The Oxford Book of Italian Madrigals 0193436477, 9780193436473

Citation preview

The Oxford Book of Italian Madrigals

BOSTON PUBLIC LIBRARY

The Oxford Book of Italian Madrigals

Edited by Alec

Oxford University Press Music Department 37 Dover Street London wix 4 AH

Harman

Contents

page 1

ndex of composers

iv

Foreword 1 .

Verdelot

2 Willaert .

vii

Dormend’ un giorno

Amor

mi

fa

3.

Verdelot

4.

Willaert

mia (1538) Quanto più m’arde

5.

Festa

Così soav’

6 Arcadelt .

7.

Noia

8

Arcadelt

.

9.

10

.

11

.

D. Ferrabosco

Rore di Maio

(c.l535)

morire (1536)

Italia

è’I

foco

(c.

( 1

1

538)

539)

11 bianco e dolce cigno (1539) Chi la gagliarda, donna, vo imparare (Mascherata) (1541) Dormendo un giorno (1542) Io mi son giovinetta (1542)

Strane rupi (1542) Tutte

le

vecchie son maleciose (Villanella) (1546)

'

ATBBB SAAT

2

SATBB

12

STTTB

19

SAAT SATB SAT

28

SAT

36 39

43

SAT

54

O morte, eterno fin (1557) O sonno (1557) L’alto signor (1557)

SSATTB

22 Willaert

Cantai, or piango (1559)

23. Palestrina

Io son ferito, ahi lasso (1561

Quest’ io tesseva e quelle (1547)

13.

Rore

Ancor che col

partire (1547)

14.

Festa

Ingiustissimo

Amor (1551)

15.

Lassus

Mia benigna fortuna

16.

Lassus

17.

.

.

(1555)

Cantai, or piango (1555)

Mia benigna fortuna Chi

salirà per

(1557)

me (1558)

34

SATTB

Rore 18. Rore 19. Rore 20 Rore 21 Wert

.

31

SATB

SAAT SATB SAT SAATB SATTB SATTB SATB

12 Corteccia

7

56 59

62 65

92

73 81

86

SATB

104

SATB

110

SAATTB

115

SSAAT

127

Quest’ affannato mio doglioso core (1565)

SATTB

133

25. Palestrina

Vestiva

SATTB

141

26. A. Gabrieli

Due rose fresche (1566) Ne l'aria in questi dì (1568)

SATTB

149

SATB

156

La ver l’Aurora (1568)

SAAT

161

.

24.

27.

Rore

Rore

28. Palestrina

i

colli

(1566)

)

29. 30.

Monte Monte

31. Bell’haver

Leggiadre Ninfe (1569)

SSATTB

164

sonno (1570) Quando sarà mai quel zonorno (Giustiniana) (1570)

SAATB TTB

175

182 185

Ahi, chi mi

rompe

il

32.

Lassus

S’io esca vivo (1579)

SSATTB

33.

Che

SSATB

193

34.

Marenzio Marenzio

SSATB

196

fa oggi

il

mio

sole (1580)

35.

Monte

Già torna a rallegrar l’aria (1581 Fa ch’io riveggia (1581

36.

Marenzio

Fuggirò

37.

Caimo

Mentre

38.

Wert Wert

Vezzosi augelli (1586) Forsennata gridava (1586)

39.

)

tant’,

il

Amore

cuculo

il

(Villanella)

r vo piangendo (1587)

41. A. Gabrieli

Tirsi

42.

Wert

morir volea (1587) Mia benigna fortuna (1588)

43.

Monteverdi

Ecco mormorar Fonde premiato

-Owe

ne vai

(

590)

1

in fretta (Balletto) (1591

/I

45. Gastoldi

Il heir umore - Viver lieto voglio Cruda Amarilli (1595)

sì

48.

Marenzio Gesualdo Gesualdo

49.

Vecchi

S’udia un Pastor

l’altr’ hieri

50.

Solo e pensoso

599)

54.

