l'anno
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 5 5 Alto 1 minim G 2 semiminims G text
1 5 5 Bass 1 minim G 2 semiminims G text
2 3 8 Alto no note doubled soprano
minim A
complete phrase
2 4 9 Alto 1 minim G 2 semiminims G text
2 4 9 Bass 1 minim G 2 semiminims G text
4 3 15 Alto 1 semibreve A 2 minims A text
4 3 15 Bass 1 semibreve A 2 minims A text
4 4 16 Alto no note doubled soprano
semiminim B
complete phrase
5 3 19 Alto 1 semibreve G 2 minims G text
5 3 19 Bass 1 semibreve G 2 minims G text
6 ms 4 of line 5 and
ms 1 of line 6
20-21 Bass tie removed tie text
6 1 21 Alto 1 semibreve G 2 minims G text
6 1 21 Tenor 1 minim D 2 semiminims D text
6 1 21 Tenor no note doubled bass
minim C
complete phrase
6 2 22 Alto 1 semibreve G 2 minims G text
6 2 22 Bass 1 semibreve G 2 minims G text
6 4 24 Tenor 1 minim D 2 semiminims D text
6 4 24 Bass 1 dotted minim G 1 minim G and 1
semiminim G
text
6 5 25 Tenor no note doubled bass
minim C
complete phrase
6 5 25 Tenor 2 minims C 1 semibreve C text
6 5 25 Bass 2 minims C 1 semibreve C text
7 4 29 Tenor 1 minim G 2 semiminims G text
7 4 29 Tenor n/a 1 semiminim rest missing beat
8 1 30 Bass F natural F# ficta matches earlier
repetition
8 2 31 Tenor 1 minim D 2 semiminims D text
8 5 34 Tenor C natural C# ficta matches earlier
repetition
9 2 36 Tenor 1 minim G 2 semiminims G text
9 2 36 Tenor n/a 1 semiminim rest missing beat
9 3 37 Alto 1 semiminim G 1 minim G missing beat
44
Ch'io non t'ami, cor mio?
Luzzasco Luzzaschi
arr. Ellie Walters
5
9
Soprano
S.
S.
A.
Alto
A.
T.
Tenor
T.
B.
Bass
B.
to
la
Che
ques si
per o
che ques
e no per
t'a
si
mi
de va
do
Ch'io
ma
spe
sia
vo
non
ran che
cor
a
a
zai maPri
Ch'io o vi ta la tua
Mor
no t'ab
non
mi
ni
ban
mi
non
do ni
te Pri per
mi e tu
to
la
ques ques
mi e tu
de si
ta
to ni
la
si
vi
no vo va
non tua
non
ni che
ma
spe do
mi
o
mi
per
te to
e
o
no ran
Pri
mi
Mor
sia
zai
che
cor
do
non
ma
a
Ch'io Ch'io
a t'abChe ban
t'a
per Pri
per
Che ran Pri
Ch'io
to
e per
o
a
Pri
o va no spe
Ch'io
non mi ni
non sia
si per
non
che
ques a to quesma
cor
si
t'a mi
t'ab
do
ban
che
mi
de
mi
do
vi ta
ni
la
no vo
e tu
Mor
ma
te
la tua
per zai
to
a
che ques
mi cor
ni Pri ma
mi o
ma che
non t'a
t'ab ban do ni Pri
Ch'io
spe ran zai
non sia
va
mi per do
la tua
tenon
vi ta
ques to si a Mor
no
e la tu
e
Ch'io
per
mi
Cheper no vo de si o
45
25
20
15
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
re si
te
dol
Che
Co
ni
me pos
D'o gni
so
a quel per
on la miode
la sciar
vi
si Mor do
ta
mi
ben ca tie
cee
gion
co gra
non se tu se'
di
si
ta M'è
d'o re gni de
si Mor
me so
te
ta M'è dol
non
la
se'
Co
vi si
gion
tu
on de la
re
re cee
ben ca
gra
Che
d'o gni
se
di
per
de si sciar
co gnimio
do
D'o
ni quel
ta
tie
a mi
pos
tu
gion
ni
cee gra di
do
dol D'o gni
si
mio
gni de
mi per
d'o
Che se'
ben ca
a
M'è si
re
ta
te non
de vi
Co me pos
Mor
co re on la
so la
si quel
sciar
se
ta
sciar
se'
M'è
la
Mor
on
te non
so
mi per
me pos
do
Co
vi
re
ta
si a
re si
ben
co gniD'o mio
ca gion d'o
ta
ni Che
de
gni
quel
dol cee gra di
si
se
de
tu
la
46
29
33
37
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
me
la tie
gni
so
de
pos
ri
me mo non
ri
re
Co
ca gion
so
mo
non
re
ben d'o si
la
re mio D'o
tie non
gni
pos resciar
mo
sciar ri
Co
ben
so
me
ri
gnimio
Co
me
pos
si
Co
sciar
non
re
mo re
sciar
ri
mo
la
D'o ca
tie
gion ded'o
ri
gni
pos mo
non re
non
so la
tie
re
ri
tie
mo
Co
gni
me
Co lame
tie
sciar
ri
de
re pos
d'o
non
gion si
la mo
non
tie non
re
D'o
so
ca
re pos
sciar
mo mio re gni ben
so
ri
pos sciar tie
ri d'o
me
re ca
Co so ri
D'o ben
la
gnimio
re reCo tie
gni
me pos ri
de
so non
si
la sciar
re
mo
tie gion non mo
non mo
47
Table 3: Ch'io non t'ami, cor mio?
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 6 6 Alto C# C natural ficta avoid clash with
bass
2 1 5 Alto C natural C# ficta continuation of
phrase
2 1 5 Alto C# C natural ficta avoid augmented
chord
2 1 5 Alto no note doubled soprano
semiminim D
complete phrase
2 1 5 Tenor 1 semiminim A 1 dotted
semiminim A and
1 fusa A
match soprano
rhythm
2 1 5 Bass 1 minim Bb 2 semiminims Bb text
2 2 6 Alto C natural C# ficta fits theme best
2 2 6 Alto no note doubled soprano
semiminim G
complete phrase
2 2 6 Tenor 1 minim A 2 semiminims A text
2 2 6 Bass 1 minim A 2 semiminims A text
4 2 14 Tenor F natural F# ficta continuation of
phrase
4 2 14 Tenor n/a F natural ficta undoing previous
addition of F# in
that measure
4 4 16 Soprano C natural C# ficta continuation of
phrase
5 3 19 Alto Bb B natural ficta continuation of
phrase
10 4 41 Tenor n/a F# ficta matching
previous
repetition, also
makes final chord
major
48
Stral pungente d'Amore Luzzasco Luzzaschi
arr. Ellie Walters
13
7
S.
S.
Soprano
A.
Alto
A.
T.
T.
Tenor
B.
B.
Bass
Di
re
gnoe'l
quel
re ta
re
O ten
co
se ven
cui se
ch'in
meho ti titen meho pet
me
mio
to
pun
ul
co
re O bel
gen
trar
Deh
quel bel
te d'A re
cui
e'l
to
mo
re
mio
Per
ti
pet
Di gnoe'l fa' Per ti
miall'
trar
co
mio ulmiall'
Stral
gnoe'l
se
mio
gnoe'lmio
co
se
se ti re ta
pun
Di cui
co
re
gen te
ven ti trar ti
ven
Di cui
ch'in me ta
bel ten to
re
Per
co
miall'ul ti meho re tenO pet pet to
Stral
fa'
ti
Deh
quel
d'A re miognoe'l
O quel
mo Di
bel
cui
trar
re
quel ten ti quel
te
O
d'A
ul ti meho pet to re
cui
fa'
Stral miopun cogen se gnoe'l
Per trar bel miall'
ch'inme
co re
ta
meho bel re
mio
ven
cui gno se e'l
ti
pet
ul
to
re Di re Deh Per
ten
cui se
mo
gnoe'l ti mi mio co all'
Di Di
O
ten
gnoe'l
mo Dire
bel pet to ten ti O quel bel pet
ul ti
cui se
miall'
d'A gnoe'lmio
trar
te
ti
gen
Per
co
ta ven
re Di cui
fa' ch'inme
O quel
se gnoe'l mio
ti meho re
co
re Per trar miall'ul
Stral pun
meho
re Di cui miose co re Deh
to
49
30
18
25
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
men
ti ch'in
to
miei
pet ten
me
trar
ti
ti mi Per all'
Si du
quel bel
ul
roa
ti
ven
la
du t'a
pet ro to ten a
roa ti
ta
la Si
ti
roa miei men la
miei
du
quel bel
la
meho
men men
O
Si
ven
ti ti
O
ti
du
Deh
re
Si
miei
ti
fa
ti
la men la miei me
trar
miei men
Per me miall' ho
roa
re
Si du ti
roa miei
O
du miei
quel bel
du
ti
Si
ul
la roa
miall'
ti
men
pet
Deh
la
trar
Si
re Per
fa
O tenquel ti Si
roa
to
to
bel pet Si du
ul ti ten
men
ti
ti
t'a ven
ti meho
du la ch'in
Per miall'
bel men la
ti ch'in me
ti
la
quel
fa
O
men ti Deh
ti
ti Si
meho
miei t'a
ti re
ven
ul bel
roa
pet
roa
to ten la
pet
ti
du
to
men
men ti
ten
Si
miei
meho
du
quel ti
la
roa
miei
Si
re
Si du
trar miall'
du
ul O
roa miei
ti trar Per
ti
me
re O
pet
miei
bel
la men
quel
ti Si
men
du roa
quel
O
n Per trar miall' bel
to roa
pet
la
du roa
ti toul
ten
miall'
Si
ti
ti
ten
Si du roa miei
re trar ti
ti
ti
miei
men
la
la
men
Per
ti venDeh fa t'a
Si
ul
du
meho
miei
ch'in
meho
50
Table 4: Stral pungente d'Amore
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 1 1 Alto n/a semibreve A
removed
preserve pattern
1 3 3 Soprano n/a semibreve rest rest was missing
1 3 3 Tenor A# C# ficta Sharp was
applied to the
wrong note
1 4 4 Alto 1 minim G 2 semiminims G text
1 4 4 Tenor 1 semibreve C 2 minims C text
1 4 4 Bass 1 semibreve D 2 minims D text
1 4 4 Bass 1 minim E 2 semiminims E text
2 3 9 Alto n/a 1 minim G
removed
preserve pattern
2 4 10 Alto 1 dotted minim G
and 1 semiminim
G
1 minim rest, 1
minim G
preserve pattern
3 1 12 Tenor 1 dotted minim E 1 minim E and 1
semiminim E
text
3 1 12 Tenor no note doubled soprano
semiminim E
complete phrase
3 1 12 Tenor 1 minim A 2 semiminims A text
3 1 12 Tenor 1 minim F 2 semiminims F text
3 1 12 Bass 1 minim A 2 semiminims A text
3 1 12 Bass 1 minim D 2 semiminims D text
3 1 12 Bass 1 minim d 2 semiminims D text
3 2 13 Tenor 1 minim D 2 semiminims D text
3 2 13 Tenor 1 minim A 2 semiminims A text
3 2 13 Bass 1 minim D 2 semiminims D text
3 2 13 Bass 1 minim D 2 semiminims D text
3 5 16 Tenor 2 minims C 1 semibreve C text
3 5 16 Bass 2 minims F 1 semibreve F text
4 2 18 Soprano 1 semibreve D 1 semiminim D text
4 2 18 Tenor no note double bass
minim D
complete phrase
4 2 18 Tenor 1 semibreve F 2 minims F text
5 1 23 Soprano 1 minim G removed preserve pattern
5 1 23 Soprano 1 dotted minim g
and 1 semiminim
g
2 minims G, first
minim removed
preserve pattern
5 2 24 Soprano 1 minim D 2 semiminims D preserve pattern
5 3 25 Tenor 1 dotted minim E 1 minim E and 1
semiminim E
text
5 3 25 Tenor no note doubled alto
semiminim E
complete phrase
5 3 25 Tenor 1 minim A 2 semiminims A text
5 3 25 Tenor 1 minim F 2 semiminims F text
5 3 25 Bass 1 minim A 2 semiminims A text
51
5 3 25 Bass 1 minim D 2 semiminims D text
5 3 25 Bass 1 minim D 2 semiminims D text
5 4 26 Tenor 1 minim D 2 semiminims D text
5 4 26 Tenor 1 minim A 2 semiminims A text
5 4 26 Bass 1 minim D 2 semiminims D text
5 4 26 Bass 1 minim D 2 semiminims D text
6 2 29 Tenor 2 minims C 1 semibreve C text
6 2 29 Bass 2 minims F 1 semibreve F text
6 4 31 Alto 1 semibreve D 1 semiminim D text
6 4 31 Tenor no note double bass
minim D
complete phrase
7 2 34 Tenor 1 semibreve E 1 minim E too many beats
7 2 34 Bass 2 minims D 1 semibreve D text
52
Deh, vieni hormai, cor mio
Luzzasco Luzzaschi
arr. Ellie Walters
10
6
Soprano
S.
