Philippe de Monte's Primo libro de madrigali a tre voci (1582)

UNIVERSITY OF CALGARY

Philippe de Monte's Primo libro de madrigali a tre voci (1582)

A Modern Edition and Analysis

by

Aaron Cary Dalton

A THESIS

SUBMITTED TO THE FACULTY OF GRADUATE STUDIES

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE

DEGREE OF MASTER OF ARTS

DEPARTMENT OF MUSIC

CALGARY, ALBERTA

APRIL, 2010

© Aaron Cary Dalton 2010

The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives. Please contact the University of Calgary Archives for further information: E-mail: [email protected]: (403) 220-7271 Website: http://archives.ucalgary.ca

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Abstract

One of the most important secular vocal genres of the sixteenth century was the Italian

madrigal. From 1520 to 1620, composers of many nationalities contributed to what is

now a vast repertoire. None, however, was as proli�c as Philippe de Monte (1521�1603),

who published no fewer than thirty-four madrigal collections. It is paradoxical, then,

that he and his works have been so little studied. Of the hundreds of volumes of modern

editions of early polyphony published in recent decades, only �ve have been dedicated

to Monte's secular madrigals. This study aims to improve our knowledge of Monte's

work by transcribing and discussing his �rst (and only) book of three-voice madrigals,

published in 1582 (RISM A/I: M3376).

ii

Acknowledgements

I must �rst of all express my profound gratitude to my advisors, Dr. Kenneth DeLong

and Dr. Janet Youngdahl, for their un�agging support and encouragement during this

study. I also wish to thank Dr. Friedemann Sallis and Dr. Joelle Welling for their

support outside of this particular endeavour. They have all been an invaluable source of

information and inspiration.

The poetry translation was a collaborative e�ort between me and Maria Oss-cech, to

whom I am particularly thankful, and without whom it would not have come to fruition.

I also wish to express thanks to Prof. Emila Spoldi and Dr. Francesca Cardel for their

proo�ng of the translations.

I express appreciation for the sta� of the Civico Museo Bibliogra�co Musicale (par-

ticularly Ms. Barbara Ventura), the Biblioteca comunale dell'Archiginnasio, and the

Biblioteca di Casa Carducci for their assistance in locating and retrieving the musical

and textual source materials. I wish to also thank the sta� of the University of Calgary

library for their invaluable research support over many years: Marilyn Nasserden, Sylvia

Polachuk, Cindy Murrell, and Nancy Allison.

Above all, I am in�nitely grateful to my wife, Adele. Her patience and support have

been my sta� and stay.

iii

iv

Table of Contents

Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iiAcknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iiiTable of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ivList of Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viList of Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii

I Introduction, Context, and Analysis 11 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

1.1 Historical Background . . . . . . . . . . . . . . . . . . . . . . . . 21.2 The Development of the Madrigal . . . . . . . . . . . . . . . . . . 41.3 The Composer and His Music . . . . . . . . . . . . . . . . . . . . 8

2 The Three-Voice Madrigal . . . . . . . . . . . . . . . . . . . . . . . . . . 162.1 The canzone villanesca alla napolitana . . . . . . . . . . . . . . . 172.2 The Classic Madrigal . . . . . . . . . . . . . . . . . . . . . . . . . 222.3 The Modern Classic Madrigal . . . . . . . . . . . . . . . . . . . . 23

3 Monte's Three-Voice Madrigals: An Analysis . . . . . . . . . . . . . . . . 383.1 �O beata colei� . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423.2 �Vago monte� . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453.3 �Volentier canteriei� . . . . . . . . . . . . . . . . . . . . . . . . . . 523.4 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

II The Edition and Apparatus 564 The Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

4.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574.2 Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

5 Critical Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685.1 Editorial Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . 685.2 Speci�c Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715.3 Critical Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

6 Texts and Translations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 The Modern Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

1. Amor, che sol dei cor leggiadri ha cura . . . . . . . . . . . . . . . . . . 952. O beata colei, ch'al �n puo dire . . . . . . . . . . . . . . . . . . . . . . 993. Oime dov'è'l mio core? . . . . . . . . . . . . . . . . . . . . . . . . . . 1034. Chi non sà come altrui duo chiari lumi . . . . . . . . . . . . . . . . . . 1075. Vostro fui, vostro son, e sarò vostro . . . . . . . . . . . . . . . . . . . 1116. Ne pur si duro esilio & lontanza . . . . . . . . . . . . . . . . . . . . . 1157. Mentr'ameranno i nudi pesci l'onde . . . . . . . . . . . . . . . . . . . 1198. Vago monte, �orite ombrose piagge . . . . . . . . . . . . . . . . . . . . 124

9. O mia lieta ventura, hor quale stella (prima parte) . . . . . . . . . . . 12810. Io so, che non m'inganna sogno, od ombra (seconda parte) . . . . . . 13411. Non vedete voi donna il mio tormento? . . . . . . . . . . . . . . . . . 13812. Volentier canterei de vostri honori . . . . . . . . . . . . . . . . . . . . 14313. O chi potra mai ben chiuder'in versi . . . . . . . . . . . . . . . . . . 14914. S'io odo alcun felice, e lieto amante . . . . . . . . . . . . . . . . . . . 15415. Vissimi un tempo in dolce foco ardendo . . . . . . . . . . . . . . . . 15916. Dico, che da quel punto, ch'in�ammarsi . . . . . . . . . . . . . . . . 16417. Dolce mia vita, da cui vivo & moro . . . . . . . . . . . . . . . . . . . 16818. La bocca, onde l'asprissime . . . . . . . . . . . . . . . . . . . . . . . 17419. Poi c'hor è dolce ogni passato scempio . . . . . . . . . . . . . . . . . 17920. Spesso à consiglio i miei pensier convoco . . . . . . . . . . . . . . . . 18421. Ahi dove (lasso me) prieghi & parole . . . . . . . . . . . . . . . . . . 18922. Qual più scontento amante alberga in terra . . . . . . . . . . . . . . 19323. Ove lontan da la mia �da luce (prima parte) . . . . . . . . . . . . . . 19724. Così d'un Olmo sospirando a l'ombra (seconda parte) . . . . . . . . . 20225. Quel desir, c'hebbi in sù la vista prima . . . . . . . . . . . . . . . . . 20626. Piango, che Amor con disusato oltraggio . . . . . . . . . . . . . . . . 21127. Satiati Amor, ch'à piu doglioso amante . . . . . . . . . . . . . . . . . 21628. Ardo, sospiro, & piango, & sì mi piace (prima parte) . . . . . . . . . 22129. Et son del mio languir così contento (seconda parte) . . . . . . . . . 225

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239A Zarlino's 10 Rules of Text Underlay . . . . . . . . . . . . . . . . . . . . . 240

v

List of Tables

1.1 Monte's madrigal publications between 1580 and 1584 . . . . . . . . . . . 14

2.1 Three-voice madrigal collections published before 1601. . . . . . . . . . . 34

3.1 Mode, Mensuration, and Cle�ng in Monte's �rst book of three-voice madri-gals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

4.1 Poems and sources in Monte's book of three-voice madrigals . . . . . . . 64

vi

List of Figures

2.1 �La cortesia voi donne predicate� from Orlando di Lasso and others, Can-zoni villanesche and Villanelle , edited by Donna G. Cardamone (Madison:A-R Editions, 1981), 20�2. . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.2 �Come, donna, poss'io� from Jacobus Arcadelt, Opera Omnia, volume 7,edited by Albertus Seay (American Institute of Musicology, 1969), 187. . 24

2.3 Text and translation of �Deh ferma, Amor� from Gabrieli's Primo libro demadrigali a tre voci (1575). Translation from: Andrea Gabrieli, CompleteMadrigals 1, edited by A. Tillman Merritt (Madison: A-R Editions, 1981),xxix. (The author slightly altered the last couplet for length.) . . . . . . 25

2.4 �Deh ferma, Amor� from Andrea Gabrieli, Complete Madrigals 1, editedby A. Tillman Merritt (Madison: A-R Editions, 1981), 63�5. . . . . . . . 26

2.5 Cadence tones in Gabrieli's �Deh ferma, Amor� (HypoAeolian mode) . . 322.6 �Deh ferma, Amor� measures 5�10 and 14�20. Key pitch similarities in

the music for lines 2 and 4 of the poetry. . . . . . . . . . . . . . . . . . . 33

3.1 Text and translation of �O beata colei� from Monte's Primo libro de madri-gali a tre voci (1582). Translation by author. . . . . . . . . . . . . . . . . 42

3.2 Cadence tones in Monte's �O beata colei� (G Dorian mode) . . . . . . . . 443.3 Text and translation of �Vago monte� from Monte's Primo libro de madri-

gali a tre voci (1582). Translation by author. . . . . . . . . . . . . . . . . 453.4 Cadence tones in Monte's �Vago monte� (HypoAeolian mode) . . . . . . 473.5 Marked-up score of Monte's �Vago monte.� . . . . . . . . . . . . . . . . . 483.6 Text and translation of �Volentier canterei� from Monte's Primo libro de

madrigali a tre voci (1582). Translation by author. . . . . . . . . . . . . 523.7 Cadence tones in Monte's �Volentier canterei� (G Dorian mode) . . . . . 54

4.1 Title page of the canto partbook. . . . . . . . . . . . . . . . . . . . . . . 584.2 Dedication page of the canto partbook. . . . . . . . . . . . . . . . . . . . 594.3 The �rst madrigal in the canto partbook, �Amor, che sol dei cor leggiadri

ha cura.� . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604.4 Prima parte delle stanze di diuersi illustri poeti, page 209. Source for the

poetry of �Mentr'ameranno i nudi pesci l'onde.� . . . . . . . . . . . . . . 63

5.1 �Oime dov'è'l mio core��Canto: Typical melismatic underlay . . . . . . . 725.2 �Oime dov'è'l mio core��Canto: Typical melismatic underlay problem . . 725.3 �Ardo, sospiro, & piango�: Melisma under semiminims . . . . . . . . . . . 725.4 �Vissimi un tempo��Alto: Scraped rest . . . . . . . . . . . . . . . . . . . 73

vii

In the area of the late-sixteenth-century madrigal we are far from

having all of even the most important music available for study in

modern score. It should therefore be a statement of �rst principle

that in this area we need editions more than articles or monographs.

Anthony Newcomb, �Review: [untitled],� Musical Quarterly 60/1

(1974): 125.

1

Part I

Introduction, Context, and Analysis

2

Chapter 1

Introduction

One of the most important secular vocal genres of the sixteenth century was the Italian

madrigal. The transition from the less-serious, soprano-dominated frottola of the early

sixteenth century to the more declamatory madrigal of the latter part of the century was

a slow one, and was a result of many developments in Italian culture. The most important

of these were the rediscovery of Petrarch and the �ood of secular music publication that

accompanied the introduction of music printing by movable type.

From 1520 to 1620, composers of many nationalities contributed to what is now a

vast repertoire. None, however, was as proli�c as Philippe de Monte (1521�1603), who

published no fewer than thirty-four madrigal collections. It is paradoxical, then, that

he and his works have been so little studied. Of the hundreds of volumes of modern

editions of early polyphony published in recent decades, only �ve have been dedicated

to Monte's secular madrigals. This study aims to improve our knowledge of Monte's

work by transcribing and discussing his �rst (and only) book of three-voice madrigals,

published in 1582 (RISM A/I: M3376).

1.1 Historical Background

The development of the madrigal was informed by earlier Italian secular forms, the French

chanson, and developments in literary tastes and social conditions. Perhaps the most

important development was the �rediscovery� of Petrarch by Cardinal Pietro Bembo

(1470�1547). Bembo was intensely interested in literature and desired to restore the

prestige the Italian language once held before the passing of Dante and Petrarch. He was

3

the �rst to compile rules of Italian grammar (Le Prose della volgar lingua, 1525). In his

prose writing he imitated the great Boccaccio (Decameron), but in his lyric poetry he

strove to imitate Petrarch. His writings were instrumental in the revival of Petrarchan

verse that lasted throughout the century.1 The �higher� lyric verse forms popular at this

time were the old canzone, sonnet, sestina, ballata, and the poetic madrigal proper (an

entirely free-form structure not to be confused with the trecento form of the same name).2

The historical backdrop of these developments is, of course, humanism. At its core,

humanism is the study of the linguistic and rhetorical traditions of classical antiquity. Of

particular importance was the Latin translation, by Giorgio Valla in 1498, of Aristotle's

Poetics. Aristotle's placing of instrumental music as one of the imitative arts generated

the pervasive sixteenth-century notion that music could move human emotions. Greek

drama and its emphasis on clear textual declamation further focused the Renaissance

composer's attention on text setting. It was in the madrigal that these ideas coalesced.3

The intent of the musical madrigal was to sensitively set poetic texts. This included

choosing texts of literary quality with attributes suitable (to whatever degree) to mimetic

treatment. This included composing music designed to mirror the text. Madrigals were

through-composed works whose structure was determined by the composer's reading of

the poem. Word painting in various forms was also a central component. The texture

was varied; imitation and homophony alternated freely, and voices were often grouped

in di�erent ways. Another central characteristic of the madrigal was the disposition of

voices, a texture in which every voice was equal and independent. The lowest voice

1. For more information on Bembo's role in the development of the madrigal, see Dean T. Mace,�Pietro Bembo and the Literary Origins of the Italian Madrigal,� The Musical Quarterly 55, no. 1(1969): 65�86.

2. For a more in-depth discussion of speci�c poetic forms comprising both the frottola and madrigal,see Don Harran, �Verse Types in the Early Madrigal,� Journal of the American Musicological Society22, no. 1 (1963): 27�53.

3. The New Grove Dictionary's �Humanism� article provides an excellent summary of musicalhumanism.

4

often provided harmonic support�particularly at cadences�but it also often carried the

melodic line and participated in points of imitation.

The Italian madrigal was extremely popular and achieved a pan-European �market

penetration.� The wide consumption of this music established Italy (Venice in particular)

as the printing capital of the world. French, Franco-Flemish, German, English, and even

Spanish composers all contributed to the madrigal repertoire.

1.2 The Development of the Madrigal

The �rst collection of pieces to bear the name �madrigal� wasMadrigali de diversi musici:

libro primo de la Serena (Rome, 1530). As was typical of the early prints, it contained

a mixture of genres, including some French chansons. In it were found eight madrigals

by Verdelot. A few years later (1533�34) the �rst two volumes of Verdelot's four-voice

madrigals were published. They were immediately popular and were reprinted. A single-

volume edition was published in 1540, which was reprinted numerous times over the

following decades. 1537 saw the publication of a third four-voice collection, two books

for �ve voices were published shortly thereafter, and in 1541 his �rst book for six voices

was printed. By this time Verdelot was one of the acclaimed masters of the new genre.

Another such master published in Venice; namely, Jacques Arcadelt. The majority

of his madrigals can be found in �ve books for four voices and a book for three voices,

all published between 1539 and 1544. Arcadelt's �rst book, and more speci�cally the

madrigal Il bianco e dolce cigno, was wildly popular and is considered the epitome of the

early, classic madrigal. This �rst book was reprinted no fewer than forty times before

the mid-seventeenth century and is perhaps the most popular in the history of the genre.