Marenzio Monteverdi Monteverdi Monteverdi Gesualdo

55.

Luzzaschi

51. 52.

53.

Languisco e moro

( 1

Luci serene e chiare

Si ch’io vorrei

Ah

(

1

584)

(Balletto (1591)

595) ( 1

596)

(Canzonetta) (1597)

morire (1603)

dolente partita (1603)

Quel augellin che canta (1603) Resta di darmi noia (161 Itene mie querele (161 3) 1 )

SSAT

202

SAB

206

SSAT

208

SSATB

210 217

SAATB SATTB

44. Gastoldi

47.

(1

suo cucu cantava (Canzonetta) (1584)

40. A. Gabrieli

46.

)

)

sst/attb

220 228

SATTB

239

SSATB

248

SSATT

255

SSATB

260

SATTB

264

SAATB SAATB

271

SST

279

SATTB

282

SAATB

291

SSATB

296

SSATB

301

SAATB

306

SSATB

309

274

Sources

313

Translations

315

Index of composers

No. Arcadelt

Dormendo un giorno Il

8

bianco e dolce cigno

BelPhaver

Quando

Caimo

Mentre

Corteccia

Quest’ io tesseva e quelle

di

Maio

Tutte

sarà mai quel zonorno

il

le

cuculo

il

suo cucu cantava

vecchie son maleciose

Page 36

6

31

31

182

37

208

12

56

11

54

Ferrabosco, D.

lo mi son giovinetta

9

39

Festa

Così soav’

5

28

14

62

Gabrieli, A.

Due rose fresche

26

149

r vo piangendo

40

220

è'I

foco

Ingiustissimo

Tirsi

Gastoldi

//

Amor

morir volea

beir umore - Viver lieto voglio

premiato - Ove ne vai Languisco e moro

Il

Gesualdo

Lassus

sì

in fretta

41

228

45

260 255

44 47

271

Luci serene e chiare

48

274

Resta di darmi noia

54

306

Cantai, or piango

16

73

Mia benigna fortuna

15

65

S’io esca vivo

32

185

55

309

mie querele

Luzzaschi

Itene

Marenzio

Che fa oggi il mio Cruda Amarilli

sole

-

Fuggirò

tant’.

Già torna a

Amore

rallegrar l’aria

Solo e pensoso

33

193

46

264

36

206

34

196

50

282

Monte

rompe Fa ch’io riveggia

Ahi, chi mi

Monteverdi

Nola Palestrina

175

35

202

Leggiadre Ninfe

29

Ah

dolente partita

52

164 296

Ecco mormorar Tonde

43

248

Quel augellin che canta Si ch’io vorrei morire Chi la gagliarda, donna, vo imparare Io son ferito, ahi lasso

53

301

51

291

Vecchi Verdelot .

Wert

Willaert

7

34

23

127

La ver l’Aurora

28

161

Vestiva

25

141

i

colli

Ancor che col

Rore

sonno

30

il

13

59

L’alto signor

19

92

Mia benigna fortuna

20

104

Ne l’aria in

27

156

O morte, eterno fin O sonno

17

81

18

86

Quest’ affannato mio doglioso core

24

133

partire

questi dì

Strane rupi

10

43

S’udia un Pastor Taltr’ hieri

49

279

Dormend’ un giorno Italia

mia

1

2

3

12

Chi salirà per me Forsennata gridava Mia benigna fortuna

42

239

Vezzosi augelli

38

210

Amor mi

2

fa

morire

21

110

39

217

Cantai, or piango

22

Quanto più m’arde

4

7

115 19

Digitized by the Internet Archive in

2012

http://archive.org/details/oxfordbookofitalOOalec

Foreword

One of the Italy

and

principal differences between late Renaissance secular part-music^ in

in

England

lies in

the far greater

amount produced

in the

former

country. This was partly due to the fact that in Italy compared to England the

period

in

question was roughly twice as long, and the

number of composers (many

of them foreigners from north of the Alps), even allowing for the longer period, was far greater, as was the general productivity of each composer. Thus, while there were 23 English composers

who produced

secular part-music (only eight published

at least one book containing more than one book), and who produced

a total of nearly 800 pieces^, in Italy there were close to 600 such composers, the great majority of

whom

wrote

at least

two books (some composers were especially

Monte with 36 books, Marenzio with 23, Wert with 16). The total can only be guessed at from the fact that the number of madrigals alone produced productive,

e.g.