S.
Alto
A.
A.
Tenor
T.
T.
B.
B.
Bass
l'Oc gia senden no ci teil
mi gior
gior
Che
laa e
gior no
l'Oc ci
man
vo laa
sen
no
mai
ta
sog
Che
Nonmen
to
ca ca
Deh
den
vi
sa
vo
la Vie
nihor nol'u o
che'l
vie gia
mia
cor A
stan
Deh
teil gior
gior
gior
ci no
ca
mi
ta
cor
vo laa
o A
l'Oc
che'l
sen
no
ci den
Non
teil laa
ca men
Deh l'u
gia gior l'Oc
e la stan
no teil
sa
Che
Deh
no
gia sen
mia
vo
vie mai Che
den
vi gior man
Deh nihor to sog
Vie
che'l
ci
vi
sa
laa e
mia
to
vo
l'u
sen teil gior no
sog
den
ta ca
gior
men gior
mi
ca
Deh no
gia
Deh ovie nihor mai cor A Che
Non man no Vie
l'Oc
la stan
Vie
Che
vi
Deh
men che'l
nihor
no ca
l'Oc ci
sog
laa
to
vo
ta
Deh sa giormai cor
no
mi o
gia te sen il gior
la man
e
mia ca gior Non
den
vie A
stan
l'u no
53
22
16
30
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
no fie
mio
con
ce
la be ta
be
a
ta a
Vie
vo vola Quel
ni
mi
ce
ni mio
so liil
toal
be cona
cor vo
no
so liil do
vo ce
tro
spir mio
ce
Quel
glioa
ce e tuefie e
do
glioa ce
lan
tro
spir toal o
ta
guir
cor
e
do
e
cor glioa
la vo ce
ni
be
fie
tro
spir
ta
no
Quel
ce
Vie tro
lan
mio
be voa no
do glioa
tue
ce ce
a
mio
tro
con liil
Quel
tro
cor
so
mio ce
ta toal
ni a
guir
so liil
la
con ce
te
a
liil cor
liil
be
no to spir al
ce
ta no
la
a
tro
Vie
ta vo con
fie
ni aQuel be
vo
so ce
ce e
con glioa tro
Quel
guir tue
do
lan
cor
ce
ni
mio
so mio do glioa
mio la
te
Quel
no
so
no
con mio
ta la
guir tue
a be
spir lano
ce con
liil
vo ce e fie
ni
liil Quel
ni Vie
so tro do glioa
a ta
cor
mio
mi
do
toal
glioa betro la
cor ce
ce
vo
54
36
42
48
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
nel mar le ro
e fre noal già marnel
fie noal già
le
sol
te
te e
c'hà
no
te
ro
c'hà
sol
già
c'hà già nel
le ro
e solno fre al
sol ro
te
noal le
ro
fie
c'hà nel
mar
te
te
mar
sol
e
noal
mar
già
nel
nel
no al sol c'hà già
te c'hà
ro
le
e mar le
te
te
fie
fre
ro
sol
le
mar
te
mar
già
e
c'hà
c'hà
e
fie
sol
noal nel
te
già
fre no al
le
ro
ro
nel
55
Table 5: Deh, vieni hormai, cor mio
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 4 4 Soprano 1 semibreve G 2 minims G text
1 4 4 Alto tie removed tie text
2 3 7 Soprano 1 semiminim G 1 minim B
natural
match keyboard
line, G was
already in bass
3 1 9 Alto G B natural match keyboard
line, G was
already in bass
3 3 11 Tenor 1 semibreve C 1 dotted
semibreve C
missing beats
3 4 12 Tenor 1 minim D 1 semiminim D text, doubles bass
3 5 13 Bass 1 semibreve A 2 minims A text
4 2 16 Soprano 1 semibreve C up octave phrase
4 3 17 Soprano 1 semibreve C up octave phrase
4 6 20 Bass 2 minims C 1 semibreve C text
4-5 6-4 20-24 Soprano/Alto n/a parts switch accomodate
keyboard line
5 2 22 Soprano 1 minim F 2 semiminims F text
6 1 26 Alto 2 minims D 1 semibreve D text
6 1-6 26-31 Soprano/Alto n/a parts switch accomodate
keyboard line
6 1 26 Alto/Tenor D# alto B natural Tenor sounded awful,
becomes
cantizans
cadential function
6 6 31 Alto 1 semibreve B 1 minim B accomodate the
lines switching
back
6 6 31 Soprano n/a double alto
minim D
complete phrase
7 1 32 Alto 1 semibreve B removed doubled in tenor
8 2 29 Tenor 1 semibreve D 2 minims D text
8 3 40 Alto 1 minim Eb 1 dotted minim
Eb 1 semiminim
D
match pattern in
soprano and
tenor, as well as
vocal line alto
8 4 41 Alto n/a added voice line
semiminims from
g-c
complete phrase
9 4 47 Tenor 1 semibreve D 2 minims D text
56
Cor mio, deh, non languire
Luzzasco Luzzaschi
arr. Ellie Walters
6
11
Soprano
S.
S.
Alto
A.
A.
T.
T.
Tenor
B.
B.
Bass
a
fai
a
ni sosmi
Cor non
gl'in
pir sos
lan re lan
l'a
gui
pi
deh re gui
de
O
a tee'l
Che
ta
dii
ri te vi
lan guir
si
co
cal di
mio te
la pie
ma
vi
mio
a
Che
la depie tee'l
fai
lan l'a
te
guir
gl'in
co
te
pir
re
ni
deh gui
a ta
ma mi di sos
si
Cor mio lan
ri
Cor
a cal piO
non
dii sos
ni
gui lan
a sos pir sosdii
non
pi
mio gui re co lan
mi
pie
ma
deh
la
cal
re
a
te
ta tee'l
di
si
guir
de
Cor Che
ri a
l'a
fai
vi
non lan
te gl'in
O
gui
pie de
sos
te
a
lan lan
ri ta
non co
sos
lan non
si
deh re
tee'l
di
gui
pi
mio
te
cal
gl'in
guir
vi
re
a O
a la
fai
l'a di ma mi i
Cor Che
ni pir
57
25
15
20
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
per vi
ta
mor
d'ai rei
d'a
Mor
ti duolme Co il
ta
S'i
guis
ti
ch'in
ques con
me
ren
lu mi
su
ti
Mor
re Mi di
po
vi
dar mo
ta
gui
tes
rain
Ma
lan
rei
S'i
Oi
mi
vi
si
dar
mi
ques
dar
re
mo
Mi
per dar
mor meil
si
lan
te
mi
Co
S'i reiMor
ta
Mor
men
gui mi
rei
ti
guis
tes
su
po
ch'in
rain
ti
ti
vi ta
ren ta Mor
duol
vi
di
Ma
lu
vi meOi
d'ai
d'a conmi
rei
S'i
ti Oi
mi
di
vi
su
ta
dar
me
meil duol
Ma
mor
si mo
vi
gui
Mor
dar
ti
per
lan mi
ren
ques
tes rei d'ai
rain
po
mi
Mor
Oi
Mor
rei me ch'in
ta rei
re CoMi cond'a
ti
lu
vi
ta
Co
po tes
rainques
ch'in
ti
vi Oi me
Mor
d'a
rei
Mi mor
Mor
re
rei
lan
ta
gui
ren d'ai Mor
rei per dar ti vi ta Ma vi
si dar mo
guis
su mi S'i ti
di conlu duolmi meil mi
58
34
39
30
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
re mo re
nell'
Chi
Ma
co
men trui toil
tien vi tienvo
pet
nell' al
tien
vo
trui
men te
te vi vo co
ta
re Chi Chi
vi guis
re
ch'in vi
vi
vi meOi
il
vo
to
mo tien
pet
Chi
al
men
toil
re Chi
mo vo tien nell'
te mo
vi truial pet
re viMa vi
Chi
co re
to
vi
il
Ma vi
co
vi
vo al
Chi
tien
guis ta
nell'
vi
tien
vo
trui
ch'in
pet
tien
Chi vo
Oi me
vi
re
vi
pet
Chi vo
to il
ch'in
vo vo co tien Chi vi
me
vi tien
guis
vo
nell'
re il co
Oi
tienChi trui al pet to
al
re
re
Chi
trui
me
vi nell'
re Ma ta vi Oi
tien
men
men te
mo
guis
vi
ta mo
te
nell'
te mo Chi
re mote Ma vi
vo
vi
vi
Oi
tien to al il co
vo
me men Chi
tiennell'
pet
ta re
toil co
trui
re
re
Chi vi vi al trui
vi vo tien Chi
ch'in
pet
guis
men vo tien
59
Table 6: Cor mio, deh, non languire
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 3 3 Soprano 1 semibreve A 2 minims A text
1 4 4 Soprano/Alto Soprano
semibreve B,
Alto semibreve E
Soprano minim
E, Alto
semibreve B
text, reduce
interval jump for
soprano
1 5 5 Tenor 1 semibreve A 1 minim A, 2
semiminims A
text
1 5 5 Tenor 1 semibreve D 2 semiminims D text
1 6 6 Tenor 1 semibreve G 2 minims G text
1 6 6 Tenor 1 semibreve F 2 minims F text
1 6 6 Bass 1 semibreve G 2 minims G text
1 6 6 Bass 1 semibreve D 2 minims D text
2 4 10 Alto 1 semiminim D removed text, also doubled
soprano
2 4 10 Tenor 1 minim F 1 semiminim rest,
1 semiminim F
preserve figure
2 4 10 Tenor 1 minim A 1 semiminim rest,
1 semiminim A
preserve figure
2 4 10 Bass 1 minim Bb 1 semiminim rest,
1 semiminim Bb
preserve figure
2 4 10 Bass 1 minim D 1 semiminim rest,
1 semiminim D
preserve figure
2 5 11 Soprano C natural C# ficta continues phrase
3 1 12 Tenor 1 minim B 2 semiminims B text
3 2 13 Soprano 2 minims A up octave follow vocal line
ornament
reduction
3 3 14 Soprano 1 semibreve G up octave follow vocal line
ornament
reduction
3 4 15 Soprano 1 semibreve A up octave follow vocal line
ornament
reduction
3 5 16 Soprano F natural F# ficta continues phrase
4 3 19 Tenor 1 minim A 2 semiminims A text
4 3 19 Bass 1 minim D 2 semiminims D text
4 5 21 Soprano 1 minim D removed text
