7#$G#Z?TV\V\V\4V(WHWVXXXX.XDX`X` XxXX YZ*ZCVZY1ZZZZZZZZZ I Introduction This edition presents transcriptions in modern notation of the anonymous six-voice madrigals of La piu divina, et piu bella musica...a sei voci. Composti per lo Eccellentissimo Verdelot (RISM 154116). Though many of the attributed pieces from this collection have been transcribed, the anonymous works, which comprise over a third of the print, have not. Scholars studying the sixteenth-century madrigal have placed most of their emphasis on works bearing attributions. Archival research, transcriptions into modern notation, and analysis have helped us outline the basic biographical information and stylistic attributes of composers considered important to the development of the genre. We also assume that composers who worked in close proximity or had access to each other's work formed circles of interaction and exchange, sharing techniques and innovations. However, because we lack the biographical information necessary to place anonymous works within the musical interactions of the time, they have found no place in the history of the genre. But anonymous madrigals represent a large portion of the works that have come down to us, and by ignoring them we are in danger of creating a false perception of the genre. Though we cannot place such works in a composer's output, or in a certain circle of influence, we also cannot assume that they were unimportant or lacked influence. Our inability to fix their place in the tradition does not remove them from it. In studying these unattributed pieces we gain insight into a large body of works which were in circulation in the first part of the sixteenth century, and whose composition must have sprung from the same cultural and musical context as those of the recognized composers of the day. Perhaps more importantly, a survey of these unattributed works helps us shed our bias toward the composer as the main point of entry for studying the repertory. The editor hopes that this edition will be the first step in bringing these works to the attention of scholars and performers. The Print The resounding title La pi divina, et pi bella musica. .. a sei voci. Composti per lo Eccellentissimo Verdelot announces the first printed edition devoted solely to six-voice madrigals. The collection must have been popular, for Gardano reprinted it, with additions and deletions, in 1546 (154619) and 1561 (156116). Despite the emphasis on Verdelot in the title, only six of the thirty-one compositions in the first edition are ascribed to that composer. Four are ascribed to Maistre Jan, but one of these, Ditemi o diva mia, is ascribed to Verdelot in 154619. Two bear ascriptions to Arcadelt, and one each to Gombert, Jachet Berchem, Finot, Adrian [Willaert], Nollet, and C. Festa. The remaining thirteen are not ascribed, although two of them, Quando nascesti amore and No vi lasser mai, are assigned to Maistre Jan in 154619. Eleven pieces then, the largest group by far, are anonymous in all editions. Opinions differ on the authorship of these eleven pieces. Emil Vogel and Alfred Einstein assume that Verdelot was their composer, and Donald Hersh states, It seems reasonable to assume Verdelot's authorship for most of the anonymous madrigals, especially since they appear in publications purportedly devoted to the composer. Verd a 6 [154116] is an egregious case in point: Gardane entitles the collection with unabashed fervor. . .Despite the panegyric, Verdelot seems to play a relatively minor role in his own "divine" collection, for his name is associated only with six out of a total of thirty-one madrigals. Eight other composers are named for twelve of the compositions; thirteen unsigned madrigals remain to be accounted for! Later editions assign two of these to Maistre Ihan. The others, presumably, were composed by Verdelot... A thorough study of these pieces reveals no major stylistic discrepancies, in any one of them, that would set them apart from the madrigals of Verdelot. However, Iain Fenlon and James Haar support anonymity, pointing out that the anonymous pieces are not ascribed to Verdelot in the later editions. Perhaps Gardano, in an effort to promote his unique collection of six-voice madrigals, gave it a dramatic title and used Verdelot's name on the title page to attract attention. By