by the leading composers of the genre - Festa, Verdelot, Arcadelt, Willaert, Rore,

Monte, Wert, Marenzio, Gesualdo, and Monteverdi - is almost exactly 2,900. Of these almost 300 consist of settings of the same texts by two or more of the above composers (e.g. Nos. 5, 20, and 42 in this anthology), another striking difference between the madrigal in Italy and England, for the latter produced only 27 such comparative settings. To make a representative selection of the best pieces from such a number is clearly extremely difficult and subjective, and it is equally clear that another editor could make a selection that was very different yet just as representative. But it is hoped that what is here presented will give a fair reflection not only of the quality of the music, but also of the most important composers, the various types of secular part-music, the number and kinds of voices used, the range in mood, and the development of the madrigal - by far the most important secular type. Generally speaking, the madrigal began as a sentimental, amorous piece for usually four voices, displaying a rather casual concern for matching the music either to the accents of a poem or to its more evocative words or phrases. The lack of careful accentuation may have been because the great majority of the early madrigalists were foreigners, but it was a foreigner, Willaert, who first stressed the importance of accurate text-setting. Attempts to portray in the music the meaning of certain words or phrases (word- or mood-painting) became a significant feature of the madrigal around 550, and developed thereafter; it included such devices as ‘wavy’ vocal lines to denote ‘sea’ or ‘flight’, white and black semibreves to the words ‘day’ and ‘night’ respectively, triple metre when dancing was mentioned, and semitonal rises and falls or chromatic chords to express anguish. Moreover, Palestrina, Lassus, A. Gabrieli,

1

1

distinction is made between secular part-music, which covers all types, and the but in the title, as in the companion volume ofEnglish madrigals, the term ‘madrigal’ includes other types, such as balletti, canzonette, etc., but not the ‘spiritual madrigal’. 2. Here and throughout this anthology any piece that is divided into two or more sections or ‘Parts’ 1

.

In this

madrigal

is

Foreword a itself,

counted as a single composition.

vii

t'rom

1

550 on not only were the accents of the

text increasingly

matched

in the

music, but also the emotional range of the poetry chosen for madrigal settings began to widen. As a result of the latter, compositional techniques expanded, in particular the use of five and, to a lesser extent, six voices instead of four, and the deliberate choice as ‘time’ signature, for expressive* reasons, of either

‘(p’

or ‘C’

;

in

was a semibreve, and the shortest note set to a syllable, the harmonic movement, and the longest dissonance was usually a minim, the latter signature these note-values were halved. Most composers

the former the pulse shortest

while in

increasingly used the signature ‘C’, reserving

‘Cp’ for the most serious madrigals, combine the above features in a single madrigal, with a signature of either ‘(p’ (e.g. No. 42) or ‘C’ (e.g. No. 46), thus providing greater variety in the speed of syllabic underlay and harmonic movement and in