6 1 27 Alto 2 minims B 1 semibreve B text
6 1 27 Alto tie removed tie text
6 1 27 Tenor 2 semibreves D 1 minim D, 1
semibreve D, 1
minim D
text
6 1 27 Bass 2 semibreves G 1 minim G, 1
semibreve G, 1
minim G
text
6 2 28 Alto 1 minim B removed pattern
60
6 3 29 Soprano C# C natural ficta avoids strange
melodic interval
with Bb in the
next measure
6 3 29 Alto 1 minim A removed pattern
6 3 29 Bass 1 semibreve D 2 minims D text
6 4 30 n/a 1 minim G removed doubled in bass
6 4 30 Alto 2 minims D 1 semibreve D text
6 4 30 Alto 1 minim C# 1 semiminim C# text, pattern
6 5 31 Tenor 1 minim E 2 semiminims E text
6 5 31 Tenor 1 minim D 2 semiminims D text
6 5 31 Bass 1 minim C 2 semiminims C text
6 5 31 Bass 1 minim G 2 semiminims G text
6 7 32 Bass 1 minim D 2 semiminims D text
7 1 32 Soprano F# F natural ficta derived from alto
figure
7 1 32 Tenor 2 minims D 1 semibreve D text
7 4 35 Soprano tie to ms 35 removed pattern
7 4 35 Soprano 2 minims B 1 semibreve B text
7 4 35 Alto 1 semibreve D 2 minims D text
7 5 36 Soprano 1 minim B removed pattern
7 6 37 Soprano 1 minim A removed pattern
7 6 37 Alto C natural from
keyboard line
C# from vocal
line
matches previous
repetition and the
vocal line,
keyboard line
likely error
7 6 37 Alto C# C natural ficta avoids strange
melodic interval
with Bb in the
next measure
7 6 37 Bass 1 semibreve D 2 minims D text
8 1 38 n/a 1 minim G removed doubled in bass
8 2 39 n/a 1 minim A removed not needed
8 2 39 Alto vocal line
ornament
1 semiminim d matches previous
repetition and
pattern
8 2 39 Tenor 1 minim E 2 semiminims E text
8 2 39 Tenor 1 minim D 2 semiminims D text
8 2 39 Bass 1 minim C 2 semiminims C text
8 2 39 Bass 1 minim G 2 semiminims G text
8 3 40 Alto F# F natural ficta figure from
soprano
8 3 40 Tenor 1 minim A 2 semiminims A text
8 3 40 Tenor 2 minims D 1 semibreve D text
8 3 40 Bass 1 minim D 2 semiminims D text
8 5 42 Tenor F natural F# ficta matches previous
repetition
61
I' mi son giovinetta e rido e canto
Luzzasco Luzzaschi
arr. Ellie Walters
10
6
S.
S.
Soprano
A.
A.
Alto
T.
Tenor
T.
B.
Bass
B.
au
mi
vel
sta
la
I son
do
ta
gò gel
e
ce pas
ri
to
Spie
Can rel
la
dol
gio a
me
mia
to
gion ta
cor
la
liil
no
net
l'a o
va
la Quan
do e
co
can
mi
vi
gio
mi
vi
Can pasce ta va to
ri do gion
la
net e can
o Spie
mi
la liil cor
I
co
vel mia dol
ta
no la
son a e to
Quan
sta
do l'a gò me
la
rel
do
do mi
gio vi
la Quan
va
me
net
la mia
e
ta
co
Can
cor
vel la dol ce
gò
I mi rie
no
son
gion
o Spie
ta stala can to a
pas to
liil
rel
l'a
me
gio a
Can
vi net
gò
ta
Spie
e ri
liil cor mi o
ta va la mia dol ce pas to rel
la co Quan do l'a
la
do
gion no vel
I son stato la mi can e
62
16
13
20
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
e
doet mo can to d'A la
te
Can ta
Tut
va in
più
lin
sua
to lie
tae ra Che re
fa netvi
a
vel
ve
te la toan
su
ch'i
be ma
Son rio
bi ta to men et
bel
ri
Pri
gio
den
a
den
in
più
Son
tae
Tut
to ma
o
a ve
vi ch'i
be
ta
lie
Can gio
Pri d'A
te
gel
net
la
ri
la
a
lin ta
bel
fa vel e ri
ra
te
re
men
doet
mo Che
bi
ne
toan
au su
be
toet
can
va sua
to
ra Che
fa ch'i o
d'A ne
te
gel
Can
au men
la ve
ta
bi Tut to lie
la
toet
a be
su
più
ta
toan
ma
vi net
be
e
lin
to Pri
te ri
a mo
doet
den
ri
can tae bel re
va gioin vel Sonsua
be
su den
ch'i o
bi ta
ne
men
toan
Che
te
vi
Tut
Son gio net
be a tae bel la Pri ma ve
e
can to a più
doet
re
ri
lin
mo
la
gel to lie
d'A
au
ra
vel
toet
te Can ta va in sua fa
ri
63
24
28
33
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
ch'in
gio
glioc risuoi
per te non sa
sce et el
ra
chi la
ma ve
dis
Pri
be
rà ma
gi se
ra i
sce fio fug
ti
ne
gi
fio
sei
ques
se fug i l'ar gi
ri
sag do re fug
ri
gio re l'ar do re
rà
ri
l'ar do fug
ma
gi fug
sa
gi
chi fio
i
glioc sce suoi fio sce el la
se
per te non
et
gi
i Pri ma
se
ques ti ra ra
fug
ch'in
sag
ve i
la
te
sce
sei
gi ma
el
dis
ch'in ques
sce et
ti ra
gio se i
i per
l'ar fug
fio
do l'arre
Pri
suoi
sag
chi
do re fug
glioc
gi
fio
rà
fug se
non sa
fio ri
ma ve
ri sce
gi
ri
fug gi
ra
ra ma
glioc
dis
chi
se
suoi
rà
fio
sag
sa
fug i gi se
non
ri
sei
sce
re fug
fio lael
Pri
do gi
et
fug
te
sce
do re l'ar
ch'in
gio l'ar gi
per
ri sce
ve ra
fio ri
ques iti ma
64
37
42
45
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
i
sag
ques
Pri ràsa
sei
ma
ch'in
non
fug ra
fug
gi
l'ar do
fug
i
i
te
gi i
ma
dis
ra
gio
per
gi
re
ti
ve
se se
la
ti
et
te
gi l'ar rese l'ar
non
do
gi
sag
per
fug
ra
gio
ques
el do
gi i Pri
ma
i
ma
se re
ra
fug ch'in
ve sa rà i
fug
fug
sei
ra
gi ra
i
fug gi
i et i
ma
el la
rà
l'ar
non sa
dis
i
ve
ti
per
l'ar do re
te
fug
re
gi
fug se dogio gi
ch'in ques
sag
Pri
se
ma
gi sag
ma
et se
per
el seidis
ra te
gio
fug
fug
i
i i l'ar
non
do re
ma
gi
la do
ve
ques ra
rà
re
i
ti
Pri sa
se
fug gi ch'in
l'ar
65
Table 7: I' mi son giovinetta e rido e canto
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 1 1 Alto no note doubled soprano
minim G
complete phrase
1 1 1 Alto 1 minim G 2 semiminims G text
1 1 1 Tenor 1 minim D 2 semiminims D text
1 1 1 Bass 1 minim G 2 semiminims G text
1 5 5 Alto 1 minim G 2 semiminims G text
2 1 6 Tenor 1 semibreve E 1 minim E too many beats
2 1 6 bass 1 semibreve D 1 minim D too many beats
2 2 7 Tenor 1 semibreve B 1 minim B, 1 tied
minim B
text
2 3 8 Tenor 1 semibreve B 1 tied minim B
and 1 minim B
text
2 3 8 Bass 1 semibreve G 1 dotted minim G
and 1 semiminim
G
text
2 4 9 Tenor 1 semibreve G 1 minim G and 2
semiminims G
text
2 4 9 Bass 1 semibreve E 2 minims E text
2 4 9 Bass 1 semibreve D 2 semiminims D,
1 minim D
text
3 2 12 Tenor F# F natural ficta avoids tritone
3 3 13 Tenor 1 semiminim A 2 fusas A text
3 3 13 Bass 1 semiminim D 2 fusas D text
4 4 18 Soprano 2 minims B 1 semibreve B text
5 1 18 Tenor 1 minim A 1 semiminim A, 2
fusas A
text
5 1 18 Bass 1 minim D 1 semiminim D, 2
fusas D
text
5 2 19 Bass 1 minim G 2 semiminims G text
5 3 20 Tenor 1 minim G 2 semiminims G text
5 3 20 Bass 1 minim G 2 semiminims G text
5 3 20 Bass 1 minim D 2 semiminims D text
5 4 21 Tenor 1 semiminim F 2 fusas F text
5 4 21 Bass 1 minim E 2 semiminims E text
5 5 22 Tenor 1 minim E 1 semiminim E, 2
fusas E
text
5 5 22 Bass 1 minim D 2 semiminims A text
6 1 23 Tenor 1 minim D 1 dotted
semiminim D, 1
fusa D
text
6 1 23 Bass 1 minim G 1 dotted
semiminim G, 1
fusa G
text
6 2 24 Bass 1 minim A 2 semiminims A text
7 1 27 Soprano 1 minim G 2 semiminims G text
7 5 31 Soprano 1 minim D removed doubled in bass
66
7 5 31 alto 1 minim G 2 semiminims G text
7 5 31 Alto 1 minim G raised one octave preserves figure
7 5 31 Alto 1 minim F# 1 semiminim F# preserves figure
8 1 32 Tenor 1 semiminim rest,
1 semiminim D
2 semiminims D text
9 6 41 Soprano 1 minim D removed doubled in bass
9 6 41 Alto 1 minim G 2 semiminims G text
10 1 41 Alto 1 minim G raised one octave preserves figure
10 1 41 Alto 1 minim F# 1 semiminim F#,
raised one octave
preserves figure
10 2 41 Tenor 1 semiminim rest,
1 semiminim D
2 semiminims D text
67
O dolcezze amarissime d'amore
Luzzasco Luzzaschi
arr. Ellie Walters
12
7
Soprano
S.