The second quarter of the century saw the continuation of the genre at the hands

of Willaert. While there is no evidence that Verdelot or Arcadelt ever lived in Venice,

5

Willaert played a central, physical role in the city's musical life. He lived there from

1527 until his death in 1562 and was the maestro di cappella at San Marco. Willaert's

madrigals were not printed collectively until 1559 (Musica nova), but most were composed

in the 1540s (as evidenced by correspondence of the time). Willaert (together with Rore)

standardized the �ve-voice texture.4 Unlike Verdelot and Arcadelt, who preferred modern

Petrarchist poetry, Willaert focused his attention on Petrarch himself. It was Willaert

who solved the �problem� of dealing with longer texts (namely, the sonnet) by setting

them in two parts, and his works display a dense, motet-like texture.

The middle of the century saw a number of changes in the genre. First was the

sheer volume of available texts. Petrarch remained popular, but other major modern

poets such as Bernardo Tasso (the father of the famous Torquato) and Sannazaro also

became very fashionable. This period also saw the rise of madrigal cycles. These works

were collections of madrigals setting individual stanzas of larger poetic works (such as

Petrarch and Ariosto's Orlando Furioso).5 The other major development in the genre

was the changing harmonic language.6

Cipriano di Rore is of course the representative composer of this period. His �rst

books (for �ve voices, 1542 and for four voices, 1550) were almost equal to Arcadelt's

�rst in popularity and number of reprints. Rore strongly favoured the �ve-voice texture.

Six of his ten books were speci�cally �ve voices, two were four-voice, and two were mixed.

He wrote a single six-voice madrigal (L'alto signor, 1557) and a single eight-voice (Amor

se così dolce, 1557). In his hands a new style of notation came to light, namely cromatico

4. The bulk of Willaert's madrigals are for �ve-voices, but most of his early work was for four, andthere were a scattered few for six and seven voices.

5. The most notable publications include Antonio Barrè's Il primo libro delle muse a cinque voci(1555) and Berchem's setting of ninety-three stanzas from Orlando Furioso, Primo, secondo et terzolibro del capriccio di Jachetto Berchem con la musica da lui composta sopra le stanze del Furioso, 4vv(1561).

6. The most important treatise that deals with harmony in the mid to late sixteenth century is Giose�oZarlino, Le istitutioni harmoniche (Venice, 1558).

6

or note nere.7 More than any previous composer, Rore was a reader and interpreter of

the poetry. His musical settings went beyond the text itself and instead attempted to

express what he saw as the fundamental meaning of the poem. This often resulted in

his disregarding formal divisions in the texts (such as the 8/6 break of the Petrarchan

sonnet) and to run lines together as appropriate. The third quarter of the century saw

the continuation and development of the styles of Willaert and Rore by such composers

as Orlando di Lasso and Andrea Gabrieli. This time period also saw the rise of the

hybrid madrigals; that is, combinations of the madrigal and the lighter forms such as the

villanesca.8

The year 1580 was pivotal in the history of the madrigal. It was the year Andrea

Gabrieli published his last book of madrigals and the year Luca Marenzio published his

�rst. It was the beginning of the shift of important developments in the madrigal from

Venice to Rome, Ferrara, and Mantua. The most important composers of this time were

Marenzio (Rome, with ties to Ferrara) and Wert (Mantua, with ties to Ferrara). Both

composers favoured the thicker vocal textures. Marenzio published six books for six-

voices, nine for �ve voices, and only two for four. The only three-voice works Marenzio

published were villanelle. Wert published eleven books speci�cally for �ve voices, a

twelfth for four to seven voices, and a single book for four voices.

In their hands the madrigal became ever more ornamented and chromatic. While

the classic madrigal was intended for amateur performance, music of this last half of the

7. This style is marked by the general use of shorter note values and a change in mensuration symbolfrom misura comune to misura di breve. The increased number of �lled-in note heads created a blackerpage (thus nere). The term cromatico is related to the word croma, which is an alternate name for thefusa, not harmonic chromaticism. The following journal articles are the central sources for discussionsof note nere madrigals: James Haar, �The note nere Madrigal,� JAMS 18 (1965): 22�41; Don Harran,�Some Early Examples of the Madrigale Cromatico,� Acta Musicologica 41, no. 3�4 (1969): 240�6; RuthI. DeFord, �Tempo Relationships between Duple and Triple Time in the Sixteenth Century,� Early MusicHistory 14 (1995): 1�51.

8. For an extensive discussion of the hybrid madrigal see Ruth I. DeFord, �Musical Relationshipsbetween the Italian Madrigal and Light Genres in the 16th Century,� Musica Disciplina 39 (1985):107�68; Concetta Assenza, La canzonetta dal 1570 al 1615 (Lucca: Libreria musicale italiana, 1997).

7

century became more and more demanding. One can also see an ever-growing tendency

for the overtly dramatic. Wert's late madrigals, for example, show two extremes of

dramatic presentation. First is a style that can only be described as mannerist. In

it Wert uses extremes of tessitura, jarring harmonies (such as the tritone), and sudden

silences to express the meaning of the texts.9 The other extreme is almost pure recitation,

in which the music is austere in its simplicity so as to not interfere with the text. This

trend toward the dramatic was also re�ected in the changing poetic tastes of this time.

The last quarter of the sixteenth century saw the rise of the pastoral (exempli�ed by

Guarini's play Il pastor �do) and a return to the grand epic (as seen in Torquato Tasso's

Gerusalemme liberata).10

This brings us to the end of the century and the rise of the �seconda pratica.� The

most important composer of madrigals in this vein were Wert, Luzzaschi, Gesualdo, and

of course Monteverdi at the turn of the century. The texts of this time became ever more

intense and in some cases the texts were commissioned by the composer himself to ful�ll

such requirements.11 The harmonic language became more and more chromatic and the

structure of the madrigal began to break down. By the turn of the century, the madrigal

as a polyphonic, unaccompanied vocal work began to disappear, replaced, by composers

such as Monteverdi, by the solo and continuo madrigals.

In this progressivist shu�e many composers have been overlooked or lost altogether.

The textbook, progressive view is not incorrect, but it is insu�cient. Throughout the last

part of the sixteenth century, madrigals in a more classical vein continued to be composed

9. Prime examples include Solo e pensoso and Giunto a la tomba, both published in Wert's seventhbook of madrigals for �ve voices (1581).10. For an excellent discussion of the mannerist/expressionist aspects of the late-sixteenth-century

madrigal, see Susan McClary, Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Universityof California Press, 2004).11. Gesualdo's choice of texts and his relationship with Torquato Tasso in particular are discussed at

length in Alfred Einstein, The Italian Madrigal (Princeton University Press, 1949), 688�717.

8

and published.12 The most important of these overlooked composers was Philippe de

Monte.

1.3 The Composer and His Music

Philippe de Monte was born in 1521. This is con�rmed by an engraved portrait dated

1594 that states Monte was 73 at the time and also from the dedication of his Pastor Fido

(1600) which also gives his age. There exists no concrete proof of Monte's birthplace. For

a long time it was thought that his last name was an Italianization of his birthplace, which

would therefore be Mons. Certain sixteenth-century documents were discovered, however,

that refer to him as �Philippus de Monte von Mechel,� meaning he was born in Mechelen,

in what is now central Belgium.13 His will mentions several relatives and con�rms that

he had at least two siblings. It is likely that he received his �rst musical training as a

choir-boy at St. Rombouts Cathedral in Mechelen. It is known that he was employed in

Naples as an instructor to the children of a Genovese banker named Domenico Pinelli.

We know that one of the children began attending the university in Padova in 1552, so it

was likely that Monte had to begin seeking other employment around that time. Seeing

as his �rst book of madrigals (which was for �ve voices) appeared in Rome in 1554 with

a dedication not authorized by him, it is likely he had left Italy by that time. There is

still little known about these years. There is mention of a certain Philippe de Monte as

a petit vicaire at the Cambrai Cathedral at various intervals from 1548�56, but it cannot

be proven that this is the composer himself. If indeed it was, he appeared to have used

Cambrai as a sort of base as he worked in surrounding areas. Cambrai is of signi�cance

12. An excellent treatment of the continuation of the unaccompanied madrigal after the turn of thecentury can be found in Keith Austin Larson, �The Unaccompanied Madrigal in Naples from 1536 to1654 (Italy)� (PhD diss., Harvard University, 1985).13. Brian Mann, The Secular Madrigals of Filippo di Monte, 1521-1603 (Ann Arbor, Michigan: UMI

Research Press, 1983), 1.

9

to Monte's later life at the very least. We do know, however, that he was in England

1554�5 in the chapel of Philip II of Spain (when he was the consort of Mary Tudor). He

left the court and returned to the Low Countries for an indeterminate amount of time.

In 1555 the imperial vice-chancellor, Seld, referred to Monte as one of the best singers

in the Low Countries and an expert at musica reservata. In 1556 the Cambrai Monte

is mentioned one �nal time as he was leaving his duties as petit vicaire due to illness.

Whether or not this was indeed the composer, he must have been on his way to Italy

around this same time as a number of his madrigals appeared in anthologies, and he

composed a dedicatory piece, Il più forte di Roma, for the wedding of Isabella de' Medici

and Paolo Giordano Orsini in 1557. Monte must have been known in Venetian circles as

well, since he was considered as the successor to Willaert as maestro di cappella at San

Marco in 1562.

Monte's most fertile period began in 1568, when he was appointed Kapellmeister at

the court of Maximillian II in Vienna. Not unlike Bach in Weimar, however, he was not

their �rst choice. Monte was at least third on the list, after Palestrina (who turned down

the post because the salary was too low) and one Gabriel Martinengo. His duties included

the recruiting of musicians for the court. The recruitment of a young female musician

from Mechelen named Martha, the arrival of the Italian composer Stefano Rossetto,

and the arrival of the young Giovanni Battista Dalla Gostena (a student of Monte's)

resulted in a period of remarkably high quality chamber music at the imperial court.14

The wedding of the emperor's brother, Archduke Karl II, to Maria of Bavaria in Vienna

in 1571 was an event of great importance during Maximilian II's last years. The chapels

of Duke Albrecht V of Bavaria (under Lasso) and of the Archduke Karl (under Annibale

14. Robert Lindell, �Filippo, Stefano and Martha: New �ndings on chamber music at the Imperialcourt in the second half of the 16th century,� in Atti del XIV congresso della Società Internazionaledi Musicologia, Bologna, 1987: Trasmissione e recezione delle forme di cultura musicale (Edizioni diTorino, 1990), 869�75.

10

Padovano) provided the music. Both Monte and Lasso received generous rewards for

dedicating books of music to the emperor, and other important musicians were present

(for example Alessandro Striggio, Giulio Cesare Brancaccio, and Maddalena Casulana).

Monte provided Latin madrigals for two key events in the celebrations: the wedding

banquet and an allegorical tournament.

Likely as a reward for his energetic e�orts, Maximilian II appointed Monte as the

Treasurer at Notre Dame Cathedral in Cambrai in 1572. After Maximilian's death, his

successor, Rudolf II, awarded Monte a canonicate at the same cathedral (1577), meaning

that by this point at the latest Monte must have been a priest. However, Rudolf refused

Monte's request to retire to Cambrai to be close to his family. It is likely that Monte's

relationship with the reclusive emperor became strained at this point.15 Rudolf II did not

care much about music. He retained the musical establishment of his father, but more

because music was a part of imperial presence. He had no interest in losing (let alone

replacing) a musician as respected as Monte; but on the other hand, Monte certainly must

have realized that he was nothing more than a part of the imperial machine. Despite this,

it appears he made the most of his position and continued to be highly productive. The

emperor was no longer a central dedicatee, however, and Monte cultivated a lucrative

relationship with a wide variety of musical and religious patrons. Monte remained with

the court and died in Prague in 1603.

One thing that we do have is a small but rich collection of extant letters.16 Two of

the most recent discoveries are particularly frank. They consist of a letter to Rudolf II

petitioning the immediate payment of certain arrears, and another in which he gives a

15. There exists a letter from Monte to Lasso dated 1578 in which Monte describes how Rudolph IIhad ridiculed his request to retire.16. Robert Lindell, �Die Briefe Filippo di Montes: Eine Bestandsaufnahme,� Studien zur Musikwis-

senschaft, Austria 39 (1988): 37�54; Paul Bergmans, Quatorze lettres inédites du compositeur Philippede Monte (Bruxelles: Académie Royale de Belgique, 1921).

11

detailed account of a dispute between three professional colleagues.17 Extensive corre-

spondence exists between Monte and one of his former pupils, Gian Vincenzo Pinelli, as

well as a handful of letters to Orlando di Lasso. We know Monte and Byrd exchanged

motets in 1583 and 1584, but the reason for the exchange, or whether or not there was

additional correspondence, is unknown. Some say they became personally acquainted

during Monte's time in England. Mann believes it is more likely that it was �a symbol of

solidarity and support from one of Europe's most prominent Catholic composers sent to

a younger English composer whose religion was under attack.�18 In a letter from one Dr.

Seld in Brussels (the vice-Chancellor to Albert V of Bavaria) Monte was described as �a

quiet, unassuming man, gentle as a girl,� knowing Italian, Latin, French, and Flemish,

and being �without any doubt the best composer in the whole country.�19 And if the

sheer volume of works he produced was not testament enough to his industriousness,

Monte had his motto engraved on a portrait done of him in 1594: �Riene sans peine�

(essentially, �no pain, no gain�).

The word �proli�c� is not adequate to describe Monte's output during his time at

the Imperial court. He is credited with approximately 40 masses, 250 motets, at least

5 books of spiritual madrigals, 34 books of secular madrigals, and 1 book of French

chansons (with an additional 22 chansons in other collections). What is conspicuous by

its absence is German lieder. After 1567, Lasso published at least 90 German vocal works,

mostly lieder, but also psalms and other sacred texts. We know Monte was completely

�uent in German, and the language spoken at court was primarily German, so why no

German-language songs? This is question for another time, but it likely has to do with

a stronger cultural connection between Vienna and Italy, and the much stronger sense

17. Richard Wistreich, �Philippe de Monte: New Autobiographical Documents,� Early music history:Studies in medieval and early modern music 25 (2006): 257.18. Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 8.19. Gustave Reese, Music in the Renaissance (New York: W. W. Norton & Company, Inc., 1959), 295.

12

of German-ness in Munich. Monte's secular madrigals were very successful as evidenced

by the number of reprints and his inclusion in various anthologies. His popularity and

productivity reached a high point, however, in 1580. (Table 1.1 on page 14 lists just the

books of madrigals he published during this time.) Starting with his ninth book for �ve

voices (1580) his books were no longer reprinted (with the sole exception of his fourth for

four voices (1581) which was reprinted once in 1588). This phenomenon was not unique

to Monte. A look at the reprint history of Lasso's and Wert's works from around this

time also shows a similar reduction in popularity.

As mentioned before, 1580 was a pivotal year in the history of the madrigal. It was a

pivotal year in Monte's own creative life as well. Of speci�c interest are the dedications of

his eighth and tenth books for �ve voices, both to his patron Rudolf II. They are unique

documents that provide a rare insight into the political and cultural climate in which

Monte found himself.