and there was also a tendency

to

the length of dissonance. In order to

make

the original notation look

have been halved throughout

this

more conventional,

the note-values

anthology, so keeping the distinction between

and ‘C’. Thus the original notation in ‘(p’ (with two semibreves per bar) becomes our modern ‘(p’ or 2/2, and while the original ‘C’ (sometimes transcribed with two minims to the bar) should strictly become 2/4, the bar length has been doubled in order to reduce the number of bar-lines, and so becomes 4/4 or our modern ‘C’. The speed of the original semibreve and minim pulses in ‘(p’ and ‘C’ respectively seem to have been the same, i.e. according to contemporary evidence, the rate of a normal heart-beat (M.M.70), but it is unlikely that this was inflexible. Hence in this book, with note-values halved, the tempo shown in square brackets at the beginning of each piece is usually within the range of minim (half-note) or crotchet (quarter-note) equalling M.M. 60-80, most of the exceptions being some lighter pieces, in which the pulse is faster, and some of the madrigals which combine the features of ‘Cp’ and ‘C’, in which it is slower. The growing importance of the text was fundamental to the development of the Italian madrigal, for it was increasingly the text that caused composers to decide on what mode, metre, and voices they would use for a particular madrigal, and, for a particular word or phrase, the kind of vocal line, note-values, rhythms, textual underlay, harmonies, dissonances, textures, and vocal colour. It is, therefore, essential, when performing an Italian madrigal, to understand the poem as a whole, as well as certain words and phrases that receive special musical treatment. It is equally essential to accentuate the text correctly, and this brings us to one of the most striking and basic differences between the music of the Renaissance period and earlier and that of the Baroque period and later, namely, the rhythmic flexibility and irregularity of the former. Thus in Renaissance ‘(p’

part-music each voice was, with very few exceptions, printed

in

separate

quartet music today; but unlike the latter

part-books, as, for example,

in string

there were no indications of

tempo or dynamics, no expression marks, and no

regularly spaced bar-lines with their implied regular accents, because accents were

derived from the text or, in a melisma length of a note in

its

accented. Thus, while

arranged

in

(i.e.

several notes to a syllable),

context, a longer note than those flanking it

is

it

from the

being more

imperative for today's singers that the music be

score and regularly barred,

it is

also imperative that singers recognize

no automatic accentual significance; in other words, in a 2/2 or 4/4 bar the first minim or the first and third crotchets respectively will not

that such barring has

invariably be accented. In order to assist singers to accentuate correctly, the following points,

being modifications of accepted practice, should be studied

viii

:

some

1

.

homorhythmic passages where all or most of the voices are, in effect, in though still governed by ‘(J’ or ‘C’, the number ‘3’ in square brackets

In

triple metre, is

used to denote

2/4’

depending on the context. But

in certain cases, for

the sake of clarity, the actual time signature (in square brackets)

is

given. In those

rare passages where the original notation (e.g. black notes) and/or signature indicate triple metre, the original signature,

~\

if

number

different

‘3’ is

from

‘3’,

used but without square brackets, with the footnoted, and bla'ck notation shown

above the notes. In each case the relationship between the triple metre passage and the duple metre that flanks it is given in square brackets above thus

:

I

the stave.

and the first and third crotchets in ‘C’, are 2. The first minim in a bar in accented, unless preceded or succeeded by a longer note (or the equivalent in shorter note-values), including tied notes, or by a note with a stress mark (-). 3. The first quaver (eighth-note) in a group of two an accented note or a quaver rest.

4.

The

5.

The first quaver

rest

accented unless preceded by

group of four

is

accented.

group of three

is

accented unless preceded by a quaver

third quaver in a

in a

is

or a dotted crotchet.

6.

A single quaver is unaccented.

7.

The stress mark

8.

Generally speaking, the accent

word ends

in

is

used for exceptions

to,

or instances not covered by, the above.

in Italian is

on the penultimate

a vowel (amore), and on the final syllable

consonant or an accented vowel (mor/>,

Although the madrigal was, as stated were

homophonic

set for

fewer voices,

the

syllable

if

the

word ends with

a

pietò).

earlier,

by far the most important type of

secular part-music in the Renaissance, there were a in general,

if

much

lighter,

number of other

types. These,

not to say coarser,

in

tone,

and strophic, and thus provided a marked contrast with the sentimental or serious, essentially polyphonic, and through-composed in texture,

madrigal. Som.e of these types are included in this anthology, namely: villanella 36) - a simple strophic song,

which often deliberately included musical was the most common non-madrigalian type, and incorporated a number of sub-types, among them the mascherata (No. 7) - sung during carnival processions by ‘masked’ singers advertising various local trades or professions, in this case dance instructors, and Xht giustiniana (No. 31) - a strophic song for three male voices, representing decrepit old men who stutter (a rare affliction in Italy) and whose amorous desires exceed their capabilities Canzonetta (Nos.37, 49)-literally ‘little song’-sometimes ‘parodied’ the madrigal, as in No. 49, in which the opening of No. 23 is quoted. Balletto (Nos. 44, 45), a strophic ‘dance’ song, was strongly rhythmic, and usually had a (Nos.