not ascribing thirteen of the pieces, Gardano undoubtedly hoped that potential customers would assume the pieces to be by Verdelot. This minor deception allowed Gardano to implicate Verdelot as the composer, without having to falsely ascribe the pieces. It seems unlikely that Gardano would ascribe only six of the pieces to Verdelot if he knew that many others were also by that composer. The Music The madrigals in this edition contain a wide range of stylistic approaches. Textures vary from chordal writing to imitative polyphony. Though text setting is mostly syllabic, short melismas occur in some pieces. The composers employed no standard choice of voice combinations (the quintus and sexta double in a variety of ways), and show no partiality to particular modes. Such a lack of stylistic uniformity is typical of the early madrigal. Indeed, both the attributed and the anonymous madrigals of 154116 are similar in sharing a diversity of approaches to the six-voice genre. The lack of uniform structural or stylistic approaches makes attribution of the anonymous works difficult. There are no devices used in the attributed works of Verdelot in 154116 which are not found in the works of other composers in the print. Because of this, attributing the anonymous works included in my edition to Verdelot would be highly speculative. The Edition The edition will provide, for the first time, a practical, performable version of the eleven anonymous madrigals. The original name of each voice, as well as the clef, key signature, and mensuration sign, are included in an incipit at the beginning of each piece. The clefs have been modernized to the appropriate G and F clefs, and note values reduced by half. Accidentals in the original have been placed within the staff. Editorial accidentals appear above the appropriate note, and have been added in accordance with the following principles: 1. To avoid tritones between voices. 2. To avoid melodic tritones. 3. When a melody rises one note above the upper note of a hexachord. 4. At cadences, where a sixth expands to an octave or a third contracts to a unison. However, when the use of ficta would result in a cross-relation I have chosen not to apply editorial accidentals. Original spellings and punctuation have been retained and standardized to agree with the majority of parts. Text repeats indicated by ij in the original are entered without indication. Notes The following editorial corrections to the original have been made: No. 6. mm. 18-19 Tie removed in bassus. No. 6. mm. 59 Two beats removed from cantus. No. 14. mm. 29-30 e1 changed to f1 in sexta pars. No. 14. mm. 60 One measure of rest deleted from sexta pars. No. 25. mm. 71 Two beats of rest deleted from sexta pars. mm. 74 Two beats of rest added to cantus. mm. 82-83 Two beats of rest added to tenor. Texts 2. IN ME CRESCE L'ARDORE In me cresce l'ardore in voi l'orgoglio In me cresce la fed' in voi l'inganni Io cerch' il vostro ben voi gli mei danni A dunque con ragion di voi mi doglio Deh non pi tant' offese Che di vostre voglie accese Per vostri fieri sdegni non mi spoglio Anzi d'amarv' ognhor cresc'il desio Per ragion e ben che siate mio Ardor grows in me, in you pride. Faith grows in me, in you deceit. I look for your good, while you try to hurt me. Thus with good reason I complain. Enough of such offenses. I can't lose my ardent desire for you in spite of your scorn. On the contrary, my love for you ever grows. For that reason you have to be mine. 6. PIANSI DONNA PER VOI Piansi donna per voi gi molto tempo E ogni mio piacer rivols' in stento Allhor ch'io mi pensai L'alme bellezze vostr' innanzi tempo Esser spente da mort' in un momento Ma poi ch'el non fu ver in ris' i guai Di subito cangiai E all' afflitta vit' un tal contento Me ne segu che quas' a non mentire Fui di dolcezza poi press' al morire I've cried for you a long time already. All my pleasures turned to pain when I believed that your divine beauty had come to death. When I discovered that it was not true I quickly passed from lament to laughter, and such joy came to my afflicted life that truly, I almost died of happiness. 