S.
Alto
A.
A.
T.
Tenor
T.
Bass
B.
B.
Che
Ques
ne
ris
i
si
ne
me il
gio
sco
se
ma d'A
mio do
se
mioco
lor
fà
ne
re
coil
pur
sco
t'è Che
zea
gio
pur
gio i
ben
se
O dol
sco
ben più
cez
lan
mo re
il
t'è
mio
Ques
gui me
i
ne ne
d'A pur
se
zea me t'è
Che lan più lan
se
mio
mo
lor
ris si re
gui
i
Che coil
Ques il
ben do me
ma Quesre t'è
sco
pur il
gui
mioco
i
O cez
co fà
gio
sco
dol
gio
fà
il
ben lan
Ques
sco
t'è
il più
se
me d'A re
Che
dol si zea mo
se
O ris
sco
co re
lor gio scose
me do
t'è
ne ne
gui
Ques
i
cez purmio
i
coil
pur
gio
Che
ma
mio
mo
mio lan
cez purQues t'è t'è
pur
re
sco
zea ma
sco
ilmio
fà
i
me
re
coil
ne se
co
se
Ques
gio i
Che
lor ne giogio i
ris
sco se
do
se
si
ne
più
gio
me d'A
Che
O dol
i
il sco
ne
ben gui
68
16
26
20
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
rea ro
Fug
All' hor
man
che
sco
ne mi
ga
co
rea
sin
gi teA
lu
vo
O co
de
mo
mo
All' che Con sei
A mi
hor dis ri
che fie vi
ti
All'
mi
de
rea
ti
dis sei
A
O che ro
Con
mo
mi
rea man
fie sin co
Fug
hor
vi
teA
co che lu
gi
All' hor
che
sco
ga ri
mo ne
de
Fug teA
ne
mo
O
ga
rea
co
ne man ti
mi co
lu
che
sco
sin
fie
gio
vi ri
i
mi ro hor All'
che ri
gi
de
mo
A
Con
mi
rea
mo
A
hor
co che
hor All'
rea
All'
dis
teA
rea co
mo
mo rofie
Con
che
rea man ti A mo
ri de
mi
sco
A
che
co O ne
Fug
co
vi All' hor
mi
lu ga
All' hor
rea mi
che
gi
sin
69
36
30
41
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
bian
ve
cre
è
de
men
ti Che
Et
Non sem par
stri
Et do sardi
teai
ma
ce
sem bian de
dol men
cre
All'hor
teai ti so
to
Con te che an ci
Non a
è
pian ti
ve
cru
de
Et pun docru
quel
e te gen e
len
gen ch'è
stri
Non semcre
ma
len
cre bian
men All'
che
è sar
Che
ve de
teai ti vepar
dol
Et è pun
de
ti ce ci
a
men
do Et di
ti Non so
Con
Et
bian
pian
de
quel
cru hor
teai
tean
sem
vo
tee to
ma
so
ti ce
to
sei len
men
ve dol
cre
Et è pun te gen e di sar
sem bian ve
Et cru All'
ti
do
Non
do è nu
pian
ch'è
ci
Et All'hor
dis
teai
de
teai
che men tean
cre sem Che bian
stri
de ti par a
vo
Non
Con
de
quel
gen All' ch'è
pian
pun to
ti Con quel
ma
ve
Et è
de
tee
ti Noncre
cru do
sem bian
sar
stri
Et di hor
teai
men
teai
sei vo
è
Noncre de bian sem
len
Che
che de
a ve
dol
ti so
ci
par
ce men tean
70
55
51
46
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
tee cru
nu
Et
a
to
de
ma
ch'è
do
cre
ve crudo
sem
hor
Non
ch'è
pun Et gen
Che
è
ti sopar
Et do
do
men
è
di all'
teai bian
sar nu
è
cru
Non so
gen tee
ti par
è pun
do Che
to all' hor ch'è nu do
do
bian
Et
nu sem
a Et
sar ma
teai
ve è dimen Et
cre de
Et
nu de Non par cre
a ve ma
ch'è do teai ti Che so
do all' hor
Et do Et è sar
to nu
pun cru
do
men di
hor
è
sem
all' ch'è ch'è
bian
nu
gen
hor
tee
do
sem
ma
tee
ch'è
è
nu
teai
ve
do
a è cru
nu Non de
pun
cre ti Che
sar
do
par
Et
ch'è so
Et do
to all'
nu
gen
hor
do
men
ch'è
di
nu
bian
71
Table 8: O dolcezze amarissime d'amore
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 2 2 Tenor 1 semibreve D 2 minims D text
1 2 2 Bass 1 semibreve D 2 minims D text
1 3 3 Bass 1 semibreve C 2 minims C text
1 5 5 Alto 2 semiminims A 1 minim A text
1 5 5 Bass 1 minim D 2 semiminims D text
2 3 9 Tenor 1 semibreve D tie to next
measure
text
2 4 10 Alto 1 semibreve B 2 minims B text
2 6 12 Soprano F# F natural ficta avoiding clash
with bass
3 2 14 Alto 2 semiminims F removed not needed,
preserves pattern
3 3 15 n/a 1 semiminim D removed doubled in
Soprano
3 3 15 Tenor 1 minim B 1 semiminim B text
3 4 16 Tenor 1 semibreve B 1 semiminim B doubled in Tenor,
text
4 1 17 Soprano 1 semiminim C, 1 semiminim G removed not needed,
preserves pattern
4 1 17 Soprano 1 semiminim G removed not needed,
doubled in Bass
4 1 17 Soprano keyboard line vocal line preserves pattern
4 2 18 Alto 2 minims F 1 semibreve F text
4 2 18 Tenor 2 minims A 1 semibreve A text
4 2 18 Tenor n/a tie to next
measure
text
4 3 19 Tenor 1 semibreve A 1 minim A (tied
from measure
before), 1
semiminim rest, 1
semiminim A
preserves pattern
4 3 19 Alto 1 semiminim B removed not needed
4 3 19 Alto 1 minim A removed not needed
4 4 20 Alto no note 1 minim D preserves pattern
4 4 20 Tenor 1 minim G 1 semiminim G text
4 4 20 Tenor 1 semiminim G, 1 semiminim A, 1 semiminim
B, 1 minim A, 1 minim B
raised one octave preserves pattern
5 2 22 Alto 1 minim A removed not needed,
doubled in Bass
5 3 23 Soprano 2 minims C 1 semibreve C text
5 4 24 Tenor C from vocal line removed not needed,
doubled in Bass
6 1 26 n/a 1 minim G removed not needed
6 1 26 Soprano 1 semibreve C Tied into next
measure
text
6 1 26 Alto 2 tied semiminims F 1 minim F text
6 1 26 Tenor 1 minim E, 1 semiminim E 1 dotted minim E text
6 2 27 Alto 2 minims F 1 semibreve F text
6 3 28 Soprano 2 tied semiminims A removed not needed
6 3 28 Alto n/a 1 semiminim D preserves pattern
6 3 28 Tenor 1 minim D 1 semiminim D text
6 3 28 Tenor keyboard line vocal line preserves pattern
6 3 28 Tenor 1 minim A
voice line fusa
pattern
preserves pattern
6 3 28 Tenor 1 semiminim A 1 minim A preserves pattern
6 4 29 Tenor 2 tied minims A 1 semibreve A text
6 4 29 Tenor 1 minim G, 1 semibreve A raised one octave phrasing
72
6 6 31 Tenor semibreve D, semibreve C dotted minim D,
semiminim E,
semibreve C#
preserves pattern
7 1 32 n/a 1 minim D removed not needed,
doubled in Bass
7 3 34 Tenor n/a 1 minim F Alto had no note,
follows pattern
7 4 35 Alto 1 minim A removed not needed,
doubled in Bass
7 4 35 Alto 2 minims E 1 semibreve E text
7 5 36 Alto 1 semiminim B, 1 semiminim C removed preserves pattern
7 6 37 Soprano 1 semiminim D, 1 semiminim F removed preserves pattern
8 1 38 Soprano 2 semiminims F, tied removed tie text
8 1 38 Soprano 2 semiminims F 1 minim F text
8 1 38 Alto 2 semiminims B, tied 1 minim B text
8 2 39 Bass 1 semibreve Eb 2 minims Eb text
8 3 40 Tenor 1 semibreve G, 1 minim G, tied 1 dotted
sembreve G
text
8 3 40 Bass E natural Eb ficta preserves pattern
8 4 41 Tenor 1 semiminim G removed not needed,
doubled in Bass,
preserves pattern
8 6 43 Tenor B natural Bb ficta avoiding clash
with Soprano
9 2 45 Soprano no note 1 minim G from
vocal line
preserves pattern
9 2 45 Alto 2 minims D 1 semibreve D text
9 2 45 n/a 1 minim B removed not needed
9 5 48 Soprano 1 minim D, 1 minim F removed not needed,
preserves pattern
10 1 50 Bass 1 semibreve Bb 2 minims Bb text
10 1 50 Bass 1 semibreve Eb 2 minims Eb text
10 2 51 Tenor 1 semibreve G, 1 minim G, tied 1 dotted
semibreve G
text
10 2 51 Bass E natural Eb ficta preserves pattern
10 3 52 Tenor 1 semiminim G removed text, preserves
pattern
11 1 55 Alto 2 minims D 1 semibreve D text
11 2 56 n/a 1 minim B removed not needed
11 3-5 57-59 Soprano/Alto n/a cadential function
switch
result of
removing
ornaments
11 3-5 57-59 Soprano 1 minim D, 1 semibreve D, 1 long D all tied text
73
Troppo ben può questo tiranno Amore
Luzzasco Luzzaschi
arr. Ellie Walters
5
10
S.
Soprano
S.
A.
Alto
A.
T.
T.
Tenor
B.