Imperial Majesty, when we see that until now every one is doing his best

to lead music to greater perfection by means of a new style, it necessarily

follows that music has not yet attained the perfection that it might. Since I

am one of those whose profession is music, I have done all I could to �nd a

way to give more pleasure to those who should and can form a judgment on

it, but it is perhaps true that the more I try the less I succeed. Nevertheless, I

do what I can, particularly to give pleasure to those for whom it is necessary

in order to restore their spirits, wearied by the necessities of political life,

and if I deserve no praise for what I have accomplished, I at least deserve no

blame for my intention. . . . Prague, May 4, 158020

Since one sees and knows from experience, Sacred Imperial Majesty, that

20. Translation from Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 242.

13

in the same way that men are dissimilar both in the physiognomy and in all

the parts of their bodies, they are also di�erent in thought, taste and action,

it follows that things made by nature as well as by man's arti�ce, since they

are in greater or lesser conformity with [other] things made by nature or man,

will be more or less appreciated or abhorred by these men.

Speaking now of music, which is my profession, I can say that since the

harmony which music renders can only be appreciated because of that con-

formity which it has with those who listen to it, every one who would give a

judgment in these matters can say with more reason, �this music pleases me,�

than say, �it is good because it pleases me.� This is because one is accustomed

to making judgments concerning the quality of music, and of the variety of

proportions with which composers are accustomed to arrange the intervals of

their music, and [even] of the considerable trouble that it might have taken

to compose�all things hardly demonstrable at all.

It appears, then, that this diversity of opinion clearly demonstrates the

imperfection of both the art and its practitioners, since it can still be seen and

shown that men of great judgment customarily take delight in that manner

of music which does not normally please many of those who compose it. And

since there is so much room for error in all this, and even more if one sought

to force men's nature into making something which is contrary to their own

nature seem good to them; I have tried, and I am still trying, by a change

in style, to give some pleasure to those who have been little pleased with my

other compositions. . . . Vienna, 26 June 158121

Obviously Monte was well aware that tastes were changing, and that he was failing

in his self-professed role as Rudolf's �David.� It took six years for Monte to e�ect a

21. Translation from Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 245.

14

Book Yeareighth book for �ve voices 1580ninth book for �ve voices 1580fourth book for six voices 1580�rst book for �ve voices (spiritual) 1581tenth book for �ve voices 1581fourth book for four voices 1581�rst book for three voices 1582�rst book for six voices (spiritual) 1583�fth book for six voices 1584

Table 1.1: Monte's madrigal publications between 1580 and 1584

substantial change in style, starting with his eleventh book for �ve voices in 1586.22

Before the 1580s, Monte's madrigals were of the serious type. He relied heavily (almost

exclusively) on the poetry of Petrarch and of the neo-Petrarchists. The eleventh book

for �ve voices was a complete break, and from 1586 through the 1590s he embraced

wholeheartedly the lighter, homophonic textures of the canzonetta-madrigal. The last

decade of his life saw a return to more melancholic poetry and a richer contrapuntal style

as he returned to the more serious madrigal. During the transitional period of 1580 to

1584, the �rst book for three voices is stylistically anomalous, looking backwards than

forwards, as will be shown in chapter 3.

In modern scholarship, Monte has not been entirely neglected. He warranted a place in

a chapter heading and even a few pages of discussion in Einstein's monumental work.23

He is at least given a paragraph or two in all of the major summary works (Reese,

Atlas, Brown).24 His sacred works have been published in their supposed entirety in

modern edition25 and two aborted attempts at publishing a complete series of his secular

22. Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 336.23. Einstein, The Italian Madrigal, 498�511.24. Reese, Music in the Renaissance; Allan W. Atlas, Renaissance Music: Music in Western Europe,

1400�1600 (New York: Norton, 1998); Howard M. Brown and Louise K. Stein, Music in the Renaissance(Upper Saddle River, NJ: Prentice Hall, 1999).25. Philippe de Monte, Complete Works / Philippe de Monte, ed. Georges van Doorslaer, vol. 1�31

15

madrigals have resulted in the publication of four of his collections.26 An additional

one-o� publication (of his seventeenth book for �ve voices) is also available.27 His name

appears in the journal literature from time to time, but most of the research focuses on

his biography.28 At least three dissertations deal speci�cally with Monte's sacred works;29

another three deal at least tangentially with his works in general;30 and at least four treat

speci�cally his secular madrigal output.31 Only three monographs deal speci�cally with

Monte himself.32 The two most recent and complete publications that discuss Monte and

his music are the published dissertation of Brian Mann33 and the Italian monograph,

Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595) by Cecilia

Luzzi.34

(New York: Broude Bros., 1965).26. Philippe de Monte, Philippi de Monte opera: New complete edition, ed. René Bernard Lenaerts,

vol. 1�4, D (Leuven University Press, 1977�88), comprised of the �rst, second, third, and eleventh booksfor �ve voices.27. Philippe de Monte, Madrigali a 5 voci (1595), ed. Ö Szabolcs Barlay and János Dobra (Budapest:

Editio Musica, 1987).28. For example: Lindell, �Die Briefe Filippo di Montes: Eine Bestandsaufnahme�; Pietro Revoltella,

�Una lettera autografa di Filippo di Monte al nobile padovano Orso Orsato,� Rassegna veneta di studimusicali 2-3 (1986): 297; Wistreich, �Philippe de Monte: New Autobiographical Documents.�29. Jacquelyn Hale, �The sacred motets of Philippe de Monte: An analytic overview of the "First

Book of Five-Voice Motets" (1572)� (master's thesis, University of North Texas, 1997); George AlbertMichael, �The Parody Mass Technique of Philippe de Monte (Volumes I and II)� (PhD diss., NewYork University, 1959); Paul Matthews Oberg, �The Sacred Music of Philippe de Monte� (PhD diss.,University of Rochester, 1944).30. Thomas Lloyd, �A comparative analysis of 18 settings of Petrarch's `Tutto'l dipiango; e poi la notte,

quando'� (DMA, University of Illinois at Urbana-Champaign, 1994), among others.31. Raymond Clement Alexis Gobin, �The Madrigal Cycles of Philippe de Monte� (PhD diss., North-

western University, 1984), etc.; Robert Lindell, �A Study of the Six and Seven Voiced Madrigals ofFilippo di Monte� (PhD diss., Universitaet Wien [Austria], 1980), etc.32. Georges Van Doorslaer, La vie et les oeuvres de Philippe de Monte (Hildesheim, Germany: Olms,

1980); Cecilia Luzzi, Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595)(Firenze: L.S. Olschki, 2003); Mann, The Secular Madrigals of Filippo di Monte, 1521-1603.33. Mann, The Secular Madrigals of Filippo di Monte, 1521-1603.34. Luzzi, Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595).

16

Chapter 2

The Three-Voice Madrigal

The primary reason I have chosen to explore Monte's �rst book of three-voice madrigals

is the texture. In the discussion of the madrigal, the importance of texture is largely

ignored; the vast majority of madrigals are for four and �ve voices, and the three-voice

texture stands somewhat to the side.1 By 1582, only seventeen three-voice madrigal

books had been published, and these by lesser-known composers (with the exception of

a book each by Festa, Arcadelt, and Gabrieli). In all, before 1600, only thirty volumes of

three-voice madrigals were published (see table 2.1, page 34);2 whereas, many hundreds

of madrigal collections for four or more voices were published by this same time. The

three-voice texture also engages the composer in unique ways. Issues of counterpoint,

voice groupings, and cadential hierarchy are all complicated by the thinner texture.3 The

fact that this texture is so infrequent in the serious madrigal makes it a fertile �eld for

focused study.

1. The three-voice texture was most common in the lighter secular forms (primarily the villanesca).Hundreds of such volumes were printed before 1600. The only monographs that deal speci�cally with thethree-voice texture deal with it outside of the context of the madrigal: C.S. Adams, The French Chansonfor Three Voices about 1550 (Madison, Wisconsin: A-R Editions, 1981); Andrew Kirkman, The Three-voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Style, Distribution and Case Studies(New York: Garland Publishing, 1995).

2. The �Vogel� column refers to the canonical Bibliogra�a della musica italiana vocale profana pub-blicata dal 1500 al 1700 by Emil Vogel. In it, all known publications of Italian secular vocal music arelisted and their contents cross-referenced with other publications. This is an invaluable resource, and itprovides a method of uniquely identifying a given publication.

3. In the case of cadential description, for example, thicker textures allow for richer de�nitions. See:Putnam Aldrich, �An Approach to the Analysis of Renaissance Music,� Music Review 30 (1969): 1�21;Glen Edward Éthier, �A methodology for the analysis of melodic accent in Renaissance sacred polyphony�(PhD diss., University of British Columbia, 1996).

17

2.1 The canzone villanesca alla napolitana

The three-voice texture was most commonly found in the lighter secular genres: partic-

ularly the villanesca, which �rst appeared in southern Italy in 1537. The name �canzone

villanesca alla napolitana� is best translated as �peasant songs in the Neapolitan manner.�

The adjective, villanesca, is derived from the noun, villano (rude, peasant, common), and

was often used to describe diverse forms of dialect poetry. The villanesca is e�ectively a

strambotto4 expanded by the addition of a refrain after each couplet.5

Figure 2.1 on page 19 shows a typical villanesca, entitled �La cortesia voi donne

predicate� by Vincenzo Fontana. It is a characteristic example of the genre. It is a

strophic song in which the uppermost part dominates the texture. The tune is made up of

well-rounded melodic periods, every period corresponding to one line of the poem. Since

formal subdivisions are short and often repeated, cadences occur frequently. The tune

is supported by homophonic counterpoint with the occasional imitative pattern at the

beginning of a phrase (see m. 16). The melodic and rhythmic patterns are closely tied to

the accentuation of the text, which is set strictly syllabically. One common characteristic

not seen in this piece is the phenomenon of truncated text, or text repeated unnaturally

(eg. �tu � tu � tu � tu mai lassato�). Patterns of repeated notes frequently occur,

particularly in the refrain. Metrically unaccented cadences are common as a result of

paroxytonic accents in the poetry.6 Not uncommon in the genre as a whole is a shift

to ternary rhythms just before the cadence. Parallel �fths are also common at, or just

preceding, a cadence (though not evident in this particular piece). The pace of a villanesca

is light, but not necessarily dance-like.

4. The strambotto is most commonly a poem of eight lines with a rhyme scheme of ABABABCC.Unlike the ottava stanza, however, the line length and metre is not prescribed.

5. Donna G. Cardamone, The canzone villanesca alla napolitana and Related Forms, 1537�1570 (AnnArbor: UMI Research Press, 1981), 38.

6. Paroxytone words (words with an acute accent on the penultimate syllable) are a characteristicfeature of the Italian language as a whole.

18

The upper voice is supported by a bass line which moves primarily by leap, empha-

sizing harmonically decisive tones such as the tonic, dominant, and subdominant. The

melody is essentially an ornamentation of the harmony, unfolding in step-wise patterns

of short scales or �gures which revolve around a central tone. The middle voice follows

the tune closely in parallel thirds (with an occasional sixth). It has no melodic indepen-

dence of its own and is little more than a duplication of the top part. The total ambitus

of a villanesca seldom exceeds two octaves. This particular one is even narrower. One

exclusive feature of villanesca cadences, which one can see quite clearly in this piece, is

the leading tone in the inner part rather than in the top. This is di�erent even from

the other lighter forms such as the French chanson and frottola. It is possible that this

characteristic (almost invariable) disposition of voices is an attempt to recapture the

sound-ideal of the performance tradition of the chordal accompaniment of popular tunes

on stringed instruments.7

7. Cardamone, The canzone villanesca alla napolitana and Related Forms, 1537�1570, 129.

19

(a) page 1 of 3

Figure 2.1: �La cortesia voi donne predicate� from Orlando di Lasso and others, Canzonivillanesche and Villanelle , edited by Donna G. Cardamone (Madison: A-R Editions,1981), 20�2.

20

(b) page 2 of 3

Figure 2.1: �La cortesia� continued. . .

21

(c) page 3 of 3

Figure 2.1: �La cortesia� continued. . .

22

2.2 The Classic Madrigal

The villanesca, however, must be di�erentiated from the classical madrigal for three

voices, which has its roots in the madrigals of Festa and Arcadelt. The intent of the

musical madrigal was to sensitively set poetic texts. This meant the composer also

took on the role of poetic interpreter. The composer attempted to depict his or her

understanding of the poem (both its meaning and structure) using variations in texture,

cadential hierarchy, and various forms of word painting. Figure 2.2 on page 24 shows the

�rst page of Arcadelt's �Come, donna, poss'io� from his �rst book of three-voice madrigals

(1542). Neither the music nor the text is strophic but are instead through-composed.

Like the villanesca, the music is still laid out in well-rounded melodic periods�essentially

one period per poetic line�but the cadential structure is more nuanced. In the madrigal,

the text rules, and the cadential structure usually takes into account the grammar and

structure of the poem. One never encounters textual truncation or the repetition of

incomplete text fragments (such as the �stutter� e�ect spoken of above) in the musical

madrigal. For the most part, homophony is the exception. Even a cursory glance at the

Arcadelt score reveals the centrality of imitation and variety of counterpoint. Melisma

is used with much more frequency in the madrigal than in the villanesca. Despite the

paroxytonic nature of the Italian language, metrically accented cadences are much more

common. The rules of counterpoint are more strictly followed (parallel �fths are avoided,

for example), and the metre is much more stable. (The villanesca can switch quite freely

from double to triple time.)

The disposition of voices is also dramatically di�erent. While the total ambitus of

the classical three-voice madrigal is only slightly wider than the two octaves found in the

villanesca, the function of the individual voices is not at all the same. The melody of the

piece is shared equally among the three voices. (For example, the alto voice opens the

23

Arcadelt madrigal.) The middle voice is completely independent of the top voice, and

the bass is not simply a type of continuo. It does, however, provide harmonic support at

the cadences, often making (or audibly avoiding) a V/I motion.

2.3 The Modern Classic Madrigal

The continuation of this classical style can be seen in the three-voice madrigals of Andrea

Gabrieli. Gabrieli was almost a decade older than Monte, but their �rst madrigals were

published in the same year (1554). His �rst book for three voices was published in 1575

and was reprinted the same year as Monte's publication. It contains thirty madrigals, all

of them between forty and sixty breves in length (a length common across the genre). The

majority of the madrigals (twenty-two out of thirty) are settings of stanzas from Orlando

Furioso. Gabrieli selected three- and four-stanza groupings which he set separately but

sequentially. This choice of poetic source is in and of itself �old-fashioned.� Gabrieli's

other works showed a much greater predilection for lighter, pastoral texts. The classic

madrigal focused almost exclusively on Petrarchan and neo-Petrarchan poetry.

The four- and �ve-voice madrigals of the period were becoming increasingly �man-

nerist.� They focused on poems with strong contrasts and metaphors, and they sought

to depict as thoroughly as possible every suitable word of the text. (Marenzio's �Solo e

pensoso� [1599] is an excellent example of this.) Gabrieli was an early part of this shift,

but this book mimics the more restrained, classic style one sees in the works of Arcadelt

and Verdelot. This approach favoured texts that provided some, but not a great number,

of opportunities for mimetic treatment. Direct musical imitation still occurred, but the

classic style emphasized a more rhetorical reading of the poem, rather than the poem

being simple fodder for madrigalian pictorialism.