11. QUANDO BENIGNA STELLA Quando benigna stella Degno mi fe mirar vostre beltade La cara libertade A un vostro sguardo me si fe ribella E mi nacque nel cor fermo desio Di non esser pi mio Anchor che sol il mio pensier intento Per farvi di me donno Mostromi nel bel viso Tutto quel ben che sta nel paradiso When a kind star made me worthy to admire your beauty, my dear freedom, at your glance, rebelled against me and my heart conceived a firm desire to no longer be its master. Although my aim was to make you my master, I see, in your face, all the good in paradise. 12. QUESTE NON SON PIU LAGRIME (Ariosto) Queste non son pi lagrime che fuore Stillo da gli occhi con s larga vena Non suppliron le lagrime al dolore Finire ch'a mezz'er 'il dolor a pena Dal fuoco spinto hor' il vital' humore Fugge per quella via che gli occhi mena e quel che si versa entrar' insieme Il dolor' e la vit' allhor estreme These are no longer tears that drop from my eyes so copiously. The tears were not enough for my grief: they came to an end before my grief was half expressed. Urged by fire, my vital spirit is now escaping by the ducts which lead to the eyes: this is what is now spilling out, and with it my sorrow and my life will flow out at its last hour. 14. IT'A VOSTRO BEL HAGGIO It'a vostro bel haggio Con la mia donn' amant'a far l'amore Mostrat' a pruov' il vostr' alto valore Che pi timor non haggio Ch'el fuoco suo ver me torni minore Lei m'ha donat' il core C'haver poteti voi dal mio bel sole Se non per ben servir frasch' e parole Go lovers, at your leisure, to court my lady and to prove your great worth. I fear no longer that her desire for me may lessen. She gave me her heart. What can you obtain from my beautiful sun but idle talk and words? 18. LA DOLCE VISTA La dolce vista della donna mia tal ch'io non cognosco quale sia E ver ch'io vorrei Che sol a gli occhi mei Havesse porto qualche dolce sguardo A me miser ch'io ardo Cagion sol un pensier che regn' in lei Onde convien che pur al fin m'aggiacci O ver ch' amor ne snodi i duri lacci So sweet is the sight of my lady that I cannot comprehend it. It is true that I would like her to bestow on me alone her sweet glance. Oh poor me, I am consumed by the thought of her. Therefore, I must have her at last, or free myself of life's strong bonds. 19. MANDATI QUI D'AMOR Mandati qui d'amor noi siam venuti Donne gentil' e belle A cantarvi gli' ardori Che chiusi ogn' hor portiam nei nostri cori Onde cantando ringratiam le stelle C'hanno concesso un giorno cos lieto ch'anzi del vostro aspetto Direm cos cantando al vostr' honore Lasciandovi nel fin e l'alme e il core Sent here by love we came, kind and beautiful women. We sing to you the desire which we constantly carry in our hearts. Thus singing we thank the stars that grant us such a happy day. Indeed, we will praise your appearance, sing in your honor, and leave with you, in the end, both our hearts and souls. 20. DOLCE NEMICA MIA (L. Cassola) Dolce nemica mia nel cui bel gremio Amor s' annida e per maggior diletto Si benda gli occhi e il vostro bianco petto Mirando bass' e dice -Quest' quel sen felice La cui bellezz' in pi de mille carte Chiascun' essalta e la pi degna parte Tengo per mio bel seggio- Quest' madonn' il sen onde vaneggio Oh my sweet enemy, in whose breast Love has made its nest and for greater pleasure blinds himself, looks upon your white breast and says: "This is the happy breast whose beauty is praised in a thousand poems, and whose worthiest part I hold as my own," this my lady, is the breast for which I rave. 24. TU CHE POTEVI Tu che potevi sol in quest' etade La pi candide rose e pi fresch' herbe Coglier per queste rive e le superbe Frond' inchinar col preggio d'onestade Anima bella sopra ogni beltade Mira del ciel il sasso che riserbe La sparsa spoglia tua et le mie acerbe Piaghe che fan' a me di me pietade E vedrai fior al nascer de l'aurora Languid' e sechi per magior tua gloria E i mei trist' occhi ognor bagnati e molli Cosi pien di sospir la voc' honora il santo nome e fede in tua memoria Cornelia risonar Cornelia i colli You, only, in our time, could pick the whitest roses and the freshest herbs on the banks, and make the haughty branches bow by the merit of your honesty. Beautiful soul who surpasses every beauty, look down from heaven to the stone which guards your mortal remains and to the deep wounds that make me pity myself. You will see flowers at dawn, dry and languishing, and, to add to your glory, my sad eyes, constantly moist. The hills echo with your holy name, Cornelia, in your memory. 