Bass
B.
li
sof
noA sog get
re A chi
mo toun
fi
ran re co re
ques
Per
val ne val
far
val non
to
non
Trop ti
ber tà
ti
li
noA
Se
po mo ran
val
ben può
fug
ber nontà
gi re
po re ques
chi
Trop
A non
to
Se può
toun
ne può
re Per
A
far sog li
chi
to
get
re
toun ber
ti
fug
tà valnon
val A
Trop
ne gi re
Se
fug gi
ques
val re
co
mo
co re
po ben
re
noA
Per
ran
sog
può
far
chi
get
non sof fi
po
re li
po
co
può noA
toun
non
ran
get
chi
ben
val
sog
può
ques tito
far
può
val
ber
mo
Se
Trop
non fug sof
ben
gi
Trop
tà non val Se
po ben
Per
ber tà
re
può Trop
li rene A
sof
Per
po benpuò
ne val fug gi re A chi non
li
Trop
co re Se ber
può
toun
ques
get
to
far sog
ti ran
re
noA
tà non val ne val fug gi
Per
mo re
get toun co re
Trop benpo
far sog
può
74
14
23
18
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
Non pet
ve
sof
i?
re
tar che Fugfa
pun coal
che gi
non ar
lo
dee
fa
re com'
ge
l'as
può hor
com
tal'
il
fi
suo go gio è
che
può
dis
i?
pie
fa
fi
gra I di
sof
l'as
ta toe
co sciolre
Quan
i?
do
pet
pen
tar
so
to Non
può
pet
il
A Quan
dee to pun e gra
chi
ta I
tar i?
ge di
pet
tal'
fa
ve
l'as i? che
non dopuò
ge com pie dis
pen hor
goè
co sciol
non
ar
lo
fi
che
re
dee
Non fa
so
gi
com'
ar pun
l'as tar i? Fug
sof
re to che
suo
Non fa
gio coal
ve
fa
chi
che fa Fug
pie coal
che
com
fi
co tar
ge suo toe
Non
com' dee
pet
hor
sciol
goè
re
Non
il
l'as
tal'
to
hor
l'as
ta gra
do
gi
pen
pet lo
ar
sof tal'
re
di
A
fa i?
fi so
tar
Quan
gio
re non
dis I
i? che
può
pun
i?
lo
dee
co
può
fa i? Fug gi
sof
i? che
fi re
che fa i? che fa
ve I di coal
Quan
gra
do
pie toe
chi
ta
A so pen
dis
tar
re
l'as
fi
Non pet
tal' hor
to Non l'as pet tar
non
sciol
com' go ar gioil suo pun ge com è
re
75
27
31
37
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
va
giun
to
co mi
si
Ch'i
Fug
re
ma
giun
co re stolstol
go go e
ga
ge
non
ve to
ti
Ch'i
che
ghier e va si
di co
lu
ti
ah
sin
co di
e
giun ga
si co
si
si
ah
dol
per
e si
so
ce
ma i non
meil
a
che sòi non lo gi ti Ma
ga ga
si so
lu ge
giun
giun
co
mi e
Ch'i to
go
a
si
si va
non gi ti
stol
Fug
ce
ah
ghier e e e si
Ch'i co
si
lo
ve
dol
si non che Ma
di stol re
meil
di
co
non ti
re co
ma i
ah
va go
to
che sò
co
ma i giun
sin
meil sin
co ah stol
ghier si
gi
di
i Fug
Ch'i
va
ve
go
si tore stol so a
ma lo
va
ga si che
co
si dol go
non ti
e e
ah
giun
ge
ga
mi giun
si non mache i
co re
ti
ce e
giun
to
Ma non
Ch'i
lu
sò
di co
co
co coco re ah
ti Magi giun non sò
Ch'i to di
meil
Ch'i
si ma che non i
sin
ve di
lu
ga
co sie ghier ce
Fug giun
co re
mi giun e
ti
ge va go
ga lo si che non
e si dol
i
so a stol to
ma
va go
si ah
si
stol
76
47
43
51
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
ma
Fug sigi
lo
to
lo
si i
non
gi
to
Fug
gi lo non Fug
gi gi si
ga
l'ha
Fug si
fug
ti
stol i?
lo
ma re co
che ga
che
che
fug ah
fug
i?
ti per fugi
che
gi
to
l'ha
stol to
lo fug
fug ga
Fug ti i
che
i?
che
l'ha non
i
che togi
gi
i? ti Fug si fug
l'ha
non
per fug
gi
ma toah
che
per
ma
lo
re
ga
co gi
si
ga
fug
gi
per gi
fug
fug lo to l'ha
i
i?
i? si
l'ha
non
Fug
ah
gi
si ti
gi
che fug
per che
to
ma
co re
che Fug
non
stol
i
ga ma
ti
lo che
to
i
per che lo
gi gache fug lo si ma
fug gi
Fug ti
to l'ha
l'ha i? non
ga ma i fug ah co re che stol to per
i cheFug si non ti fug
gi to
gi
77
Table 9: Troppo ben può questo tiranno Amore
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 1 1 Tenor 1 semibreve G 1 minim G, 2
semiminims G
text
1 1 1 Bass 1 semibreve G 1 minim G, 2
semiminims G
text
1 2 2 n/a 1 minim D removed not needed,
preserves pattern
1 2 2 n/a 1 minim A removed not needed,
preserves pattern
1 2 2 Bass 1 semibreve G 1 minim G, 2
semiminims G
text
1 3 3 Soprano no note 1 minim G preserves pattern
1 3 3 Tenor 1 semibreve E 1 minim E, 2
semiminims E
text
1-2 5 Line 1-5 Line 2 5-11 Soprano/Tenor n/a part switch accomodate more
of keyboard line
notes
1 6 6 Tenor F natural F# pattern from
vocal line
2 1 7 Tenor 2 minims A 1 semibreve A text
2 2 8 Soprano 1 semibreve D 2 minims D text
2 3 9 Soprano 1 semibreve A 1 minim A text
2 3 9 Tenor 2 minims F# 1 semibreve F# text
2 3 9 Bass 1 minim E 1 dotted
semiminim, 1
fusa E
text
2 5 11 Soprano 1 minim G 1 semiminim G text
2 6 12 Alto 1 minim G 2 semiminims G text
2 6 12 n/a 1 minim E removed not needed
2 6 12 Tenor 1 minim C 1 semiminim C text
2 6 12 Bass 1 minim C 2 semiminims C text
3 5 17 Alto 2 semiminims A 1 minim A text
3 5 17 n/a 1 minim A removed not needed
3 5 17 Alto no note 1 semiminim C preserves pattern
3 5 17 Bass 2 semiminims F,
1 minim F
1 semibreve F text
3 7 19 Bass 1 minim E 2 semiminims E text
3 7 19 Bass 1 minim D 2 semiminims D text
4 1 20 Bass 1 minim E 2 semiminims E text
4 4 23 Alto 1 minim G 2 semiminims G text
4 4 23 Tenor 1 minim C 2 semiminims C text
4 4 23 Bass 1 minim G 2 semiminims G text
4 5 24 Soprano 2 semiminims C 1 minim C text
4 5 24 Tenor 2 semiminims B 1 minim B text
4 5 24 Bass 2 semiminims C 1 minim C text
5 1 26 Soprano 1 minim G 1 semiminim G, 2
fusas G
text
78
5 1 26 Alto 1 minim A 2 semiminims A text
5 1 26 Tenor 1 minim E 1 semiminim E text
5 1 26 Bass 1 minim G 1 semiminim, 2
fusas G
text
5 3 28 Alto 1 minim E removed not needed,
doubles Tenor
5 3 28 Alto 2 minims G 1 semibreve G text
5 3 28 Alto 1 minim A 1 semiminim A, 2
fusas A
text
5 3 28 Alto 1 minim G 2 semiminims G text
5 3 28 Bass 1 minim F 1 semiminim F, 2
fusas F
text
5 3 28 Bass 1 minim E 2 semiminims E text
5 4 29 Alto 1 minim C 2 semiminims C text
5 4 29 Bass 1 minim C 2 semiminims C text
6 1 31 Soprano G# G natural ficta avoid clashing
with Bass
6 4 34 n/a 1 semiminim B removed not needed
6 4 34 Soprano 1 minim G raised one octave preserves phrase
6 4 34 Alto G natural G# ficta preserves phrase
6 5 35 Soprano 1 semiminim A raised one octave preserves phrase
7 5 40 Soprano 1 semiminim F 2 fusas F text
7 5 40 Bass 1 semiminim D 2 fusas D text
8 1 41 n/a 1 minim E removed not needed
8 1 41 n/a 1 minim A removed not needed,
doubles Bass
8 2 42 Alto 1 semiminim G 2 fusas G text
8 2 42 Tenor 1 semiminim E 2 fusas E text
8 2 42 Bass 1 semiminim C 2 fusas C text
8 2 42 Soprano 1 semibreve A 1 dotted minim A text
9 3 48 Alto 1 semiminim E 2 fusas E text
9 3 48 Tenor 1 semiminim G 2 fusas G, raised
one octave
text, preserves
phrase
9 3 48 Bass 1 semiminim C 2 fusas C text
9 4-5 49-50 Soprano/Alto n/a part switch accomodate more
of keyboard line
notes
10 2 51 n/a 1 minim A removed not needed,
preserves pattern
10 2-end 51-end Soprano/Alto n/a cadential function
switch
result of
removing
ornaments
79
T'amo, mia vita, la mia cara vita
Luzzasco Luzzaschi
arr. Ellie Walters
5
9
Soprano
S.
S.
Alto
A.
A.
Tenor
T.
T.
B.
B.