The madrigal, �Deh ferma, Amor,� is an excellent example of the madrigals of this

24

Figure 2.2: �Come, donna, poss'io� from Jacobus Arcadelt, Opera Omnia, volume 7,edited by Albertus Seay (American Institute of Musicology, 1969), 187.

25

collection. (See �gure 2.3, page 25 for the text. The music is found in �gure 2.4, page 26.)

�Deh ferma, Amor� is the third in a four-stanza group taken from Orlando Furioso (canto

32, stanza 20).8 This stanza (like all the others in Orlando Furioso) is an ottava stanza.9

The imagery of the text is restrained, but images such as �free as the wind,� �running,�

�fast,� and �slow� are at least to a degree susceptible to musical representation. Musically,

the equality of the voice parts is evident. The bass voice does display some harmonic

function (primarily V/I motion at cadences), but it is no more separated from the other

voices than it is in earlier madrigals. The true aesthetic ideal is polyphony, not a duet

over a bass. The counterpoint is almost entirely imitative, but not canonic. Usually the

point of imitation breaks down part way through, dissolving into free counterpoint.

Deh ferma, Amor, costui che così scioltoDinanzi al lento mio correr s'a�retta;O tornami nel grado onde m'hai toltoQuando nè a te nè ad altri era soggetta!Deh, come è il mio sperar fallace e stolto,Ch'in te con prieghi mai pietà si metta;Che ti diletti, anzi ti pasci e viviDi trar da gli occhi lagrimosi rivi!

(Ariosto, ottava stanza, Orlando Furioso canto

32, stanza 20)

Oh stop him, Love, as he hastens away,Free as the wind, and I run sluggishly after him;Or restore me to the condition whence you took

me,When I was subject neither to you nor to anyone.Alas, how vain and foolish are my hopesOf ever winning you to pity by entreaties!You delight�yea, it is meat and drink to you�In drawing rivers of tears from people's eyes

Figure 2.3: Text and translation of �Deh ferma, Amor� from Gabrieli's Primo libro demadrigali a tre voci (1575). Translation from: Andrea Gabrieli, Complete Madrigals 1,edited by A. Tillman Merritt (Madison: A-R Editions, 1981), xxix. (The author slightlyaltered the last couplet for length.)

8. These four stanzas are a soliloquy by Bradamant after waiting months in vain for the return ofher beloved Ruggiero. The four stanzas go through the �rst few �stages of grief�: shock and denial, � `Isit true then,' she cried�; pain and guilt, �He knows that I love and adore him�; anger and bargaining,�Oh stop him, Love�; re�ection and loneliness, �But on what can I put the blame if not on my ownunreasoning desire?�

9. An ottava stanza is a poem of eight endecasillabi with a rhyme scheme of ABABABCC. An en-decasillabo is a poetic line in which the primary stress is on the tenth syllable and a secondary stresseither on the fourth or sixth. Most commonly these lines consist of eleven total syllables, but they canalso have as few as ten or as many as twelve. In some extreme cases they can have as many as sixteensyllables.

26

(a) page 1 of 3

Figure 2.4: �Deh ferma, Amor� from Andrea Gabrieli, Complete Madrigals 1, edited byA. Tillman Merritt (Madison: A-R Editions, 1981), 63�5.

27

(b) page 2 of 3

Figure 2.4: �Deh ferma, Amor� continued. . .

28

(c) page 3 of 3

Figure 2.4: �Deh ferma, Amor� continued. . .

29

�Deh ferma, Amor� is in HypoAeolian mode and opens with the alto voice outlining the

Aeolian triad.10 As is common with madrigals of the 1530s and 40s, the piece elaborates

itself by not only exploring the range of cadences surrounding the �nal, but also lightly-

taken cadences to other degrees of the mode. The music opens with a head-motif in

whole and half notes depicting the speaker's lament. Over the �rst few bars the note

values diminish, and by the �rst cadence (m. 6), the motion is primarily in quarter and

eighth notes. This cadence is on C, lightly taken, with the alto voice being the only one

to cadence, and it does so on the �rst word of the next line of text. This completely

elides the �rst and second lines of the poem. From here, the note values continue to

diminish with the exception of the dotted half note used in measure 6 to set the word

lento (slow). The pace continues to quicken, �nally resulting in a �urry of sixteenth

notes in measures 8 and 9. This gradual diminution is used to depict the sense of the

verb a�rettarsi (to hasten or to hurry) that ends the couplet. This �rst period ends

on a structural cadence on the �nal, A, that is signi�cantly stronger than the �rst at

measure 5, but is still attenuated by the dropping out of the basso before completing

the leap to A from E. This period encompasses the �rst couplet of the poem, and its

cadences coincide well with the text, whose only punctuation is the �nal semi-colon (a

strong, but non-terminal, punctuation mark). Despite the apparent contrapuntal skill of

this particular section (it is indeed intended to set this speci�c text), the text and music

are coupled quite loosely. Compared to the mannerist works of the likes of Gesualdo

and Monteverdi, Gabrieli displays a certain neutrality that could be considered �classic

reserve.�

The opening head-motif returns in measure 10 to set line 3. The only modi�cations

10. While the distinction between authentic and plagal modes in polyphony is a largely academic one,the fact that the authentic reciting tone, E, is completely avoided at cadences, but the plagal recitingtone, C, is recurring, a classi�cation of HypoAeolian seems appropriate. (See �gure 2.5, page 32 forstructural cadence pitches.)

30

are due to the altered entry order of the voices. As before, this phrase also ends with a

very lightly-taken cadence on the mediant, C, in measure 14. This cadence is even weaker

than its counterpart in measure 5 as no voices actually sing the cadence pitch. (The alto

voice instead sings the �fth above the C as it starts the next line of poetry.) The extreme

diminution seen in the �rst musical period was speci�c to the text, so the speci�c mode

of continuation seen in measures 14�20 is di�erent, but the music is strikingly similar

regardless. First of all, all three voices start with the opening �gure of measure 6 (three

eighth notes followed by a quarter or half note). Secondly, the melodies still focus on

the same key pitches (see �gure 2.6, page 33). The cadence in measure 17 is strong and

structural. The cadence pitch is sounded in all voices simultaneously, approached in the

bass voice by a strong leap of a �fth. The strength of this cadence further emphasizes the

initial quatrain as both a fundamental structural unit (the �rst half of the stanza) and

the end of the �rst complete grammatical unit (terminated by an exclamation point).

The next line of poetry is set with a similar head-motif to that of lines 1 and 3.

While the gesture is recognizable, the pitch content has changed. Instead of outlining a

triad on the �nal, the voices here sound a minor triad on D. This shift is yet another

example of the subtleties embodied by the classical style. It is at this half-way point in

the stanza that a fundamental shift takes place in the tone of the poetic voice. It moves

from a pathetic entreaty to a railing against fate. Despite the opening on D, this phrase

still cadences on C. This is the strongest C cadence so far with all the voices arriving

simultaneously, two of the three voices sounding the cadence pitch, and the bass reaching

the C by a strong �fth leap. The phrase is still mercilessly elided with line 6, however,

the transition taking place in a string of homorhythmic eighth notes (the three-eighth

note �gure from measure 6). This setting of line 6 is unique in the work in that it is the

only section in strict homorhythm. This texture provides a prayer-like background for

the words prieghi (prayers or pleas) and pietà (pity or mercy). Again unlike the previous

31

two musical periods, this period cadences in measure 23 on D instead of A. This is a

structural cadence, attenuated only by the alto voice's immediate continuation to the

next line of text.

From this point on, there is the barest of similarities with previous music. (There is

still an echo of the �gure heard in measures 6, 15, and 21: three eighth notes followed

by a quarter or half note.) This last section, as in many of the madrigals of the classic

period, presents a more complex point of imitation in a quasi-stretto which is repeated

with alternation and variation through to the end. The rhythm of line 7's music is quick

and light, primarily composed of eighth and sixteenth notes. This lilt serves to ironically

highlight the verb dilettarsi (to enjoy oneself) as well as evoke the pastoral allusion of the

verb pascere (to graze). The irony is made apparent in the �nal line where it becomes

known what exactly the subject �feeds and lives� on: the pain and su�ering of others.

The �nal line is repeated twice with nearly identical music. The constantly descending

lines clearly denote the rivers of tears spoken of in the text. The piece ends with the

plagal cadence to the tierce de picardie, stereotypical of pieces in the Aeolian modes.

If one examines the thematic similarities between the music for each line of poetry,

one can easily hear an even higher level structure. While there are de�nite alterations,

the music used to set each of the �rst three couplets is essentially the same. The music

of the last couplet is altogether di�erent. This maps excellently with the standard ottava

rhyme scheme (which happens to be the one used in this stanza) of ABABABCC and

embodies a classic sense of proportion and balance.

So, while madrigalisms are present in a modest way, Gabrieli is more concerned

with setting the rhetorical meaning and structure of the poem into music than with

depicting individual words. Musical and poetic cadences are planned to coincide, and the

weight of the cadences match as closely as possible. Together with the lack of mannerist

chromaticism, this approach is characteristic of early madrigal writing, which by 1575

32

was already considered �classic.�

For this and the other madrigals analyzed in this study, a diagram of the cadence tones

is provided. (See �gure 2.5 on page 32.) The diagram begins and ends with a whole note

representing the �nal of the piece. The major cadence points are then presented. Empty

note heads represent strong, structural cadences. Filled note heads represent evaded or

lightly-taken cadences. The slurs link the evaded cadences to the structural cadence

to which it belongs. These diagrams are useful in determining the mode of a piece

and provide a way of visualizing its modal structure. Note that unlike Classical music,

in which the the very point is the opposition of tonalities and the ultimate resolution

of that tension, modal music focuses on the �nal. Cadences on other pitches and the

occasional modal mixture do not represent departures from that �nal as much as a brief,

exploratory look. This mode of composition persisted well into the Baroque era.

þ� � þ � þ þ �� Figure 2.5: Cadence tones in Gabrieli's �Deh ferma, Amor� (HypoAeolian mode)

33

(a) measures 5�10

(b) measures 14�20

Figure 2.6: �Deh ferma, Amor� measures 5�10 and 14�20. Key pitch similarities in themusic for lines 2 and 4 of the poetry.

34

Table 2.1: Three-voice madrigal collections published before 1601.

Vogel Title Year Composer(s)

2602 I Madrigali a tre voci con alcuni alla

misura breve

1541 Girolamo Scotto

971 Di Constantio Fest il Primo Li-

bro de Madrigali a tre voci, con

la gionta de quaranta Madrigali di

Ihan Gero. . . Aggiuntovi similmente

trenta Canzoni francese di Ianequin

1541 Costanzo Festa, Jehan Gero,

Clement Janequin

93 Primo Libro di Madrigali

d'Archadelt a tre voci, insieme

alcuni de Const. Festa. Con la

gionta di dodese Canzoni francese

et sei Motetti novissimi.

1542 Jacques Arcadelt, Costanzo

Festa

1146 Quaranta Madrigali di Ihan Gero

insieme trenta Canzoni francese di

Clement Ianequin. A tre voci

1543 Jehan Gero, Clement

Janequin

973 Il vero Libro de Madrigali a tre voci 1547 Costanzo Festa, Giacomo

Fogliano

974 Il Primo Libro di Madrigali a

tre voci novamente ristampato (No

original is listed. Possibly a reprint

of Vogel 973 above.)

1551 Costanzo Festa, Giacomo

Fogliano

Continued on next page

35

Table 2.1 � continued from previous page


1181 Il Primo Libro di Madrigali a tre

voci a note negre

1551 Andrea Gabrieli

1147 Ihan Gero Primo a tre 1553 Jehan Gero

1319 Il Primo Libro de Madrigali a tre

voci

1554 Hoste da Reggio

1150 Di Ihan Gero il Secondo Libro di

Madrigali a tre voci

1556 Jehan Gero

2604 Il Secondo Libro delle Muse, a tre

voci

1562 Hoste da Reggio

85 Il Primo Libro de Madrigali, a tre

voci, di Gio. Animuccia. Con al-

cuni Motetti et Madrigali spirituali,

non piu stampati.

1565 Giovanni Animuccia

2605 Madrigali a tre voci 1570 Hoste da Reggio

1028 Libro Primo de Madrigali a tre voci 1575 Andrea Gabrieli

1572 Il Primo Libro de' Madrigali a tre

voci

1577 Silvio Marazzi


voci

1580 Claudio Merulo


voci

1582 Pietro Vinci


36



735 Primo libro dei madrigali per

tre voci

1582 Philippe de Monte

713 Il Primo Libro delli Madrigaletti a

tre voci

1586 Rinaldo del Mel


voci

1589 Pietro Vinci

593 La fausta Selva. Madrigali a tre

voci.

1590 Oratio Colombani

711 Il Primo Libro delli Madrigaletti a

tre voci. Nuovamente rimessi in-

sieme. . .


1484 Madrigali a tre voci di. . . Libro

Primo.

1590 Domenico Lauro, Francesco

Stivori

295 Madrigali a 3. a 4. a 5. a 6. a 7. et

a 8. voci

1591 Paolo Bellasio

511 Madrigali novi a tre voci 1591 Jean di Castro


voci

1592 Francesco Gianelli

712 Il Secondo Libro delli Madrigaletti

a tre voci



voci

1594 Ippolito Baccusi


37



716 Il Terzo Libro delli Madrigaletti a

tre voci


2322 Madrigali a tre voci. . . con due

Madrigali a cinque voci, et un

Madrigale ad otto voci

1595 Sebastian Raval

60 Madrigali a tre voci de Felice Anerio

romano

1598 Felice Anerio

38

Chapter 3

Monte's Three-Voice Madrigals: An Analysis

This book was commissioned by the publisher Angelo Gardano and was dedicated to

Madelena Casulana (�. 1566�83, whose three books of madrigals were the �rst by a

woman to be printed). In full, the dedication reads as follows:

Seeing that the genre of three-voice madrigals was almost extinguished (a

kind of music so delightful and natural, and, when it comes from a good hand,

so perfect and excellent), I decided to resuscitate it and return it once again

to the world. For this reason I turned to our most excellent Lord Filippo di

Monte and asked him if he would wish to be of some help in ful�lling my

intention. This he did most liberally, as is customary with his gentle nature,

and merit Your Ladyship, who is a great connoisseur of this and all other

forms of gentility.

It will happen, perhaps, that seeing these [madrigals] made welcome in

the world, I shall gradually turn to some other excellent musicians and ask

them, by favoring me with some similar compositions of theirs, to help this

honorable idea of mine, just as I already ask Your Ladyship, a woman of such

estimation and reputation in things such as these. For thus did that one judge

you, who in his poetry worthily called you �the Muse and Siren of this our

age.� Like him, I give you every reverence, kiss your hand, and recommend

myself to you forever.