1 1

,

solecisms, e.g. parallel fifths or triads.

It

!

‘Fa

la’

refrain.

The translations of the poems have been either done by or checked by an

Anna Bartrum,

except for those by H. E. Smither and A. The Italian Madrigal, Voi. iii (i.e. Nos. 2, 5, 7, 9, 11-13, and No. 31 by Mrs Roberta Tozer, to all of whom the editor

Italian specialist,

Illiano in A. Einstein’s 26, 49,

and

55),

1

8,

IX

expresses his thanks. In every case an attempt has been

made

in the translations to

match the original position of an Italian word in a poetic line, so that the singer can see when and how certain words are ‘painted’ in the music; the result may at times be somewhat convoluted, and for this the editor is wholly responsible. The original clefs and signatures, and the initial note in each voice, are placed at the beginning of each piece. The seven clefs in common use in the Renaissance have been reduced to three; thus the

G clef is used

for the original

G clef as well as

and mezzo-soprano C clefs, the octave-transposed G clef is used for the original tenor C clef, and the F clef is used for the original bass and baritone F clefs. This leaves the alto C clef, the only one common to the two basic clef combinations in the Renaissance, namely: treble, mezzo-soprano, alto, baritone, and soprano, alto, tenor, bass (in pieces for more than four voices any clef could be doubled). In the former combination the alto clef is replaced in this book by the octave-transposed G clef, and in the latter by the G clef. A number of the pieces have been transposed up or down a whole tone in order that, in general, the highest note of the soprano and tenor does not go above and,?' respectively, or the alto below,?. In this connection it should be mentioned that during the Renaissance there was no fixed pitch, and hence what was written in, say, the Ionian mode (our C major) could have sounded in B flat or D major. This applies equally to instruments, and instrumental participation in the vocal music of the period (i.e. the doubling or replacing of a vocal line by a suitable instrument) was part of performance practice. It is probable, however, that those pieces in which the music is very closely wedded to the text as regards expression were ideally performed by unaccompanied voices. Ornamentation of the written note was also a part of performance practice, but it is recommended that any embellishments should be simple, and restricted to the principal cadences and to the soprano

the repeat of a musical phrase or passaged (For further information, H.

M.

book Embellishing Sixteenth-Century Music should be consulted). Such improvisation can only be done by one singer per part, and implies a small group of not more than three singers per part, a number supported by the little evidence that has survived. This is vocal chamber music, not choral music, and hence clarity of sound is all-important in other words, undue vibrato in any voice will mar the chordal purity of the ensemble. As noted earlier, there are no expression or dynamic marks in the original prints or manuscripts, and yet it is unthinkable that no sense of mood or structure was conveyed by the singers of that time; thus it is reasonable to assume that the text determined the dynamic levels and gradations and the ‘colour’ of the voices, that in a passage where a motif is shared between all or most of the voices, the Brown’s admirable

little

;

voice with the motif should stand out, that the rise or also affect, naturally,

dynamic gradations, and

accompany final cadences, but

fall

of a vocal line should

that ritardandos should

that everything should be

done modestly, avoiding

extremes.

The

pieces in this anthology have been arranged chronologically.

not madrigals are indicated by their precise type being given

in

Those

that are

parentheses in the

known print of each poems has been retained, except for the deletion of ‘h’ and the addition or omission of some accents and apostrophes, mostly according to modern usage; much of the punctuation is also editorial. Where known, the name of the author of a poem is placed opposite that of the composer of a piece. Errors in the texts and music are footnoted and placed at the bottom of the page on which they occur, and editorial accidentals are printed small. The music is followed by a list which gives the short title of the first known print of each piece, and in parentheses, if it differs, the source used by the^ list

of Contents, which also includes the date of the

piece and

its

vocal scoring.