Bass
ta
ta
mia ta
la
T'a ra
for
mo vi mia
vi
tras
mo mia e'n a
ve
ta
e'n
vi Dol
a
ques
ce
si so
vi
la Parro
ta so
mia
ques
mo
so
mia
so che la
vi
T'a
T'a ta
ta
ce
pa siro pa
mo
ve
mi
T'a la
men te
di
la
mi
ca
mi
men
ta
ta T'a te
so
vi
mia
mo
vi
mi
ta
ce
ta
a
Dol
la ve
ques
ques
ta
so la
mo mia
so
si
T'a
T'a mia vi
vi
ta
pa Par
ra vi
ve ro che pa la
la a
la mia ca
ro
si so
pa
di ce mo e'nT'a mia
la e'n for tras
ta
ro
mo
di ce T'a T'a mo
ro
mo
la Par
so so
mia
ve ropa pa
T'a
a
la
ques
che
ta
tras for
si
a ve
mi
e'n miques
te
so
Dol ce men
ta
vi la ca mia
mo mia
si
vi
T'a
ta
ta
la
mo
so
e'n
ra
la
vi
mia vi ta
mia
vi
ta ta
Dol
ce sosi
la
mia ta
la
vi
mo mia
for
vi
ta T'a mo ce
tras
ta
mi
pa so
vi
ro
ta
T'a
ta ro
mo la a
pa
mia
e'n ques
vi
ve
so
vi
ta
che mi
ta e'n ques
ve
mia ra men te
a
T'a miamo la
so
ca
si Parla
di T'a
80
14
17
22
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
Pren
re di
teil
tos
lo
di
Spi
co
to
Per me
mo re
let
re
ce za
ne Si
e todi di
gno
cez
far
vo
re
Pren
mo
di
gno me ne
la tos toA
di
lie far
e
Per Si
ri
let
Stam so per
dol
pa nel la
re
mio
O
di pet
men
la toA
to
ta
to
pa
re far
di
Per
let
co re Per
vo to
ri
ce dol di
men
Spi
di
gno
cez di let
Si
O
lie me ne teil neme
e
Pren
far
za
la
Si
re
gno
di tos topet re mio
ta
toA lamo nel Stam
cez Pren
mo pa Spinel re la Pren re Stam di to la toA miomo pet
me ne Si gno
e
me ne
di di
men
to
Si
za
far
ri
teil Per
so
co
ce di dol
per
let
ta gno
lo lei
vo tos
re far
O di la toA
re Per
re
lie
tos
la lo
za
so
cez
mo
ce di dol
re mio
vo
pet
far
Pren
Per
re O
re
di pa per
teil me co Si gno
tos toA
ne
tos
la
ri
men
di
la totoA mo re
lie
Stam
ta far
e
Per
Pren
re
Spi
let to
me ne
di
Si
di
gno
nel
81
30
34
25
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
ni
si
a T'a ta vi
mo
la mia
ta vi
ma
a
a
l'a
T'a
ni
vi ta
ma mo
la mia
ta
la
vi si
T'a mia
a
a
si
mi mia
vi
l'a
vi ta si
mi
mia
ta
a
mia vi ta
mo
lei
la
mia
T'a
ma
ta
si
mia
a
si vi
ni mi ma
a mia mo vimo
a a
ta
mi
T'a
lei mo l'a a T'a
ta
l'a ta mia si
vi ta
vi
so
mia
per
si
ni vi
la
ta
a
lo la vi
ta
mia
la lamia mia vi
mi T'a
mia la mia
l'a
vi vita
vi ta ta la mia
ta
ta
a vi si
si
a
ni ta T'a mia
si
mo
ta
mi
la mia vi
ma
a
vi
si
a
vi
a
T'a mo
a
momia
mia vi moT'a ta mia
la
a
mia
mia vi
ta si
lei
mia vi
l'a
la
ma
ta
ni
ta
si
vi
mi
mo mia
a ta vi
si
mi
a
la
ta T'a
mia
mia vi
la
a T'a mo
vi ta
mia si a
a T'a
vi ta
mo
la
82
Table 10: T'amo, mia vita, la mia cara vita
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 1 1 Soprano 1 minim E 2 semiminims E text
1 1 1 Alto 1 minim C 2 semiminims C text
1 1 1 Tenor no note doubled alto
minim and
semiminim G
preserves pattern
1 1 1 Tenor 1 minim A 2 semiminims A text
1 1 1 Bass 1 minim C 2 semiminims C text
1 2 2 Tenor 2 semiminims G removed not needed,
preserves pattern
1 3 3 Soprano 1 minim F 2 semiminims F text
1 3 3 Bass 1 minim F 2 semiminims F text
1 5 5 Alto 1 minim D 2 semiminims D text
1 5 5 Bass 1 minim G 2 semiminims G text
1 6 6 Soprano 1 minim E 2 semiminims E text
1 6 6 Soprano 1 semiminim E lowered one
octave
preserves phrase
1 6 6 Alto 1 minim G 2 semiminims G text
1 6 6 Tenor 1 minim E 2 semiminims E texxt
1 6 6 Bass 1 minim C 2 semiminims C text
2 1 7 Soprano 1 semibreve F 1 minim F text
2 1 7 Alto 1 semibreve C 1 minim C, 1
semiminim rest, 1
semiminim C
text
2 1 7 Tenor 1 semibreve A 1 minim A, 1
semiminim rest, 1
semiminim F
text
2 2 8 Alto C# C natural ficta avoids tritone
2 5 11 Soprano 1 minim C 2 semiminims C text
2 5 11 Bass 1 minim C 2 semiminims C text
2 5 11 Bass 1 minim D 2 semiminims D text
3 1 12 Soprano 1 minim D 1 semiminim D text
3 1 12 Alto 1 minim G 1 semiminim G text
3 1 12 Alto D-E-E
semiminim
contour
uses vocal line de-d semiminim
contour
preserves pattern
3 1 12 n/a 1 semiminim E removed preserve pattern
3 3 14 Alto 1 minim F removed not needed,
preserves pattern
4 5 20 Alto 1 minim C, 1
semiminim C
removed not needed,
preserves pattern
5 1 21 Soprano 1 minim E 2 semiminims E text
5 1 21 Tenor 1 minim G removed not needed,
preserves pattern
5 2 22 Tenor 1 semiminim F# 2 fusas F# text
5 2 22 Tenor 1 minim D 2 semiminims D text
83
5 3 23 Soprano 1 minim D, 2
semiminims D
1 semibreve D text
5 3 23 Alto 1 minim G, 2
semiminims G
1 semibreve G text
5 3 23 Bass 2 minims C 4 semiminims C text
5 4 24 Bass 1 minim G 1 semiminim G, 2
fusas G
text
6 1 25 Bass 1 minim D 1 semiminim D, 2
fusas D
text
6 2 26 Alto 1 minim D 1 semiminim D, 2
fusas D
text
6 3 27 Tenor 1 minim E 2 semiminims E,
2nd E lowered an
octave
text, preserves
phrase
6 4 28 Soprano Vocal line 1
minim A
keyboard line 1
minim G
keyboard line
does not preserve
the original vocal
line contour for
the defining
figure of this
piece, but it
avoids the
dissonances
created by using
the vocal line
note
6 4 28 Soprano 2 minims C 4 semiminims C text
6 5 29 Soprano 2 semibreves C 1 breve C text
6 6 30 Bass 1 minim C 2 semiminims C text
7 3 32 Alto 1 minim D 2 semiminims D text
7 3 23 Bass 1 minim G 2 semiminims G text
7 4 33 Soprano 1 minim E 2 semiminims E text
7 4 33 Alto 1 minim G 2 semiminims G text
7 4 33 Tenor 1 minim E 2 semiminims E text
7 4 33 Tenor 1 semiminim E lowered one
octave
preserves phrase
7 4 33 Bass 1 minim C 2 semiminims C text
7 5 34 Soprano 2 minims C 4 semiminims C text
7 5 34 Soprano 1 semibreve tied to note in
next measure
text
7 6 35 Bass 1 minim C 2 semiminims C text
84
Luzzasco Luzzaschi
arr. Ellie Walters
Non sà che sia dolore
6
12
Soprano
S.
S.
Alto
A.
A.
T.
Tenor
T.
Bass
B.
B.
re vi
sua
re Ca ri
do lo ta
re Chi
non
non
Non
tee da
mo
la
re
mo vi
e non
sia
ta
mo
sua par non
la
mo re
sà
tee
che da
par
lu
re
sua par mi leg
do lo
tee gia dri
Chi
mo
do
leg
non
re Chi sà
da
re
par
la
tee
tee
non gia
par
re
lo
sia vi
ri
Chi
Non do
sà che lo ta sua re
mo da
lu
re sia
mi
che
sua Ca
la
vi dri
Non
ta
mo
dri
non mo re mo
ta
leg gia
Chi
vi
mi
che
da la monon vi ta sua Ca par tee re lu
Non do Chi lo
re do sia
ri
sia re
lo
da la parsua
tee Non
sà
sà
che
re
par
la
gia
sia
vi
do
sà
che lo
ta
leg
sà
Ca
Non
lo
re
non mo re
che sia re
dri
Chi
mo
tee
ta sua tee milu non
Chi
da
re
la
da
sua par
vi ri
Non do
85
22
17
26
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
taal
m'hà
ti
voi vi tan
Ch'A
to
to des tar
mia
to m'hà
mi
vi ci no
e
tol
gi da Son
tos
gi tol voi
to Si
to
gi
di
Vi
ma fier
lun
lun da
mor to si do hog
tan
Vi ver
ver
a no
to
vol die'
a edo ma
to
mi
voi Vi
voi
to
vi
Vi
vol
tol ver
do
ci
gim'hà
des
tan
fier ti
Si
mia
tos
Ch'A
lun
to mor
gi da taal
tar
lun ter
tohog
ver to no di
si
vi
die'
Son
mi
gi
tar no
da
ver
mi
Vi gi
da
to mor die' si tar
tol to
Ch'A mi
m'hà
die' do
gi
to tan
lun
e
to
ma
tohog Vi
ver
tos
lun
Si
a
no
gi vi ci miadi no Son
ti
to
voi
fierdes
fier des
tan
ti
voi
vol no e
da
vi
a ma tosvol Si
di
to
gi no da mia
des ti
ver Son lun
tohog gi m'hà
e
gi voi
fier
tol to
taal
da Vi
do
voi
si
tan terto vi
lun
mi
Vi ver
ci
mor tar die'
tol to
toCh'A mi
m'hà
no
86
30
35
38
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
le Se
ne le vi
vo tor noà
noim ta
vi vo
Se
le
mi
vi
voi mor tor vo tor vi
ter
noà
voi
ta Se vi
tor
fa vo
noim
tor
voi Se
mor ta
noà
vo noà voi
Se tor
vo ta
tor noà Se
vi
Se vi
tor
le vo tor
voi
le
mor
ta
Se noà
mor
noim vo
noim
vi
noim mor tor
ne voifa
Se
noà
tor
tor
ta
ta vo
le
le
vi
voi
noà
le
Se
tor
le
noà
voi
vi fa
vo tor ta tor mor
vo
noim
ta
mor
ne vi
noim
mi tortor
ta
taal
ta
Se vi
le
noà
voi
voi vovi
tor
le
mor
Se
noim
ter
Se vi vo Se vi vo
le
ta
mor ta
fa tor no le Se vovi à
mor
ta
voi
le
noà
tor
ne tor fa voi
noim
noim mor
mor
ta
noim vovi ta le Se tor
ta le tor noim
le tor
87
Table 11: Non sà che sia dolore
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed Notation Reason
1 2 2 Alto tied notes removed text
1 2 2 Tenor 1 semibreve D 2 minims D text
1 4 4 n/a 1 minim D removed not needed,
preserves pattern
1 4 4 Bass 1 semibreve D 2 minims D text
2 1 8 Bass tied notes removed text
2 4 11 n/a 1 minim G removed not needed,
doubled in tenor
2 4 11 Soprano 2 minims B 1 dotted minim B,
1 semiminim B
preserves pattern
2 5 12 Bass 1 dotted
semibreve B
3 minims B text
2 6 13 Bass 1 semibreve F 2 minims F text
2 9 16 Tenor Bb B natural ficta preserves phrase
3 5 21 Alto 1 minim Eb, 1
semiminim D
raised one octave preserves phrase
3 5 21 Bass 1 minim C 2 semiminims C text
3 6 22 Bass 1 minim C 2 semiminims C text
4 1 22 Alto 1 minim D tied into next
measure
text
4 2 23 Alto 1 semibreve C raised one octave preserves phrase
4 2 23 Alto C natural C# ficta preserves phrase
4 6 27 Tenor 2 semiminims G 1 minim G text
5 1 28 Alto keyboard line use vocal line
measure entirely
preserves pattern
5 5 32 Soprano 1 semibreve tied into next
measure
text
6 3 35 Soprano 2 tied
semiminims G
1 minim G text
6 3 35 Alto 3 minims D 1 dotted
semibreve D
text
6 3 35 Tenor 1 semibreve G 1 minim G, 1
semiminim rest, 1
semiminim G
lowered one
octave and tied to
fusa G in next
measure
text
6 4 36 Tenor n/a add 1 fusa G text
6 4 36 n/a 1 semiminim A removed not needed
6 4 36 Soprano Bb B natural ficta preserves phrase
6 4 36 Soprano 1 semibreve D 1 minim D, 1
semiminim rest, 1
semiminim D
text
7 3 39 Soprano 2 minims D 1 semibreve D text
7 4 40 Soprano 2 semibreves E 1 breve E text
88
7 4 40 Alto 2 semibreves G 1 minim g tied to
previous measure,
1 minim G, 2
semiminims G, 1
minim G
text, rhythm from
vocal line
7 4 40 Tenor 2 semibreves C 1 breve C text
89
Occhi, del pianto mio cagione
Luzzasco Luzzaschi
arr. Ellie Walters
7
12
Soprano
S.