Venice, 20 August, 1582

Your Ladyship's servant,

39

Angelo Gardano1

As previously discussed, the three-voice madrigal was never mainstream, and such collec-

tions were rare. It appears Gardano wanted to stimulate a greater focus on this particular

texture. By this time, the madrigal was becoming ever more ponderous; eventually it

collapsed under its own weight. Perhaps Gardano's intent was to keep alive the ease

of counterpoint and classic clarity found in the early (speci�cally three-voice) madrigal,

unsullied by the villanella, canzonetta, and extreme mannerist a�ectations of the late-

sixteenth-century madrigal. While Monte had not yet published any three-voice works,

he was an established traditionalist, and he would have been a logical choice as the �rst

composer in Gardano's planned series. Regardless, Monte's book appears to be a singular

collection, for there is no evidence that Gardano ever commissioned another work of this

type, nor did such works appear in any greater number after the publication of this book.

Like Gabrieli's, Monte's three-voice madrigals are most emphatically not dressed-up

villanellas or canzonettas but are madrigals in the fullest sense of the word. Instead

of the treble-dominated, strophic structure of the more popular forms, these madrigals

demonstrate an independence of line and are through-composed. They embody a classical

style�a return to the simpler madrigal idiom of Arcadelt and Verdelot. The total ambitus

of the works are only slightly wider than two octaves on average (never more than three),

the rhythms are straightforward, and chromaticism (in the �mannerist� sense) is almost

non-existent. Regarding vocal parts, it is clear that for Monte the designations �canto,�

�alto,� and �basso� were relatively abstract, representing roles more than speci�c vocal

ranges. Seventeen of the twenty-nine pieces are set with an SAT (C1, C2, C4 or C1, C3,

C4) texture.2 There is only one piece that is written with an actual bass clef; namely,

1. Translation found in Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 248.2. This is the terminology generally used in current madrigal discussions with respect to cle�ng. The

issue is a thorny one because it is by no means clear that the modern understanding of the soprano,tenor, or bass clef was understood to belong to a speci�c voice type (which happens at least by the time

40

the TTB-textured madrigal �S'io odo alcun felice� (C3, C4, F4). The remaining eleven

are set with at least one G clef, and in two instances (the madrigals �Dolce mia vita� and

�Piango, che Amor�) there are two G clefs, producing what is essentially an all-soprano

texture (G2, G2, C2 and G2, G2, C3). (See table 3.1 on page 40.)

Table 3.1: Mode, Mensuration, and Cle�ng in Monte's �rst book of three-voice madrigals

Madrigal Mode Mensuration Cle�ng

1 Dorian C C1, C2, C4

2 G Dorian C C1, C2, C4

3 Phrygian C C1, C2, C4

4 F Ionian C G2, C2, C3

5 HypoIonian C G2, C1, C3

6 Mixolydian C G2, C1, C2

7 HypoMixolydian C C1, C3, C4

8 HypoAeolian C C1, C3, C4

9 Dorian c C1, C2, C4


11 Dorian mixed C1, C3, C4

12 G Dorian c C1, C3, C4

13 G HypoDorian c C1, C3, C4

14 G Dorian c C3, C4, F4


of Bach). The terminology used here attempts to be precise in the designating of where the ambitusof the part lies while intentionally not addressing the somewhat unanswerable question of which vocaltype the part was intended for. This issue is further complicated by the fact that a �xed pitch standardsimply did not exist at this time, and parts could be transposed arbitrarily to �t the available singers.

41


Madrigal Mode Mensuration Cle�ng

15 Phrygian c C1, C3, C4

16 Phrygian c C1, C3, C4

17 HypoIonian c G2, G2, C2

18 Ionian c G2, C1, C3

19 Mixolydian c G2, C1, C3

20 Mixolydian c G2, C2, C3

21 HypoAeolian c C1, C3, C4

22 Aeolian c C1, C3, C4

23 G Dorian c G2, C2, C3

24 F Ionian c G2, C2, C3

25 Aeolian c G2, C2, C3

26 Aeolian c G2, G2, C3

27 Mixolydian c C1, C3, C4


29 Mixolydian c C1, C3, C4

Over his career, Monte set more of Petrarch's poetry than any other madrigal com-

poser. While his preference gradually shifted to the neo-Petrarchists, such as Bembo and

Sannazaro, he still focused almost exclusively on �serious� texts. It is not until 1586 and

his eleventh book of �ve-voice madrigals that Monte �nally embraced the pastoral, epi-

grammatic works of Tasso and Guarini. This book of three-voice madrigals is composed

exclusively of neo-Petrarchan verse, and it is one of only two collections whose texts are

42

drawn solely from the so-called poeti minori (minor poets).3 As such, these texts are

generally di�cult to �nd. Many of the authors are unknown, and very few have modern

collected works. (Speci�c information on the poetry sources can be found in part 2.)

With the villanesca and the classic madrigal as formal prototypes, one can now ap-

proach Monte's madrigals with su�cient context. I have chosen three madrigals that are

representative of the book as a whole: the second, �O beata colei� (music on page 99,

text in �gure 3.1 on page 42); the eighth, �Vago monte� (marked-up score on page 48,

text in �gure 3.3 on page 45); and the twelfth, �Volentier canterei� (music on page 143,

text in �gure 3.6 on page 52).

3.1 �O beata colei�

O beata colei, ch'al �n puo dire,Io tenni un senza cor molt'anni in vita.Io gli fei parer dolce ogni martireNe l'età sua più bella, & più �orita;Ne gli lasciai provar gli sdegni, & l'ireDel timor, ch'a morir gli amanti invita;Et quel, ch'a l'un fu caro, à l'altro piacque;Perch'io sua tutta, & ei mio tutto nacque.

(Lodovico Martelli, ottava stanza)

O blessed is she who in the end can say:I kept alive for many years one without a heart.I made every pain appear sweetIn his most beautiful and happy age.I did not allow him to experience the scorn and

rageOf fear, which invites death to lovers;And what to one was dear, to the other it

pleased,

Because I was his everything, and in me all was

born.

Figure 3.1: Text and translation of �O beata colei� from Monte's Primo libro de madrigalia tre voci (1582). Translation by author.

The text for �O beata colei� is an ottava stanza with the not-uncommon rhyme scheme

variant, ABABABAA. It is set in G Dorian mode and opens with an expansive step-wise

ascent (inverted in the bass voice) in half and quarter notes. Given the relatively quick

3. This phrase, �minor poet,� is one commonly used in the discussion of Italian poetry. It does notcarry the pejorative connotations common to the English word; rather, it is an indication of a poet'soutput and dissemination. Such poets include Bernardo Tasso, Francesco Maria Molza, and Remigio(Firoentino) Nannini�all well-respected poets, but none producing the output of Bembo or TorquatoTasso.

43

motion one hears in the rest of the piece, this opening �gure provides a serene, church-like

backdrop for the word beata (blessed, blissful). The clear cadence on F in measure 7 is

elided with the next line�a homorhythmic declaration of the spoken text which makes

up the second line of the poem. This line (terminated by a period in the text) ends

with an emphatic cadence on D in measure 13. It is interesting to note Monte's slight

reworking of the text in the bass voice. It is unclear why he felt this was necessary. The

alto voice has an almost identical �gure, and the alto's underlay would �t �ne (better in

fact) under the bass voice. This is the only instance of such reworking in the collection.

Lines 3 and 4 are a single grammatical unit with no intermediate punctuation. Monte

re�ects this musically by utterly denying the cadence one expects to arrive on G in

measure 19, the end of the third line of the poem. The introduction of the E �ats in

the setting for line 4 changes the sound of the mode to that of G Aeolian. The line even

cadences in measure 22 on a tierce de picardie, stereotypical of Aeolian pieces. Similar

mode mixture is heard in �Vago monte� (the eighth madrigal of this collection, discussed

below). There, however, it serves a rhetorical purpose. In �O beata colei,� the modal

shift does not appear to serve any mimetic function.

Lines 5 and 6 are likewise a single complete thought, and the lines have no separating

punctuation. Monte again completely avoids the �rst cadence (on F on the downbeat

of measure 30) and ends with an emphatic cadence on D in measure 34. This time,

however, Monte makes doubly sure we are expecting that �rst F cadence. In measures 25

and 28 Monte teases the listener with �eet, lightly-taken, but resolved internal cadences

on F. The result is an even greater sense of denial when the primary cadence is seemingly

ignored.

The �nal couplet is comprised of two self-contained (but still connected) grammatical

units, separated by a semi-colon. The modal mixture continues through line 7�the bass

voice rife with E �ats. Line 7 terminates with a strong cadence on G in measure 42. The

44

cadence is attenuated by the lingering sound of the E �at and the inner voice dropping

out instead of resolving the leading tone. The sense of G Dorian is �rmly re-established,

however, in the last period and the �nal a�rmed by an emphatic cadence on G at the

end of the piece.

All the aspects of the modern classic madrigal discussed in the previous chapter can

be seen in this piece. Explicit word painting is not the central goal; in fact, the text

provides very few opportunities for such. Words that would have been seized upon by

the likes of Marenzio and Gesualdo�martire (pains), �orita (�owered, �ourishing), or

ire (anger, rage) for example�are ignored by Monte. What is most valued is a musical

emulation of the structure of the text.

¨ � �� ¨�Figure 3.2: Cadence tones in Monte's �O beata colei� (G Dorian mode)

45

3.2 �Vago monte�

Vago monte, �orite ombrose piagge,Lago d'ogn'altro più lucente, e chiaro,Gai uccelletti, adorne Ninfe, e sagge,Ch'udito havete il mio lamento amaroSe mai fortuna il mio bel sol quì tragge,Che de la luce sua m'è tanto avaro,L'angoscie mie dirle vi piaccia, comeMorte ogn'hor chiamo, e lei sola per nome.

(Gandolfo Porrino, ottava stanza)

I wander the mountain, the �ourishing shadyshore,

A lake more bright and clear than any other,Cheerful little birds, beautiful and wise Nymphs,You all heard my bitter lament.If only fortune would draw my beloved Sun here,For she hides her light from me.Of my anguish, please inform her, and how I call

upon

Death every hour, and her alone by name.

Figure 3.3: Text and translation of �Vago monte� from Monte's Primo libro de madrigalia tre voci (1582). Translation by author.

�Vago monte� is another ottava stanza with the rhyme scheme ABABABAA, set in

HypoAeolian mode. The counterpoint is strictly imitative. The opening �gure uni�es the

entire piece. Almost every line of poetry is set with some variation of this motive. (Refer

to the marked-up score found in �gure 3.5, page 48 to see occurrences of the motive

throughout the piece.) The opening declaration is followed by a rest, mirroring the

comma in the poetry. This �rst line ends with an lightly-taken cadence on C (m. 4) that

clearly overlaps with the following musical phrase. The second line ends with a structural

cadence on A (m. 8). While a strong cadence might not be expected given the poetic

text (the third line being a continuation of the initial grammatical unit), it is possible to

grammatically break at this point and still keep the sense of the poem. As punctuated,

the second-person plural subject associated with the verb in line 4 (�ch'udito havete� or

�have all heard�) refers to all the nouns enumerated to that point (the mountain, the

shore, the lake, as well as the nymphs and birds). By breaking at the end of the second

line, Monte chooses to associate the initial places solely with the verb vago (I wander)

and associates the birds and nymphs solely with the verb udire (to hear).

The third line is set with eighth-note motion depicting the happy birds and nymphs

and ends in measure 12 with a clear (but attenuated) cadence on G. The cadence is

46

weakened by lack of the basso voice and the immediate continuation of the next line.

The fourth line continues with the primarily quarter note movement established to this

point but abruptly slows to half and whole notes over the words lamento amaro (bitter

lament). The C cadence that ends this line (m. 17) is the strongest yet. The C is sounded

in the canto and basso voice and held for a full whole note. The only weakening is the

alto's immediate continuation of the text. While the text has no punctuation here, it is

indeed the end of a grammatical unit. This edition's English translation also breaks at

this point.

In line 5 (m. 20), the word sol (sun) is subtly coloured with an ascending eighth

note �gure denoting the rising of the sun for which the poetic voice is longing. The

Phrygian E cadence at m. 22 is relatively strong, again only attenuated by the immediate

continuation to the text of line 6 in the bass voice. Starting in measure 19, C sharps

and F sharps begin to appear frequently. The result is a type of mode mixture that is

unusual for a piece of such a short length. The C sharp creates a type of internal tierce

de picardie sound (commonly heard in Aeolian pieces). The F sharp, however, gives the

sense of A Dorian. This unusual change in sound coincides with a shift in the tone of

the poem. The �rst tercet is almost bucolic, and the musical setting is likewise benign.

In the last �ve lines, the poetic voice begins to express his or her longing and desire.

The modal mixture creates an appropriate feeling of tension and pain. While line 6 does

technically end with a cadence on A, one would have a di�cult time hearing it. The

cadence pitch is �rst reached by the basso at m. 25 and is held for a full dotted whole

note. By the time the canto and alto voices reach their goal pitches of C sharp and E,

the A is all but forgotten.

The eighth note movement of line 6 is abruptly transformed to motion by quarter

and half notes as the music of line 7 highlights the words l'angoscie mie (my anguish).

This is further aided by the C/C sharp cross-relation between the canto and alto voices

47

at the beginning of the phrase. The line ends with a clear Phrygian cadence on A at the

downbeat of measure 32. The modal mixture continues almost to the very end of the

piece, constantly portraying the pain and frustration of the speaker. The piece ends with

a strong cadence on the �nal, A.

In this madrigal, Monte imposed his personal reading of the poem's grammar and

structure without regard for the poem's original punctuation. This is a practice intro-

duced by another of the classic madrigal composers, Cipriano di Rore. This is not to

say, of course, that one reading is preferred over another. By eschewing terminal punc-

tuation until the very end of the poem, the poet conveys the sense of wandering and

aimlessness introduced in the very �rst line. Monte could just have well mirrored this

intent by avoiding all but the �nal cadence. Instead, he chose to highlight the concrete

meaning of the text by breaking it into logical grammatical units. Note, too, that despite

the mode mixture in the second half, the structural cadence pitches outline the A-minor

triad (�gure 3.4, page 47).

¨�� ¨ � � ��Figure 3.4: Cadence tones in Monte's �Vago monte� (HypoAeolian mode)

48

(a) page 1 of 4

Figure 3.5: Marked-up score of Monte's �Vago monte.�

49

(b) page 2 of 4

Figure 3.5: Marked-up score of Monte's �Vago monte� continued. . .

50

(c) page 3 of 4


51

(d) page 4 of 4


52

3.3 �Volentier canteriei�

Volentier canterei de vostri honori,S'io sperassi con l'arco del mio ingegnoIr sol vicin, non che toccarne il segno.Ma d'onde havrebbe il mio voler le bracciaA tirar tanto, se'l spatio è si lungo,Ch'io pur a pena col pensier vi giungo:Però meglio è che'l cor v'inchini, e taccia,Che volendo far satio il gran desireSenza poter compiutamente dire,Forse l'havreste voi Madonna à sdegno.

(Pietro Barignano, madrigal)

Gladly I would sing of your honours,If I could hope, with the bow of my genius,To get a little closer, or even to touch the mark.But what does my desire expect my bodyTo do if the distance between us is so greatThat I can barely even reach you with my

thoughts?Perhaps it is better that my heart bows to you,

but remains silent,Than trying to satisfy this great desireWithout being able to appropriately express my

love,

In case you would disdain it, my lady.