25. DONNE CHE DI BELLEZZ' E HONESTATE (L. Martelli) Donne che di bellezz'e honestade Tra l'altre donne i primi seggi havete E tutt' il mond' in gentil foc' ardete E sete un fior di queste nostra etate Dal pi bel il pi bel natura tolse E del pi sant' il ciel died'il pi santo Quando mosser a far cosa s rara E non contra voi questo ch'io canto Voi sete sole e dio mostrar non volse Che sapea far di voi luce pi chiara Ladies who surpass all others in beauty and honesty, and make all the world burn with the fire of love, and are the flower of our time, nature took the best of the best and heaven the most sacred of its possessions when they decided to create such rare creatures. What I am saying is not against you, you are the only one, and God did not want to admit that he could make a light brighter than you. 26. HOR CREDETEMI AMANTI Hor credetemi amanti Che non si viv' e muore Se non quanto permett' e vuol amore Da lui impariam come si sper' e teme Come si ride e geme N d'esser huom chi non ha amor si vanti Mirate fiso in quei bei lumi santi Al cui raro splendore Cessa l'ira e' l furore E vedret' ivi mort' e vita insieme Believe me lovers, one lives and dies only when love allows and wants it. We learn from love to hope and fear, to laugh and cry, and he who does not love cannot call himself a man. Look attentively in those beautiful eyes, at the rare splendor of which anger and fury cease, and you will see death and life together. Inventory of La piu divina, et piu bella musica (154116) Page Title Composer 2. Ultimi mei sospiri (L. Martelli) Verdelot 3. In me cresce l'ardore 4. Sio veggio sotto l'un & l'altro ciglio Gomberth 5. Madonna se volete J. Berchem 6. Madonna i preghi mei Maistre Ian 7. Piansi donna per voi 8. S'in veder voi madonna Do. Finot 9. Ardenti miei sospiri Verdelot 10. Rompi de l'empio cor il duro scoglio Adrian (F. Strozzi) 11. Deh perch non e in voi Maistre Ian 12. Quando benigna stella 13. Queste non son pi lagrime (Ariosto) 14.Com' esser puote amore Archadelt 15. It'a vostro bel haggio 16. Partomi donna & teco lascio il core Nollet 17.Hoim che la brunetta mia Verdelot 18.Quando nascesti amore? (P. Sasso) 19.La dolce vista 20. Mandati qui d'amor 21.Dolce nemica mia (L. Cassola) 22.Deh perch non in voi tanta pietade Archadelt 23. Ditemi o diva mia Maistre Ian 24. Donna che deggio far Verdelot 25. Tu che potevi 26. Donne che di bellezz' & honestade (L. Martelli) 27. Hor credetemi amanti 28. Quando nascesti amore? Verdelot (P. Sasso) 29. Ditimi o diva mia Maistre Ian 30. Cosi estrema la doglia Const. Festa 31. Non vi lassero mai 32. Chi bussa Verdelot Rpertoire International des Sources Musicales, B/I/1. Recueils Imprims XVIe-XVIIe Siecles. (Munchen -Duisburg: G. Henle Verlag, 1960). The complete title is: La pi divina, et pi bella musica, che se udisse giamai delli presenti madrigali, a sei voci. Composti per lo eccellentissimo Verdelot. Et altri musici, non pi stampati, con ogni diligentia corretti. Novamente posti in luce. Venezia: Antonio Gardane, 1541. No. 21, Deh perch non in voi tanta pietade, bears an ascription only in the cantus partbook. Stanley Boorman gives a convincing argument for considering the work as an anonymous composition. However, it is printed in the complete Arcadelt edition, and thus is not included here. See Stanley Boorman, "Some Non-conflicting Attributions, and Some Newly Anonymous Compositions from the Early Sixteenth Century," Early Music History 6 (1986) : 109-157. Emil Vogel, Bibliothek Der gedruckten weltlichen Vocalmusik Italiens aus den Jahren 1500-1700 (Hildesheim: Georg Olms, 1962), p. 299. Alfred Einstein, The Italian Madrigal (Princeton: Princeton University Press,1949), p. 256. Donald Hersh, "Verdelot and the Early Italian Madrigal," (Ph.D. diss., University of California, 1963), 46-47. Iain Fenlon and James Haar, The Italian Madrigal in the Early Sixteenth Century (Cambridge: Cambridge University Press, 1988), 308. This translation is from Guido Waldman, Orlando Furioso (Oxford: Oxford University Press, 1982). For concordances see, Fenlon and Haar: The Italian Madrigal in the Early Sixteenth Century, and Mary S. Lewis: Antonio Gardano, Venetian Music Printer, 1538-1569. uvy|" cordances see Fenlon and Haar,and Mary S. 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