S.
Alto
A.
A.
T.
T.
Tenor
B.
Bass
B.
to
te
ti
con
mio
piomar
te emi mor
te
Oc
fi
vi pre goho
ne
La re
o
sta
ca
nir
fi
o
mi gio gio
scia
chi
mor
ri
con to ri
ca du ro ne em
mi
mio
mo
e
La mai
e
del pian del
te
nir
scia
re
re
fi
Oc du
fi
La
mio
mor
del
re e
fi
goho mor
te
pre con
piomar
ti
nir
e ti
pio
ne
mar
e con
scia
del
con
pian
mor te
re
chi gio mio du e del
vi
fi
te
ca
nir
roem
ri
mi
mio
to o mi
nir
roem
nir to
mai
e sta
mo ri te
te
ca
ri
te
mio
ti mi
del marro pian em ti pio
re vi
to o mi
fi
Oc du
re
to
chi
mar
sta
scia maipre goho
to
mio
o
del
e
sta
re La
ri
ne e
nir
mo morri
gio
con
mio
ti
mio
mar
e
fi
con mor
te
to mi o ca
o
mai
nir
gio ne e
nir
del pian
ri
te movi pre mi
to
mi scia ri
mio
La goho
ri sta
pio
e
roem
sta
chi
re fite
Oc
mor
te
con
re La scia
del
to
mio du
90
27
22
17
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
sce
Che'l
do
de
Più cre fiam
to ri
e
tro
pr'ar
de
desem
mo ro
la
on
so
ma fiam ma
glio
dar a guar
mia
do
sa
sta mi vos
on
dol ceet
vi
sem
con
ta Ren
pr'ar
o horTal ai
do
ta
Che'l ace dol et
on de
hor
glio
con ro
do
guar
de
tro so
Ren e
dar
sce pr'arde do
ta
Tal
cre la
vi
ma do
do sa mia
pr'ar
ai
Più
mi ta
fiam sem sem
o vos mo
on
do sa vi
sce
mia ta
vos
Più
tro
de
o
do
Che'l
pr'ar
guar
la pr'ar
so
ta Tal
on
do
a mo
ro glio
sem
ceet
Ren
ma on
mi Tal hor dol
de de
dar ai conhor
e fiam cre sem
ro
vi
pr'ar
Più
o Che'l
sem
vos
de
trodar
on
mi guar ai
de e
horcon dol ceet a mo
do Ren
ta Tal
la fiam ma
do glio
sce
so
cre sce e cre
sa mia ta
91
37
32
41
S.
S.
S.
A.
A.
A.
T.
T.
T.
B.
B.
B.
e cre
de
Più do
sem
mo
pr'ar
vos a glio
mia
Che'l horTal
vi
ta
do on do
do
de
ma on
ai
ta Ren
sem pr'ar
dar ro
fiam
guar
de ma
mi sodol ceet
sa la fiam
con
sce
tro do
mo
Ren ma
do
vi ta
Tal
de
sem pr'ar
a
de
guar
do on de
sa mia
ai
e cre
so
glio
sem
sce
dar
la fiam
pr'ar
Più
Che'l mi ta
do
vos conhor tro ce dol et
do
on
ro
sem
soguar
ta
ro
ma
dar ai ta moTal
do Più cre
Che'l mi
do
Tal
do
con
sce
on
hor
e
de pr'ar
tro hor
sem
vos
vi
a
de
sa
on
la fiam
do
do de
dol ceet
glio
pr'ar
mia Ren
cre
Più
vi e ta
do
ma
ceet
Ren e
glio
cre
vos tro
de
a
mia
on pr'ar
Che'l
la do fiam
do
sce
dar ai mi
sa
mo
de sem
ta con soTal hor ro
sce
dol guar do
92
Table 12: Occhi, del pianto mio cagione
Print Line Print Measure Edition Measure Edition Vocal
Line
Original Notation Changed
Notation
Reason
1 2 2 Alto C natural C# ficta preserves phrase
1 3 3 n/a 1 minim B removed not needed
1 4 4 Alto 1 semibreve E 2 minims E text
1 5 5 Alto 1 minim F 2 semiminims F text
1 7 7 Tenor 1 semibreve B 2 minims B text
2 1 7 Bass 1 minim A 1 dotted
semiminim A, 1
fusa A
text
2 2 8 Soprano n/a use voice line
measure
preserves pattern
2 2 8 Alto n/a use voice line
measure, use fusa
for second note
preserves pattern
2 2 8 Bass 1 minim C 1 dotted
semiminim, 1
fusa C
text
2 4 10 Alto G natural G# ficta preserves phrase
2 6 12 Tenor 2 minims D, 2
semiminims D
1 dotted
semibreve D
2 6 12 Tenor 2 fusa D, 1
semiminim D
1 minim D text
2 6 12 Bass B natural Bb ficta avoid clash with
Alto
2 7 13 Tenor two minims E dotted minim E, 2
fusas D E
preserves pattern,
matches other
repetition
2 7 13 Bass 2 minims C 1 sembreve C text
3 1 14 Bass 1 semibreve D 2 minims D text
3 3 16 Tenor 1 semibreve Bb 2 minims Bb text
3 3 16 Bass 1 semibreve G 2 minims G text
4 1 20 Tenor 1 semiminim A tied into next
measure
text
4 1 20 Bass 1 minim D 1 dotted
semiminim D, 1
fusa D
text
4 2 21 Tenor 1 semiminim G removed not needed
4 2 21 Soprano keyboard line use voice line
measure, add 1
fusa G
preserves pattern,
rectifies missing
note
4 4 23 Alto 1 minim D tied into next
measure
text
4 4 23 Bass 1 semibreve A,
minim A
1 minim A, 1
semibreve A
text patterm
5 1 25 Tenor 2 tied minims D 1 semibreve D text
5 2 26 Alto 2 minims A 1 semibreve A text
5 2 26 n/a 1 minim D removed not needed
5 2 26 Tenor 1 minim D 1 semibreve D,
raised one octave
text
93
5 2 26 n/a 1 minim B removed not needed
6 2 31 Bass 2 semibreves E 1 breve E text
6 5 34 Tenor 2 semiminims B 1 minim B text
6 5 34 Tenor 2 semiminims A 1 minim A text
6 5 34 Tenor 1 minim A tied into next
measure
text
6 5 34 Bass 1 minim D 1 dotted
semiminim D, 1
fusa D
text
6 6 35 n/a 1 semiminim G removed not needed
6 6 35 Soprano 1 semiminim D 1 dotted
semiminim D, 1
fusa G
text
7 1 35 Soprano 2 minims C 1 semibreve C text
7 2 36 Bass 1 semibreve A 2 minims A text
7 2 36 Bass 1 minim tied into next
measure
text
7 3 37 Alto 2 tied minims 1 semibreve D text
7 4 38 Soprano 1 minim G 1 semibreve G text
7 4 38 Soprano 2 tied minims E 1 semibreve E text
7 4 38 Tenor 2 tied minims D 1 semibreve D text
7 5 39 Alto 2 minims A 1 semibreve A text
7 5 39 n/a 1 minim D removed not needed
7 5 39 Tenor 1 minim D 1 semibreve D,
raised one octave
text
7 5 39 n/a 1 minim B removed not needed
7 6 40 Soprano 1 semiminim E removed not needed,
doubled in Alto
7 6 40 Soprano 1 semiminim A 1 minim A text
94
Bibliography
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1924): 475-484.
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Rome around 1600. Boehlau Verlag, 2018.
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1395-1598.” In The Court Cities of Northern Italy: Milan, Parma, Piacenza, Mantua,
Ferrara, Bologna, Urbino, Pesaro, and Rimini, edited by Charles M. Rosenberg, 196-
245. Cambridge University Press, 2010.
Coluzzi, Seth J. Guarini’s “Il Pastor Fido” and the Madrigal: Voicing the Pastoral in Late
Renaissance Italy. Routledge, 2023.
Coluzzi, Seth J. “Structure and Interpretation in Luca Marenzio’s Settings of Il Pastor Fido.”
PhD diss., University of North Carolina at Chapel Hill, 2007.
Dill, Charles W. “Non-Cadential Articulation of Structure in Some Motets by Josquin and
Mouton.” Current Musicology 33 (January 1982): 37-55.
Einstein, Alfred. “Italian Madrigal Verse.” Translated by A. H. Fox Strangways. Proceedings of
the Musical Association 63, (1936-1937): 79-95.
Francisco, Paulina. “The Virtuosi of Ferrara: The Concerto delle Donne 1580-1601.” Master’s
thesis, University of Southern California, 2017.
Franklin, Harriet Apperson. “Musical Activity in Ferrara, 1598-1618.” PhD diss., Brown
University, 1976.
Gilbert, Adam Knight. “Iuxta artem conficiendi: Solmization and Counterpoint ca. 1500.”
Historical Performance 2 (2019): 25-54.
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Women as Singers.” PhD diss., The City University of New York, 1987.
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306-318.
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Alternative to Basso Continuo.” Early Music 26, no. 1 (February 1998): 51-64.
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Renaissance.” Master’s thesis, McGill University, 2006.
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Soprani, Fatti per la Musica del gia Ser. Duca Alfonso d’Este. Rome: Simono Verovio,
1601.
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Newcomb, Anthony. Text. Vol. 1 of The Madrigal at Ferrara: 1579-1597. Princeton University
Press, 1980.
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Newcomb, Anthony. “The Three Anthologies for Laura Peverara, 1580-1583.” Rivista Italiana di
Musicologia 10 (1975), 329-246.
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Manuscripts and Prints from 1590-1610.” PhD diss., Yale University, 1962.