Figure 3.6: Text and translation of �Volentier canterei� from Monte's Primo libro demadrigali a tre voci (1582). Translation by author.

The text of �Volentier canterei� is a poetic madrigal; that is, a completely free-form

structure. In this case, it consists of ten endecasillabi with a rhyme scheme of ABBCB-

BCDDB and is divided into two major units (lines 1�3, and 4�10) and three smaller

grammatical units (lines 1�3, 4�6, and 7�10). The music is in transposed (G) Dorian,

and�being notated in c �this piece makes extensive use of the shorter note values of the

fusa and semi-fusa. The counterpoint is almost entirely imitative. In fact, the sheer con-

sistency of the imitation�each poetic line receiving a distinct and contrasting thematic

�gure�is part of the individual interest of this piece.

The �rst line ends in measure 4 with a clear cadence on G with an unusual trailing

F sharp in the alto voice. Sixteenth note runs are used to highlight the verb cantare (to

sing). The second line is repeated twice, a sixteenth note run being used in all cases to

set the word arco (bow, as in bow and arrow), representing the arrow in �ight. This line

ends in measure 9 with a cadence on C that is at least as strong as the previous one.

The �nal line of this unit ends in measure 12 with a very lightly taken cadence on D.

This is surprising given that line 3 is the end of both a grammatical unit (terminated by

53

a period) and the �rst structural unit.

Line 4 is repeated twice with no apparent word painting and ends on the downbeat of

measure 18 with a cadence on D. Line 5 is divided into two halves. The �rst fragment is

repeated twice, the second time in strict homorhythm. It ends with an emphatic cadence

on D. This maximizes the contrast with the following phrase, which slows right down,

moving from motion by eighths and sixteenths to motion by halves and quarters. This is

done to highlight the text �se'l spatio è si lungo� (�if the space/distance is so great�). This

phrase ends with another cadence (this time Phrygian) on D. Line 6 ends in measure

25 with a structural cadence on the �nal, G. Given the colon in the text, this is not

unexpected.

The last four lines are set with no evident word painting and no strong cadences

until the end of the piece. Given that the last four lines of the poem form a single unit,

this is also not unexpected. It is in this last section of the piece that one perceives a

shift in a�ective tone. The beginning of the piece is characterized by fast motion and

an easy diatonicism. On the whole, the note values are slower in this last section. The

melancholy, resigned sighs of measures 25�27, the Phrygian cadences (realized and hinted

at) all serve to darken the tone. The cadences in this last section are: in measure 29 on

F; a Phrygian cadence on D in measures 30 and 31 is repeated twice, with the semi-tone

motion moving from the alto to the bass voice; and the exact nature of the cadence in

measures 32 and 33 is unclear. There is a repeated semi-tone descent similar to the

repeated Phrygian cadence seen in measure 29, but the roots of the chords are C, A,

and F. This is the most absolute elision heard so far. The piece ends with an emphatic

cadence on the �nal, G.

�Volentier canterei� is anomalous in that the musical and textual cadences do not

appear to coincide. The cadential hierarchy is very shallow, and major structural divisions

are ignored (�gure 3.7, page 54). An examination of the rest of Monte's book shows

54

that this is not uncommon among the madrigals notated in c . On the whole, these

works appear to be treated more loosely; however, they remain madrigals in their textual

content, imitative counterpoint, and independent disposition of voices.

�� Figure 3.7: Cadence tones in Monte's �Volentier canterei� (G Dorian mode)

3.4 Conclusion

The history of the madrigal is largely narrated as a continual line of development, as

composers gradually explored ever more extreme forms of text/music mimesis. This

progressivist approach, however, has resulted in a myopic, distorted view of the true

historic narrative. Speci�cally, there is great emphasis placed on the works of Willaert

and Rore as representing a more general trend toward the mannerist madrigals of the

1580s. In light of Monte's book of three-voice madrigals (and indeed, Monte's work as

a whole up to 1586), I am disinclined to accept this wholly. I do not mean to diminish

the importance or uniqueness of these two great composers; in fact, it is their uniqueness

that I feel must be emphasized. Accepting them as a type of the madrigal composer of

the 1560s is unwise. The decisive movement away from the �eetness and delicacy of the

classic idiom toward the ponderousness of mannerism should be dated much closer to

1580 than 1560.

By focusing solely on this progressive narrative, a large repertoire has been ignored.

With the exception of Lasso (and to a lesser extent, Gabrieli), the madrigal of the 1560s

and 70s is little discussed. What other composers published during this time? What

was the prevailing style of the madrigals of this period? We know that unaccompanied

madrigals continued to be published (primarily in southern Italy) even after the genre

55

largely disintegrated in the early seventeenth century. What is the nature of the re-

lationship between the madrigals of Arcadelt, the madrigal of the 1560s and 70s, and

these turn-of-the-century works? Evidently the progressivist view is too narrow; there is

another story to be told here, that of the continuation and smaller-scale developments of

the classic madrigal idiom throughout the century.

The most proli�c madrigal composer in the history of the genre was Philippe de

Monte. He was highly respected by his contemporaries both as a composer and as a

person, and his works were very popular. The neglect he has su�ered is not due to his

being a second-rate composer; rather, his conservative style does not cleanly �t in the

developmental continuum espoused in modern pedagogy surrounding the history of the

sixteenth-century madrigal. It is hoped that this edition and discussion will stimulate

continued study of this important composer and encourage further transcriptions of his

work in order to more fully understand the history of this important musical genre.

The music historian focuses �rst on works of music, whatever else he

might survey. These are his primary texts.

Gary Tomlinson, Monteverdi and the End of the Renaissance (Uni-

versity of California Press, 1987), ix.

56

Part II

The Edition and Apparatus

57

Chapter 4

The Sources

4.1 Music

To the best of my knowledge, there exist only three complete exemplars of Monte's

book of three-voice madrigals, all in Italy. The one referenced for this study is found in

the Civico Museo Bibliogra�co Musicale of Bologna as shelf mark T.137.1 (Given the

limited time and resources available, I was unable to directly reference the following two

sources.) Another set is supposedly housed at the Biblioteca Apostolica Vaticana in the

De Rossi fonds, section MAG, shelf mark Stamp.Ross.6136.2 A third set can apparently

be found at the Biblioteca del Civico Istituto Musicale Gaetano Donizetti in Bergamo.3

The library does not have its own online catalog, but the materials appear to be found in

the Piatti Lochis fonds, shelf mark 8603. More detailed information on these holdings and

other partial holdings can be found via the invaluable Servizio Bibliotecario Nazionale

(<http://sbn.it>) and its nation-wide library catalogue (<http://opac.sbn.it>).

You can reach the entry for Monte's book by �rst clicking on Ricerca avanzata in the

left sidebar and then entering IT\ICCU\DE\89081100329 in the Identificativo SBN

search �eld. All of the URLs are valid as of 03 April 2010.

1. The library's main page is found at <http://www.museomusicabologna.it/biblioteca.htm>.The particular entry for these partbooks is found at <http://badigit.comune.bologna.it/cmbm/

scripts/gaspari/scheda.asp?id=7630>. Digital photos of the partbooks can now be foundin their digital collection at <http://badigit.comune.bologna.it/cmbm/images/ripro/gaspari/

_T137/T137_001.asp>.2. Their main website is found at <http://www.vaticanlibrary.va/>. Their search engine does

not allow for permanent links, so one would have to re-initiate the search.3. <http://www.issmdonizetti.it/it/biblioteca.html>

58

Figure4.1:

Titlepage

ofthecantopartbook.

59

Figure4.2:

Dedicationpage

ofthecantopartbook.

60

Figure4.3:

The

�rst

madrigalin

thecantopartbook,

�Amor,chesoldeicorleggiadriha

cura.�

61

4.2 Texts

Up until 1580, Monte was a serious Petrarchist. In fact, from his �rst book (1554) to

1580 he set more of Petrarch's poetry than any other composer in the history of the

madrigal. In the 1570s this trend began to move more toward Bembo and Sannazaro

(whose poems appear more frequently in Monte's works than any other single poet after

Petrarch). Starting in 1580, however, Monte began to turn more to the poeti minori for

texts, often setting only one or two poems of any given poet. This particular collection of

madrigals is one of the few composed entirely of such poets. He drew the vast majority

of these texts from two two-volume lyric anthologies edited by Lodovico Dolce.

The lyrics in early printed music editions are notorious for their lack of punctuation,

accents, and sometimes, legibility. Their linear layout also obscures the versi�cation of

the original poetry. To insure the most correct view possible of the texts, the actual an-

thologies are required. These anthologies were reprinted many times, and it is impossible

to know for sure which edition(s) Monte had in his possession. The given texts and trans-

lations are as they are found in the music print. The texts of the anthologies were used

only as a reference and aid in determining punctuation and meaning. No philological

analysis is attempted, nor is the list of sources exhaustive.4

I directly referenced the following sources:

• The 1575 reprint of Prima parte delle stanze di diuersi illustri poeti. Raccolte da

m. Lodouico Dolce a commodita & utile de gli studiosi della lingua thoscana found

at the Biblioteca comunale dell'Archiginnasio in Bologna, inventory 35765, shelf

mark �8. T. V. 27 op. 2�. (Identi�cativo SBN: IT\ICCU\RAVE\020749)

• The 1572 reprint of La seconda parte delle stanze di diuersi autori nuouamente

4. For a complete list of poetic sources and other musical settings of the poems, please see Luzzi,Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595), 293�392 (more speci�callypp 306�10).

62

mandata in luce also found at the Biblioteca comunale dell'Archiginnasio at the

same shelf mark as above. (Identi�cativo SBN: IT\ICCU\BVEE\021228)

• The 1547 print of Rime di diuersi nobili huomini et eccellenti poeti nella lingua

Thoscana. Libro secondo found at the Biblioteca di Casa Carducci in Bologna,

inventory �fcm 21596�, shelf mark �4. b. 314�. (Identi�cativo SBN:

IT\ICCU\TO0E\030779)

• The 1547 reprint of Rime di M. Remigio �orentino. Nuouamente stampate. Et

con somma diligentia corrette also found at the Biblioteca di Casa Carducci in

Bologna, inventory �fcm 22316�, shelf mark �4. d. 265�. (Identi�cativo SBN:

IT\ICCU\BVEE\021956)

There is at least one North American exemplar of the 1581 reprint of the delle stanze

volumes, albeit in very fragile condition, found at the University of Michigan Special

Collections, call number �850.8 D357 1581.� There is apparently a copy of the Rime

di diversi volumes in fair condition at Yale University, �BEINECKE Hb83 D687 1565.�

Brian Mann's dissertation states there is a copy of the delle stanze anthologies at the

University of California, but the librarians I spoke to said they do not have (nor have they

ever had) these materials. They do, however, have a copy of the Rime di diversi volumes,

call number �Bancroft PQ4212.A3; G5 1588.� Unfortunately, my inquiry brought to their

attention a catastrophic mis-housing of the materials that rendered them inaccessible.

As of August 2007, the volumes were in restoration for an estimated two year period.

Please see table 4.1 on page 64 for the list of speci�c sources and page numbers referenced

for this study.

63

Figure4.4:

Primapartedellestanze

didiuersiillustripoeti,page

209.

Source

forthepoetryof

�Mentr'ameranno

inudi

pesci

l'ond

e.�

64

For the sake of space, the form or source name is ommitted if it is the same as the

previous entry.

Table 4.1: Poems and sources in Monte's book of three-voice madrigals

Page First Line Author/Form Source

1 Amor che sol dei cor

leggiadri ha cura

Unknown / ottava

stanza

Prima stanze, 416

2 O beata colei ch'al �n

può dire:

Lodovico Martelli 291

3 Ohimè dov'è'l mio

ben, dov'è'l mio

core?

Bernardo Tasso 255

4 Chi non sa com'altrui

duo chiari lumi

Giovanni Vendramin Seconda stanze, 178

5 Vostro fui, vostro son

e sarò vostro

Bernardo Tasso Prima stanze, 257

6 Non pur sì duro es-

silio o lontananza,

Luigi Alamanni 207

7 Mentre ameranno i

nudi pesci l'onde,

Luigi Alamanni 209

8 Vago monte, �orite

ombrose piagge,

Gandolfo Porrino Seconda stanze, 190


65



9�10 O mia lieta ventura,

or quale stella Io

so che non m'inganna

sogno od ombra:

Pietro Barignano /

sonnet

Secondo rime, 158v

11 Non vedete voi,

donna, il mio tor-

mento?

Pietro Barignano /

madrigal

66v

12 Volentier canterei de'

vostri onori,

Pietro Barignano /

madrigal

66v

13 O chi potrà mai ben

chiudere in versi

Cavalier Gandolfo /

ottava stanza

Seconda stanze, 189

14 S'io odo alcun felice e

lieto amante

Angelo Di Costanzo 162 5

15 Vissimi un tempo in

dolce foco ardendo

Vincenzo Quirino Prima stanze, 437

16 Ohimè che da quel

punto ch'in�ammarsi

Angelo Di Costanzo Seconda stanze, 153

17 Dolce mia vita, da

cui vivo e moro

Francesco Maria

Molza

Prima stanze, 144

18 La bocca onde

l'asprissime parole

Ercole Bentivoglio 262


5. In Luzzi's book, the page number for this poem is misprinted as page 62.

66



19 Poi ch'or è dolce ogni

passato scempio

Ercole Bentivoglio 260

20 Spesso a consiglio i

miei pensier convoco

Angelo Di Costanzo Seconda stanze, 154

21 Ahi dove, lasso me,

prieghi e parole

Unknown Prima Stanze, 416

22 Qual più scontento

amante alberga in

terra

Vincenzo Quirino 436

23�24 Ove lontan da la

mia �da luce Così

d'un olmo sospirando

a l'ombra

Remigio (Fiorentino)

Nannini / sonnet

Rime di M. Remigio,

21v

25 Qual desir ch'ebbi in

su la vista prima,

Angelo Di Costanzo

/ ottava stanza

Seconda stanze, 156

26 Piango ch'amor con

disusato oltraggio

Unknown Prima stanze, 412

27 Saziati, Amor, ch'a

più doglioso amante

Unknown 413


67



28�29 Ardo, sospiro e pi-

ango e sì mi piace E

son del mio languir

così contento

Remigio (Firoentino)

Nannini / sonnet

Rime di M. Remigio,

17v�18r

68

Chapter 5

Critical Report

5.1 Editorial Methods

5.1.1 Order of Works

The order of the works in the original source has been preserved. There are no titles

provided in the sources; instead, the �rst line of each poem has been used.

5.1.2 Text

Abbreviations in the original text are expanded without comment unless they are in

some way questionable or unclear, and archaic conventions of typography, such as the

use of i or j and u or v, have been modernized. Accents have been added consistent

with modern practice, but fundamentally, the orthography is unchanged. Repetitions

of text shown in the original by an idem sign (ij ) are enclosed in angle brackets in the

edition. Text underlay follows that of the principal source unless otherwise indicated

in the critical notes. Word divisions follow modern practices as set forth in the Italian

dictionary, Garzanti. If there is a textual discrepancy between voices, the orthography or

word choice found in the majority of voices is used without comment. Exceptional cases

will be mentioned in the critical notes. In the edition, no punctuation has been added.