The

first

original spelling of the

ALEC HARMAN 1

.

Except

in

Nos.

being written out

X

7,

11,31, 36, 37, 44, 45, and 49, double-bars and repeat dots are editorial, passages the original.

in full in

ì ’T».

,

a;

%:.nv.noirmw

"

ji i

>‘

r^uj

-

- - ClC/

•

r

irAri

ie

M

^

)

ì»,^

A.

:^:m\

-V. ,.,r*^

^

’

>

7y

'f,'^

(isti

4'“'

1

om

-*-

f •

'-

w^f

-

«c ’boam-'Wi

'mL\$

!?

^

.‘|-S..;,*h

-

—w*

T'.i^

fc

,

*T^y

40 ..i..,-

.

^;..v

.

U

.

2t^-fxr3=; ^

.

-ìora

l^oCH

-

n

-

^‘

5fr -#:

•

'•'’à

*t>ow >;

^^«^)t!)V>r/Ìlif/c

^

3

v-^v'*:.’!•

f-Tiiftì

ISv-f/l

'

/•‘.M

^ ^

I'»

I*./.

\

y*e

^'Mf^^f'^h(aiu'i

^iJidmoWti-cS

>.

ì

Hi.

W

«w

m^'yri 4oi> -'^

'

i,-jff

>

a’fiWVi nc *lk«ra»

"idino

^

-liy

ipb

,..>1

-

.•’.:

i,t

^

\

s

V

CiH 9i itn*l

JAr>*UJl:«} ìD^tVkii

Kin\^^ Ta'

»‘-

a)Ì

9 itv()(r.

«ott (nif:)oo‘mrt*7

.

xHm'^ini; bWtx


H

r

ri -

.

tor

-H ±4-1 J— -Jj,-J

-

i_ mie

ni

co -

sì

mil -

tan - to son dol

le^e

- ci

tan -to son dol-

mil-le_e mil-le

-

-

i.

n '

sì

1

1

J e co -

1

S’

to son dol -

ci

ci

l

gli

J

j

1

ri -

mie

tor - ni

gli

ri

ri -

1

tor

-

ni

-

tor

mie

-

-

ni

mie

i.

-

i.

1

.

62

14

INGIUSTISSIMO

^ mor,

I

-

j per

-

chè

mor,

per

-

chè.

-

j - ro

ri -

spon - den

j Cor

si

ra

-

si

ra

ro,

j

j mor,

-ri

IS

per - chè

-

j

-

ti

no

fai

ti

'

-

ra

-

stri

de

ro,

-

J ra

si

i'j

j

per- chè

si

si

I

-

J Cor

ro

ra

Cor

ra

si

j

spon - den

ri -

spon - den

ro,

SI

J

IJ.

j

j -

per- chè

AMOR

fai

-

ti

no

no

fai

- stri

de

-

si

-

stri

de

no

-

stri

de

Festa: Ingiustissimo 18

23

27

31

Amor

63

64 36

40

44

48

Festa: Ingiustissimo

Amor

65

15

MIA BENIGNA FORTUNA LASSUS

Petrarch

PART

s.

A.l

A.2

T.

B.

3

I

[

J - mm96]

66

Lassus:

Mia benigna

quii -

le

fortuna

not

ti

E

ti

E

i

so -

a

j -

not

m

quii

-

'

-

i

so

VI

so - spir,

mj

-

VI

J

so -

spir,

J e

1

so

-

a

-

vi

so

¥

j j

j

j

le

not

-

ti

EJ

so

not

-

ti

Ei

so

-

a

-

vi

so - spir,

VI

so

i

so -

a

-

vi

so

ej

so -

a

-

vi

so

Ei

so -

a

-

vi

so

e

I:

le

13

not

-

spir,

-

Lassus:

Mia benigna

fortuna

67

17

21

24

J do

te in

do- glia^e’n

te in

m -

bi

-

ti

ta-men

men

^in

te

su -bi- ta-men

-i-

-

J te in

pian

glia e’n

-

pian

Ò

to,

-

diar.

to,.