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Stras, Laurie. Women and Music in Sixteenth-Century Ferrara. Cambridge University Press,
2018.
Tactus. “Madrigali per Laura Peperara.” https://www.tactus.it/tc530001-luzzasco-luzzaschi1545-1607-jaches-wert-1535-1596-lodovico-agostini-1534-1590-paolo-virchi-1551-
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Treadwell, Nina. “‘Simil combattimento fatto da Dame’: The Musico-theatrical Entertainments
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27-40. Routledge, 2002.
97
Appendix A: Texts and Translations
Aura soave di segreti accenti144
Aura soave di segreti accenti
che penetrando per l’orecchie al core,
svegliasti là dove dormiva Amore;
per te respiro e vivo
da che nel petto mio
spirasti tu d’Amor vital desio.
Vissi di vita privo
mentre amorosa cura in me fu spenta:
hor vien, che l’alma senta
virtù di quel tuo spirito gentile
felice vita oltre l’usato stile.
Sweet breeze of secret sounds that,
penetrating through the ears to the heart,
awoke Love, where he was sleeping;
because of you I breathe and live,
since you breathed into my breast
Love’s living desire.
I lived deprived of life
while loving care had died out in me:
Now come, so that the soul might feel
– by virtue of this your gentle spirit –
a happy life, not as it has become
accustomed.
O primavera, gioventù de l’anno145
O primavera, gioventù de l’anno,
bella madre de’ fiori,
d’erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de la speranze mie.
Tu ben sei quella
ch’eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
Sweet spring, full of the year’s sweet youth,
progenitor of flowers,
the force that through each stem drives new
desire!
Now you return; but not
to me return those days
of splendor in the grass.
You are the same as once
you were, graceful and beautiful, but I
will never be again what once I was—
dear in another’s heart.
144 Stras, Women and Music, 262-263. 145 Jones, Poetry Precise and Free, 172.
98
Ch’io non t’ami, cor mio?146
Ch’io non t’ami, cor mio?
ch’io non sia la tua vita, e tu la mia?
Che per novo desio
e per nova speranza, i’ t’abbandoni?
Prima che questo sia,
morte non mi perdoni.
Che se tu se’ quel core, onde la vita
m’è sì dolce, e gradita,
fonte d’ogni mio ben, d’ogni desire,
come posso lasciarti, e non morire?
Stop loving you?
Let go of living life in you?
Hunt some new hope
of happiness apart from you?
Impossible!
I’d rather die;
you are all that I am,
my only life,
the source of all that I hold dear.
Could I abandon that, and live?
Stral pungente d’Amore147
Stral pungente d’Amore
Di cui segno è il mio core
Deh, fa che in me t’aventi
Per trarmi all’ultime hore
O quell bel petto tenti
Sì duro a’ miei lamenti.
O piercing arrow of Love,
Which targets my heart,
Please agonize me—
send me to my impending expiration,
Or else charm that beautiful breast,
Which remains unmoved by my laments.
Deh, vieni hormai, cor mio148
Deh, vieni hormai, cor mio
A l’usato soggiorno
Ché già sen vola a l’occidente il giorno,
E la mia vita stanca
Non men che ‘l giorno manca
Vieni, consoli il mio cordoglio atroce
Quella beata voce
E fieno spirto al mio languir, tue note
E fieno al sol, ch’ha già nel mar le rote.
Come, my heart (my love)
To the usual place
Since the day is already flying west
And my weary life
Is fading just as the day.
Come, blessed voice and
Console my desperate sorrow, That
your words may bring life to my languishing
And halt the sun, already retiring to the sea.
146 Jones, Poetry Precise and Free, 132. 147 Francisco, “The Virtuosi of Ferrara,” 52. 148 Francisco, “The Virtuosi of Ferrara,” 55.
99
Cor mio, deh, non languire149
Cor mio, deh non languire
Ché fai teco languir l’anima mia
Odi i caldi sospiri
A te gl’invia
La pietate e ’l desire
Mira in questi d’amor languidi lumi
Come il duol mi consume
S’io potessi dar morendo aita
Morrei per darti vita.
Ma vivi, ohimé, ché ingiustamente more
Chi vivo tien nell’altrui petto, il core.
Oh, do not languish, my heart
For you make my soul languish as well.
Listen to the warm sighs that
Pity and desire
Impress upon you.
Look in my love-sick eyes,
How sorrow is exhausting me.
If my death could be of any help,
I would die to give life to you.
But you, alas, live, as he unfairly dies,
Whose heart lives in the other’s breast.
I mi son giovinetta e rido e canto150
I mi son giovinetta e rido e canto
a la stagion novella
Cantava la mia dolce pastorella
Quando l’ali il cor mio
Spiegò come augellin subitamente
Tutto lieto e ridente
Cantava in sua favela
Son giovinetto anch’io
e rido e canto a più beata e bella
Primavera d’Amore
Che nei begli occhi suoi fiorisce
Et ella: “fuggi se saggio sei, dissei, l’ardore
Fuggi, ché in questi rami
Primavera per te non sarà mai.
“I am a young girl and I laugh and sing
unto the new season”,
Sang my sweet shepherdess
When my heart suddenly
Spread his wings like a little bird,
All happy and laughing,
Sang in his own language,
“I am a young boy too
And I laugh and sing to a more blessed
and beautiful Spring of Love
Which blooms in her beautiful eyes
And she said: “Flee, if you are wise, lust,
Flee, because in these branches
You will never find Spring.”
149 Francisco, “The Virtuosi of Ferrara,” 59. 150 Francisco, “The Virtuosi of Ferrara,” 63.
100
O dolcezze amarissime d’amore151
O dolcezze amarissime d’amore O most bitter sweetness of love
Quest’è pur il mio core152
Quest’è pur il mio core;
quest’è pur il mio ben: che più languisco?
Che fa meco il dolor se ne gioisco?
Fuggite Amor amanti: Amore amico
o che fiero nemico.
Alor che vi lusinga, alor che ride,
condisce i vostri pianti
con quel velen, che dolcemente ancide.
Non credete ai sembianti:
che par soave, ed è pungente, e crudo,
e men è disarmato alor ch’è nudo.
I know she is my life,
she is my own; then why so sad?
My joy has turned to sorrow . . .
Lovers, stay far away from Love!
He’ll stab you in the back;
he’ll lead you on, he’ll smile at you,
then medicate those wounds
with balm that soothes you while it kills.
Don’t trust his easy looks—
“so cute”—“only a laughing boy”—
that’s when he is most dangerous!
Troppo ben può questo tiranno Amore153
Troppo ben può questo tiranno Amore,
Per far soggetto un core
Se libertà non val, né val fuggire
A chi non può soffire.
Quando penso tal’hor com’arde e punge
Com il [suo] giogo è dispietato e grave
Io dico al core: “Stolto, non l’aspettar! Che
fai?”
Fuggilo sì che non tu giunga mai.”
Ma non so come il lusinghier mi giunge
e sì dolce e sì vago e sì soave
Che dico: “Ah, core stolto
Perché fuggito l’hai?
Fuggilo sì che non ti fugga mai.”
Too easily has this tyrant Love
Taken the heart as his subject.
Freedom has no worth, nor does fleeing,
To those who cannot suffer.
When I think of how he burns and prickles
And how his yoke is merciless and grave,
I say
To my stupid heart: “Don’t wait for him!
What are you doing?
Run, so that he cannot reach you!”
I know not how, but his flattery still charms,
so loving, dreamy, and sweet
That I say to my stupid heart:
“Stupid, why did you run from him?
Flee (Catch him) in a way he can never
escape!”
151 Coluzzi, “Structure and Interpretation,” 530. 152 Jones, Poetry Precise and Free, 122-123. 153 Francisco, “The Virtuosi of Ferrara,” 75.
101
T’amo, mia vita, la mia cara vita154
T’amo, mia vita, la mia cara vita
dolcemente mi dice, e ’n questa sola
sì soave parola
par che trasformi lietamente il core,
per farmene signore.
O, voce di dolcezza, e di diletto,
prendila tosto Amore;
stampala nel mio petto;
spiri solo per lei l’anima mia:
T’AMO MIA VITA, la mia vita sia.
“My life, I love you,” said my love.
Those simple words transformed my life,
infusing me
with joy; deliciously, they gave
me back my heart!
May Love take hold of those sweet words
and fasten them
deep in my chest,
so every breath will be of love.
“My life, I love you” will be my life!
Non sa che sia dolore155
Non sa che sia dolore
Chi dala vita sua parte e non more
Cari lumi leggiadri, amato volto,
Ch’Amor mi die’ sì tardo e fier destino,
Sì tosto oggi m’ha tolto.
Lungi da voi? Tanto vicino
Son di mia vita al termine fatale
Se vivo, torno a voi, torno immortale.
One who parts from their love, without
dying
Does not know the meaning of grief.
Dear graceful eyes, beloved face
That Love gave me so late [in life] and
Proud Fate took from me this day.
How do [I] live without you?
I am nearing the end of my fatal life
If I live, I will come back to you, immortal.
Occhi, del pianto mia cagione156
Occhi, del pianto mia cagione
E del mio duro empio martire
Lasciatemi, vi prego, hamai morire
e con morte finir mio stato rio
Che’l Vostro darmi aita
Tal’hor con dolce et amoroso guardo
Più dogliosa mia vita
Reade e cresce la fiamma,
onde sempr’ardo.
Eyes, cause of my tears
And of my harsh and ungodly torment
Please, let me die
In order to end my unbearable state
Because through your help,
Sometimes with sweet and loving look,
my life becomes more painful
And the flame that burns within me,
continues growing.
154 Jones, Poetry Precise and Free, 100. 155 Francisco, “The Virtuosi of Ferrara,” 83. 156 Francisco, “The Virtuosi of Ferrara,” 87.
102
Abstract (if available)
Abstract
Luzzasco Luzzaschi’s 1601 Madrigali… per cantare et sonare for one, two, and three sopranos is a written representation of an unwritten practice: the Concerto delle donne in Ferrara during the 1580s and 90s. Luzzaschi’s document reveals some aspects of the performances by the singing ladies of Ferrara through his written-out ornamentation as well as his use of both partitura and intavolatura notation for a good vertical alignment of parts. Luzzaschi’s intavolatura consists of a consistent four-part texture, which can be de-intabulated to reveal a possible four-part vocal model. My de-intabulations are very keyboard-like and can be sung for the purposes of examination of that texture created by the nature of intavolatura notation and the process of notating intavolatura. The introduction provides background on the Concerto delle donne, Luzzaschi, and Ferrara. Chapter 1 discusses intabulation and intavolatura, and chapter 2 covers my changes to the notated intavolatura in the process of creating a four-voice edition. Chapter 3 discusses the poetic genre of the madrigal and the poetry in Luzzaschi’s Madrigali, and chapter 4 presents my four-voice edition of Luzzaschi’s 1601 Madrigali print.
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University of Southern California Dissertations and Theses
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