In the �Texts and Translations� section, however, punctuation has been added to the

Italian as found in the poetry sources, and the English punctuation has been modernized

to maximize the clarity of the text.

69

5.1.3 Incipits and Range Finders

The original clef, key signature, mensuration sign, and �rst notated pitch or ligature in

each voice part is shown in an incipit at the beginning of each work before the brace. The

range of each voice is shown before the modern clef, key signature, and meter signature

showing the range of pitches as they appear in the modern clef.

5.1.4 Part Names

The original designation of voice parts is retained.

5.1.5 Clefs

Without regard to the designation of a voice part, (a) parts originally in any G clef,

C1, or C2 (C on the �rst or second line respectively) are transcribed in treble clef; (b)

parts originally in C3 or C4 clefs are transcribed in transposed treble clef; and (c) parts

originally in C5 or any F clef are transcribed in bass clef.

5.1.6 Meters and Barlines

All mensural signs of the same type are consistently transcribed in the same meter.

Barlines are inserted between the staves in order not to obscure the the pitch durations

as written, nor suggest any particular metrical emphasis. The measures are numbered

continuously through all parts

5.1.7 Note Values

The note values have been consistently halved. The ratio is easily perceived by examining

the incipits. In all cases, the mensuration sign was carried over directly to the modern

equivalent. The last note in the last measure of a piece is transcribed as a whole note

with fermata regardless of its appearance in the source, unless it arrives after a measure

70

begins, in which case it is transcribed as a value su�cient to �ll the measure, and it is

also provided with a fermata.

5.1.8 Tempo

The issue of tempo is all but intractable. The sources themselves provide no informa-

tion, and sixteenth-century treatises are contradictory. Pieces notated in C are most

comfortable performed between 50 and 75 beats per minute per half note. Pieces in

c are comfortably performed at the same number of beats per minute but on the quarter

note.

5.1.9 Accidentals

Any accidental printed in the source is printed on the sta�. Accidentals only a�ect the

note they precede and any immediately succeeding notes on the same pitch. The |sign

is transcribed as either a sharp or a natural as appropriate. Cautionary accidentals

are placed on the sta� in parentheses and may be considered as optional. Accidentals

conveying musica �cta are placed above the sta� in small type. These accidentals are not

to be understood as optional; the editor considers them obligatory in accordance with

conventions of the time. These conventions include (a) raised leading tones at cadences;

(b) accidentals that correct successive or simultaneous diminished or augmented fourths,

�fths, or octaves; (c) accidentals that follow the principle of una nota super la, that is, that

prevent a melodic tritone when a voice ascends above la in the prevailing hexachord; (d)

accidentals that achieve progression to a perfect consonance from the nearest imperfect

consonance. Accidentals above the sta� are valid only for the note over which they

appear; they are repeated within a measure whenever necessary.

71

5.1.10 Ligatures

Ligatures are shown by full horizontal brackets above the pitches in question.

5.2 Speci�c Issues

5.2.1 Text Underlay

For the most part, the placement of syllables under a melisma is clear. Figure 5.1 on

page 72 is a typical example. In some cases, however, the syllables are not properly

spaced, as in �gure 5.2, page 72. In cases such as these, one can turn to Giose�o Zarlino

and his �10 rules of text underlay� (appendix A, page 240) that he presents in part three

of Le Istitutioni Harmoniche, On the Modes. In this speci�c case, Zarlino's rule #4

proscribes placing syllables on notes smaller than a minim. The result is placing the �nal

syllable of �desio� on the �nal minim.

If, however, the melisma consists entirely of semi-minims (as seen in �gure 5.3,

page 72) then these rules are not su�cient. In this case one could argue for two dif-

ferent settings. The word �soavi� technically has three syllables (so�a�vi). It would be

natural, then, to underlay a syllable under each semi-minim. That said, �soavi� is gener-

ally pronounced as having only two syllables (soa�vi). In that case, the separation of the

�rst two syllables would sound unnatural, and one would instead place the �rst syllable

melismatically under the �rst two semi-minims. Here, the editor has chosen the latter

approach.

5.2.2 Notational Irregularities

The manuscript is in very good condition and is fully legible. Bleed-through and some

water damage makes micro�lm copies unreliable, but physical examination (or examina-

tion by photo) is unproblematic. The one irregularity is found in the alto voice of the

72

�fteenth madrigal, �Vissimi un tempo� (see �gure 5.4, page 73). One would have serious

problems synchronizing the voices if one relied solely on the micro�lm copy. The photo,

however, clearly shows the rest having been scraped o�. Limited time and resources

made it impossible for the editor to compare this source with the other two extant alto

partbooks.

Figure 5.1: �Oime dov'è'l mio core��Canto: Typical melismatic underlay

Figure 5.2: �Oime dov'è'l mio core��Canto: Typical melismatic underlay problem

Canto Alto Basso

Figure 5.3: �Ardo, sospiro, & piango�: Melisma under semiminims

73

Micro�lm Photo

Figure 5.4: �Vissimi un tempo��Alto: Scraped rest

74

5.3 Critical Notes

The notes below will follow the format: madrigal #, voice (CAB), measure, short descrip-

tion; longer description if necessary. They appear �rst in order of madrigal appearance,

then by voice type (voice groupings coming before individual voices), and �nally by

measure number.

3, CAB, 27�28, ambiguous underlay; If one adheres to Zarlino's rule #4, then the

semi-minim should not carry its own syllable, and thus should be divided as it appears

in the edition.

3, C, 14�16, ambiguous underlay; If one follows Zarlino's rule #4 and does not place

syllables on the semiminims, then the underlay should appear as it does in the edition.

3, A, 26�27, ambiguous underlay; One must elide �mio� and �amore� instead of �amore�

and �ambitiose� in order for all three voices to clearly begin the new line of text (�Ambi-

tiose�) at the same time.

6, CAB, 39�40, ambiguous underlay; The underlay for the Canto part is unambiguous.

The Alto and Basso parts, however, are less clear. While �soave� is technically three

syllables, the �rst is too weak to stand on its own. Since in the Canto part (and in

common usage) the �rst two syllables are elided, the editor chose underlay the text as it

appears in the edition.

6, B, 9, super�uous B sharp; While it is quite common for the diesis symbol (|) to

function as a natural (either cancelling a previous �at or denying a standard �cta condi-

tion), in this case there is no circumstance under which the B would ever be mistakenly

�atted.

10, CAB, 5�6, awkward elision; Eliding �ecco� and �io� over two pitches is exceedingly

awkward. There does not appear, however, to be a more satisfactory solution than what

is presented in the edition.

75

11, B, mis-matched mensuration sign; In this case there is no di�erence in proportion

between the upper two voices. This was likely a printing error, and, while it has been

retained in the incipit, the edition brings it in to harmony with the other voices.

14, C, 4�5, ambiguous underlay; The elision of �tranquilli� and �ardori� is what takes

place in the other voices.

15, A, 10, ambiguous underlay; If one follows Zarlino's rules, the second syllable of

�pascendo� should appear on the longer note, and thus the choice of underlay in the

edition.

15, A, 12, extraneous semi-breve rest; In the Bologna source, this rest has been

manually scraped o�.

15, A, 15, super�uous B sharp.

15, B, 14, super�uous B sharp.

16, C, 5, ambiguous underlay; The word �il� is not generally sustained over a melisma.

The �il� was thus moved on its own under the last note of the melisma.

18, A, 12�13, ambiguous underlay; In the Canto and Basso parts, the �rst two syllables

of �soavemente� are elided. The underlay of the Alto part has been similarly divided.

19, A, 15, super�uous B sharp.

23, B, 8, notated B sharp ignored.

28, CAB, 8�9, �soavi� set as two syllables; While technically it has three, it is always

pronounced as two, and having the 2nd syllable emphasized in the Canto part is incorrect.

76

Chapter 6

Texts and Translations

1.

Amor, che sol dei cor leggiadri ha cura,

Ne mai scaldar degnossi alma villana:

Di salir vivo al ciel l'huomo assicura

Con ottimo riposo, & lode humana,

Amor ogni virtù semplice, & pura

Ogni bellezza vil, caduca, & vana;

E ne ripete pur ch'io mi distempre,

Che'n voi raddoppia la mia vita sempre?

(Unknown, ottava stanza)

(Love, which only embraces graceful hearts, never deigns to arouse the common soul.

Love assures man a place in heaven with the ultimate repose, and human praise, with

every simple and pure virtue and every beauty, common, ephemeral, or vain; And it

recurs again and again, despite my weakness, because in you, my life is ever enriched?)

2.

O beata colei, ch'al �n puo dire,

Io tenni un senza cor molt'anni in vita.

Io gli fei parer dolce ogni martire

Ne l'età sua più bella, & più �orita;

77

Ne gli lasciai provar gli sdegni, & l'ire

Del timor, ch'a morir gli amanti invita;

Et quel, ch'a l'un fu caro, à l'altro piacque;

Perch'io sua tutta, & ei mio tutto nacque.

(Lodovico Martelli, ottava stanza)

(O blessed is she who in the end can say: I kept alive for many years one without a

heart. I made every pain appear sweet in his most beautiful and happy age. I did not

allow him to experience the scorn and rage of fear, which invites death to lovers; And

what to one was dear, to the other it pleased, because I was his everything, and in me

all was born.)

3.

Ohimè dov'è'l mio ben? dov'è'l mio core?

Chi m'asconde il mio core? e chi me'l toglie?

Dunque ha potuto sol desio d'honore

Darmi fera cagion di tante doglie?

Dunque han potuto in me più che'l mio amore

Ambitiose, e troppo lievi voglie?

Ahi sciocco mondo, e cieco, ahi cruda sorte,

Che ministro mi fai de la mia morte.

(Bernardo Tasso, ottava stanza)

(Alas, where is my beloved? Where is my heart? Who is hiding my heart? And who

has taken her from me? Is it possible that the desire for honour alone has caused me

such su�ering? Is it possible that more important to me than my love were futile and

78

frivolous ambitions? Ah! Foolish and blind world! Ah! Wicked fate! You make me the

minister of my own death!)

4.

Chi non sà com'altrui duo chiari lumi

Facciano oscura notte il più bel giorno,

Come accenda d'amore, e non consumi

La santa �amma à un cor posta d'intorno,

Come la tenebrosa notte allumi

Un sguardo à par del Sol di luce adorno,

Lei miri, e in lei vedrà chiaro le tante

Gran meravaglie della luci sante.

(Giovanni Vendramin, ottava stanza)

(Who knows of another two eyes, clear as crystal, that turn the darkest night into

the most beautiful day, that arouse love, but do not consume the holy �ame that dwells

in the heart, that illuminates the darkness of night by a glance, like the light of the Sun.

Look at her, and you will clearly see the many great marvels of these holy lights.)

5.

Vostro fui, vostro son, e sarà vostro,

Fin che vedrò quest'aere, e questo cielo;

Vili prima saran le perle, e l'ostro:

Negre, & ardenti �en le nevi, e'l gelo,

Che'l tempo spenga mai questa ardor nostro

Per cangiar clima, ò variar di pelo;

79

Anzi crescerà sempre il mio bel foco

Quanto andrò più cangiando etate, e loco.

(Bernardo Tasso, ottava stanza)

(Yours I was, yours I am, and yours I ever will be, as long as I can see this air and this

heaven. Until worthless are the pearls and the purple. Until black and �ery are the snow

and ice. May time never extinguish our passion, regardless changes in place or fashion.

Instead, may this beautiful �ame ever increase as I pass through time and space.)

6.

Non pur si duro esilio & lontanza

Ma morte stessa non torrà dal core

Donna gentil di voi quella sembianza

Ch'in si saldo lavor vi sculse Amore,

Et s'altro che sospir nulla m'avanza,

Leve m'è'l sospirar, caro'l dolore,

Dolce il languir, soave ogni tormento

Che per voi lunghe giorno & notte sento.

(Luigi Alamanni, ottava stanza)

(Neither exile, nor distance, nor death itself could take from me, gentle woman, the

image of your face that Love engraved upon my heart with such steadfast work, and if I

am left with nothing but longing, easy will be the sighs, dear the pain, sweet the languor,

and gentle each torment which I feel for you day and night.)

7.

80

Mentr'ameranno i nudi pesci l'onde,

L'alte selve i Leon, gli armenti i prati,

L'api i dipinti �or, gli Augei le fronde,

L'alma Fenice gli Arabi odorati,

Amor, ch'à gentil cor mai non s'asconde

Dolci sembianti, & stili alti & onorati,

Mentre il ciel volgerà le notti, e i giorni.

Scaldarò l'alma ne vostri occhi adorni.

(Luigi Alamanni, ottava stanza)

(While the simple �sh will love the waves, the lions the high forests, the herds the

meadows, the bees the colourful �owers, the birds the branches, the Phoenix spirit the

perfumed Arabs, Love, which never hides from gentle hearts, will love beautiful faces,

and high and honoured classes, as long as the nights turn into days. I will ever warm my

soul in your beautiful eyes.)

8.

Vago monte, �orite ombrose piagge,

Lago d'ogn'altro più lucente, e chiaro,

Gai uccelletti, adorne Ninfe, e sagge,

Ch'udito havete il mio lamento amaro

Se mai fortuna il mio bel sol quì tragge,

Che de la luce sua m'è tanto avaro,

L'angoscie mie dirle vi piaccia, come

Morte ogn'hor chiamo, e lei sola per nome.

(Gandolfo Porrino, ottava stanza)

81

(I wander the mountain, the �ourishing shady shore, a lake more bright and clear

than any other, cheerful little birds, beautiful and wise Nymphs, you all heard my bitter

lament. If only fortune would draw my beloved sun here, for she hides her light from me.

Of my anguish, please inform her, and how I call upon death every hour, and her alone

by name.)

9�10.

O mia lieta ventura, hor quale stella

M'è si benigna? quest'è'l mio bel Sole:

Queste son quelle luce altiere e sole,

Per cui porto nel cor piaga si bella?

Questa è ben quella bocca? ella è ben quella;

Ond'escon così dolci le parole:

Certo questa è la man, che spesso suole

Stringermi il cor: la toccò ella è pur ella:

Io so, che non m'inganna sogno, od ombra

Ecco io l'abbraccio: & io son pure io stesso

Chiederò pur mercede hor che mi lice.

So che non mi avverrà, come si dice,

Tra la spiga e la man qual muro è messo.

Ohime che è pure il sogno: e via si sgombra.

(Petronio Barbati, sonnet)1

(O, happy fortune, which star Is so kind to me? Is this my beautiful Sun? Are these

the high and lonely lights for which I carry in my heart this beautiful wound? Is this

1. One source lists the author as Bartolomeo Carlo Piccolomini.

82

indeed that mouth? It is indeed the one; from which come sweet words: certainly this is

the hand that often presses upon my heart. I touched it. It is indeed she. I know. Let

not the dream deceive me. Behold, I embrace it: and I am myself, I will ask for mercy

now that I may. I know that it will not come to pass, as they say, between the fruit and

the hand a wall is erected. Alas, it is only a dream: and it dissipates away.)

11.

Non vedete voi donna il mio tormento?

Piacciavi dunque à tempo porci �ne

Anzi, che morte più mi s'avicine:

Deh pietà del mio mal vi stringa il core

Si, come strinse il mio vostra bellezza:

Che se'n voi scema un di quella durezza,

Ch'io chiamo sol cagion del mio dolore;

In compagnia d'Amore

Andrò sempre cantando in dolce accento;

Hor son d'arder per voi troppo contento.


(Do you not see my torment, woman? End it, I pray you. In fact, may death come

even closer! May pity take hold of your heart. Yea, even as your beauty does mine. For

if this harshness one day vanishes, which I call the only cause of my pain, in the company

of Love I will go ever singing with sweet accents. Then I would gladly burn for you.)

12.

Volentier canterei de vostri honori,

83

S'io sperassi con l'arco del mio ingegno

Ir sol vicin, non che toccarne il segno.

Ma d'onde havrebbe il mio voler le braccia

A tirar tanto, se'l spatio è si lungo,

Ch'io pur a pena col pensier vi giungo:

Però meglio è che'l cor v'inchini, e taccia,

Che volendo far satio il gran desire

Senza poter compiutamente dire,

Forse l'havreste voi Madonna à sdegno.


(Gladly I would sing of your honours, if I could hope, with the bow of my genius,

to get a little closer, or even to touch the mark. But what does my desire expect my

body to do if the distance between us is so great that I can barely even reach you with

my thoughts? Perhaps it is better that my heart bows to you, but remains silent, than

trying to satisfy this great desire without being able to appropriately express my love, in

case you would disdain it, my lady.)

13.

O chi potrà mai ben chiuder'in versi

L'alto valor con l'humil cortesia?

Le gratie, che compagne eterne fersi

A lei, che par non fù giamai, ne �a?

Che co'bei modi, e con gli andar diversi

D'habiti adorni in somma leggiadria,

Col rider, e parlar pien di salute

84

Mostra quanta dal Ciel cade virtute.

(Cavalier Gandolfo, ottava stanza)

(O, who could ever immortalize in verse your great worth and humble courtesy? The

graces, which become eternal companions in her, whose equal I never shall be? How her

re�ned manners, and various movements, her clothes beautifully but simply adorned, her

laughter, and speech full of joy, show that from heaven falls virtue.)

14.

S'io odo alcun felice, e lieto amante

Narrar gioioso i suoi tranquilli ardori,

E quante volte del suo amor costante

Raccoglie frutti, non pur frondi, e �ori,

Dico d'invidia colmo in quell'istante,

In voi spiega Fortuna i suoi favori;

Solo io lunghi al mio ben quì mi disfaccio;

E nulla stringo, e tutto il mondo abbraccio.

(Angelo Di Costanzo, ottava stanza)

(If I hear another happy and glad lover joyfully narrate his peaceful passions, and

how often of this constant love he harvests fruit, not just branches and �owers, �lled

with envy, in that instant I will say, in you are Fortune's favours explained. Instead, I

am here, tormented and longing for my beloved. I hold nothing, even though I embrace

the entire world.)

15.

85

Vissimi un tempo in dolce foco ardendo

Senza altra tema di future pene,

Et del lume di quella il cor pascendo,

Che per sua lontananza hora mi tiene

Privo d'ogni dolcezza; onde piangendo

La vo cercando intorno à queste arene

Intorno à questi monti, & sovra l'onde:

Ne altro ch'Eco al mio mal mi risponde.

(Vincenzo Quirino, ottava stanza)

(I once lived in a sweet burning �re without fear of future pain, and my heart grazed

on her light. But now she keeps me distant, deprived of every sweetness; therefore, I cry.

I go searching for her along the shores, along the mountains, and on the sea: not even

an echo answers my pain.)

16.

Ohime, che da quel punto, ch'in�ammarsi

Vidi d'ira il tuo vago, e divin volto

Sentì dentro il mio cor tosto sgombrarsi,

Quant'havea speme in tanti mesi accolto;

E da l'alma confusa dileguarsi

Ogni piacere: onde à me stesso volto

Dissi, Ahi perduti mal graditi a�anni,

Quest'è l'ultimo dì di miei dolci anni.

(Angelo Di Costanzo, ottava stanza)

(Alas, the moment I saw your graceful and divine face in�amed with anger, I felt

86

my heart emptying of all the hope it had harboured for so many months; and from my

confused soul, every pleasure dispersed; therefore, I said to myself alas, long forgotten

and unwelcome su�erings, this is the last day of my sweet years.)

17.

Dolce mia vita, da cui vivo & moro,

Perche altro far volendo, non saprei,

Che come avaro intento al suo thesoro

In te tutti son spesi i pensier miei,

Altri che te mio ben nessuno adoro.

Ne conosco altro ciel, non altri Dei,

Che amor mi strinse con si forte nodo,

Che scioglier non si può per alcun modo.

(Francesco Mario Molza, ottava stanza)

(Sweet is my beloved, for whom I live and die, for even if I wanted another, I would

not know what to do. Like the miser, intent on his treasure, in you I spend all my

thoughts. I adore none other but you. I do not know another heaven, nor other Gods,

whose love binds me with knots so strong, that I could not by any means untie them.)

18.

La bocca, onde l'asprissime parole

Solean uscir, ch'ir mi facen dolente;

Vie più di quanti mai fur sotto il Sole

Hor nutre l'alma mia soavemente

D'odor di fresche rose, e di viole,

87

Cui cede ogn'altro che l'Arabia sente,

Et d'Ambrosia e di Nettare la pasce,

Che tra le perle, e i bei rubini nasce.

(Ercole Bentivoglio, ottava stanza)

(The mouth, from which the harshest words used to be uttered, which anger made

me su�er in countless ways, now gently feeds my soul with the smell of fresh roses, and

violets, which yields all that which the Arab smells, and that on which Ambrosia and

Nectar grazes, that between the pearls and the beautiful rubies, he may be born.)

19.

Poi c'hor è dolce ogni passato scempio,

E dolce il rimembrar gli antichi strazi,

Poi che più di sospir l'aria non empio

Benigni fati, e poi che sete sazi

De le lagrime mie, dei martir empio,

Tempo è c'humilmente vi ringrazi:

E che ringrazi Amor, che'l cor me svelse,

E diello a lei, che tra le belle scielse.

(Ercole Bentivoglio, ottava stanza)

(Now that every past devastation is sweet, and sweet are the memories of ancient

agonies, now that the air is no longer �lled with my sighs, benign fates, now that your

thirst is satis�ed by my pain-�lled tears, the time has come to humbly thank you: I thank

thee, Love, who broke my heart, and gave it to her, whom thou chose from amongst the

beautiful.)

88

20.

Spesso à consiglio i miei pensier convoco

Per dimandarli, homai, di noi, che �a?

E s'havrà qualche �ne il nostro foco,

O se fortuna havrem sempre più ria?

E così stando veggio in spatio poco

Venirne mille à la memoria mia:

Ma al �ne ogni un di lor m'è duro, e forte,

Che non fanno trattar altro, che morte.

(Angelo Di Costanza, ottava stanza)

(Often I summon my thoughts to council to ask them, what will become of us? Is our

�re going anywhere? Or will fortune always stand against us? And so, standing watch

in a tiny space, come to my memory a thousand thoughts: but in the end each one of

them is hard to me, and stressful. They discuss nothing, but death.)

21.

Ahi dove (lasso me) prieghi & parole

Spend'io, se non fra quercie, ontani, & faggi

Se non tra selve ombrose oscure, & sole;

Dove s'alcun pur v'è, son Dei selvaggi?

Voi avre almen; che i gigli, & le viole

Destando; temperate ai solar raggi:

Deh fate udir ch'io resterò contento

À la mia Donna il grave mio lamento.


89

(But where (miserable me) can I spend my prayers & words, if not among oaks, alders,

& beeches? If not among the woods, shadowy and dark? Where, if there is anyone, they

are only savage Gods? At least you will have the budding lilies and violets tempered

under the rays of the sun. I will remain content as long as you make my love hear my

grave lament.)

22.

Qual più scontento amante alberga in terra

Di me, ch'ad hora ad hor la morte invoco.

Qual con più cruda: & dispietata guerra

Vinto si trova, & posto in maggior foco?

Qual ne l'empia prigion d'Amor si serra

Con più càtene in più riposto loco?

Di me, che vo tra voi lasso piangendo,

Di tema, & di desire il cor pascendo.

(Vincenzo Quirino, ottava stanza)

(What more unhappy lover exists on Earth than me, who hour by hour invokes death?

Who, with more cruel and merciless war, �nds himself defeated and placed in greater

peril? Who, locked in the cruel prison of Love, is tied with more chains in a more secluded

place than me? Wandering amongst you, weary and weeping, my heart grazes on fear

and desire.)

23�24.

Ove lontan da la mia �da luce

Quest'occhi volgerò, quest'occhi lasso

90

Ch'avezzi a si bel lume a caiscun passo

Volgonsi pure ove lor stella luce?

Ecco ch'io parto, e'l mio dolor m'è duce,

Che partendo mia gioa indietro lasso:

E son come huom de propri lumi casso;

Poi ch'ella ove io men vo non mi conduce.

Così d'un Olmo sospirando a l'ombra

Tirsi dolente lamentar s'udiva

D'ellera cinto le selvagge chiome:

Et spesso fuor della sampogna usciva

De la sua Flori il dolce amato nome,

Che di dolci pensier l'alma gl'ingombra.

(Remigio [Fiorentino] Nannini, sonnet)

(To where, far from my faithful light, shall I (alas) turn these eyes, these weary eyes,

that are accustomed to such beautiful light as they follow their shining star? Behold, I

leave, and my pain guides me. For in parting, I leave my joy behind, and I am as a blind

man because she does not lead my way. Like an Elm sighing in the shade, Thyrsus's

painful laments are heard By Ivy (Hedera), surrounded the wild foliage: and often, out

of the bagpipes is heard the sweet, beloved name of your Flori (Nymph), of whom sweet

thoughts encumber your soul.)

25.

Quel desir, c'hebbi in sù la vista prima

Quando ne' tuoi begli occhi amor m'apparse,

Sempre starà dalla mia mente in cima,

91

Finché'l mio corpo venga a cener farse;

Che nulla al Mondo prezza, e nulla stima

Quanto ben senza te potria trovarse;

Tua fu dal'hora, e tua sarà mia vita

In�n al dì de l'ultima partita.

(Angelo Di Costanza, ottava stanza)

(This desire I felt when I �rst saw you, when in your gorgeous eyes, love appeared to

me, forever will it remain at the front of my mind, until my body becomes ash; without

you, no one in the world can tell how much love one can �nd; yours I was then, and yours

I shall ever be, beloved, until the day of the �nal parting.)

26.

Piango, ch'amor con disusato oltraggio

Di nuova �amma il cor m'incende & rode:

Sospiro, che un �orito, & verde Maggio

Più sfortunato amante hoggi non gode:

Dogliomi sol, che un chiaro, & vivo raggio

Di duo begli occhi, lagrimar non m'ode;

Che �n forse darian pietosi alquanto

Al lamento, ai sospiri, al duro pianto.


(I cry because love, with excessive force, has reignited my heart with a new and

consuming �ame. I sigh, because the unfortunate lover no longer enjoys such a happy

and green May. I am tormented alone, because a clear and lively ray from two beautiful

92

eyes does not hear my weeping. For if they could, perhaps they would show pity to my

cries, my sighs, and my unwavering lament.)

27.

Satiati Amor, ch'à più doglioso amante

Di me non impiagasti il core ancora:

Ridi fortuna, che fra tante, & tante

Alme infelici la mia più t'honora.

Godete donna sola hoggi fra tante;

Che'l mondo di beltà vanta, ed adora,

Ch'in più di mille carte scritto sia

Vostra durezza con la doglia mia.


(Be satis�ed, Love, that more painful lovers than myself have not yet wounded your

heart. Laugh, fortune, that among so many unhappy souls, mine honours you most.

Enjoy, woman, that today you are the only one of whose beauty the world boasts and

adores. But may it be written in a thousand pages how harsh you have been with my

pain.)

28�29.

Ardo, sospiro, & piango, & sì mi piace

Passar la vita in sì suavi pene,

Così gradito è'l duol che'l cor sostene

Che l'alma gode, & pur s'a�ige, & sface;

Et da si degna & honorata face

93

Tant'amara dolcezza al cor mi viene,

Che la mia guerra, & l'aspre mie catene,

Aprezzo più, che libertate, o pace;

Et son del mio languir così contento

Ch'io vita bramo sol, per vivo sempre

In così dolce, in così caro stato;

Ma temo che'l mio tristo ultimo fato2

Non cangi presto quest'amate tempre

E resti con la vita il foco spento.

(Remigio [Fiorentino] Nannini, sonnet)

(I burn, I sigh, and I cry, and yes, it pleases me to spend my life in such sweet pain.

How pleasant is the pain that my heart sustains that my soul enjoys, even as it withers;

and from such a worthy and honoured face such bitter sweetness comes to my heart, that

my battle and my harsh chains, I appreciate more than freedom or peace; and I am so

content with my languish that I long only to live, to live forever in so sweet, in so dear

a state; but I fear that my sad, �nal fate will be that this unrequited love will not soon

change, and you will remain, with life, an extinguished �ame.)

2. The last tercet as found in the poetry sources reads: Ch'io credo (lasso) che l'estremo fato / (Onon sia) cangera l'amate tempre; / Et �a con la mia vita il foco spento.

94

Chapter 7

The Modern Edition

95

1. Amor, che sol dei cor leggiadri ha curafrom Il primo libro de madrigali a tre voci (1582)

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229

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240

Appendix A

Zarlino's 10 Rules of Text Underlay

The following is a summary of what can be found in On the Modes, volume 4 of Zarlino's

Le Istitutioni Harmoniche of 1558, translated by Vered Cohen, Yale University Press,

1983, pages 97�9.

1. Over a long or a short syllable put a corresponding note value. Every note longer

than a semiminim, and not in a ligature, should carry its own syllable.

2. A ligature should carry only one syllable.

3. No syllable is to be sung to the dot after a note (ie. a dotted note only has one

syllable).

4. Generally semiminims and smaller notes should not carry a syllable, nor should the

note immediately following.

5. It is not customary to place a syllable under a note which immediately follows a

dot of a semibreve or minim when the following note is of less value than these dots

(eg. a semiminim after the dot of a semibreve). The same is true for notes which

immediately follow these.

6. When out of necessity a syllable is placed under a semiminim, another may be

placed under the following note.

7. A syllable must be assigned to the �rst note of a piece or a phrase.

8. Repetitions of a text fragment (not an individual syllable or word) are tolerable if

the sense is complete and there are notes in such quantity that the text may be

241

repeated conveniently, although repeating something many times is not very good

unless it is done in order to emphasize words that bear a serious message worthy

of consideration.

9. The penultimate syllable may have above it several small notes provided that this

penultimate syllable is long and not short.

10. The last syllable of a text must end on the last note of the melody.