^ si

do

-

glia e’n

-

te in

rr do

do

pian

-

O

to.

pian

glia e’n

r glia^’n

i

O

- to,

-

diar

vi - ta

mi

J pian

I to,

O

68

Lassus:

Mia benigna

fortuna

28

?

I

-

mar

mor

bra

-

mar

mor

bra

-

mar

mor

bra

e

-

te,

e

bra

e

bra

e

bra

mor

mar

-

- te,

bra

no,e

e

-

- te,

-

mor

mar

te,

no,e

bra -

mar

mar.

mar

mor

-

te,

mor

-

te..

mor

-

te.

e

bra

te.

J -

-

te..

J J

^ fan

-

^

J bra

-

mar

mor

-

te,

e

Lassus: 40

PART

$ i

cru

ba,

-

de

cru

cer - ba,

-

le,a

-

J in

ba,.

Cru

-

Cru 49

de -

de

le,a

-

-

e

-

-

so

'J -

ra

-

J

J

bil

Mor

-

fortuna

69

II

de

-

cer - ba,in - e

Mia benigna

so

le, a -

-

cer

ra

te.

cer

le,

ba,

in

-

70 53

57

60

Lassus:

Mia benigna

fortuna

Lassus:

Mia benigna

fortuna

71

64

69

$

gra

miei

m

gra

miei

i—

w

sr-

SO - spir

- spir,

gra

VI

72

VI

so

- spir.

-

VI

so- spir

vi

so-spir

non

van

-

no

in

non

so - spir

so- spir

non van- no

m

ri

-

ri

van - no

m

non van-nqjn

ri

-

ri

-

n

non van- no

in

me, non van -no

m

me, non van-no

m

ri

-

me, non van-no in

ri

-

me.

-

ri

Lassus:

Mia benigna

du

ro

72

fortuna

76

J

du

mar

-

mar

ro

-

?

-

vin

tir

j

j

ce o

gni

j du

-

ro

-

vin

tir

mar

cej)

-

tir

vin

gni

sti

vm

-

-

-

-

ce o

-

sti

gni

-

sti

-

sti

le,

vm-ce o-gm

-

gni

sti

I

cej) - gni

m vin

le,

- cej)

vin -

-

gm

-

cej)

-

gni

sti

-

vm

le.

sti -

cej) - gni

sti

le,

vin

sti

cej) -

gm

le.

sti

-

-

sti

vm

le.

80

I

gni

j

'

le,.

cej) - gni

ce o

sti

vin

le,

cej) - gni

vm

le,

-

sti

ce 0

vin

-

-

73

16

CANTAI, OR PIANGO LASSUS

Petrarch

[PART

5

I]

[

J =mm60]

J 74

Lassus: Cantai, or piango

9

rm -

do

che

del

can

iJ i pian

-

pren

ger

-

-

do

-pren

pian - ger

»t -

J

r

do,

del

del 17

J

J

I

J

I

pian - ger

pren- do

pian

pren

-

ger

-

-

^

^

che

del

can

to

pre

del

can - to

pre

del

can - to

pre

I

che

do

che

-

f

che

J

-

.i

do ,

pre

to.

del

can

-

to

pre

-

si,

Ch’a

75

Lassus: Cantai, or piango 21

i

sen

-

SI

va

1

miei

sen

si

$

-

ghi

va

pur

tez

pur

miei

va

za,

va

va

SI

J

-

d’al - tez

za,

|

miei

ghi

d’al -

J va

sen

pur

ghi

ghi

pur

d’al- tez

2_




f

Al suo

voi

al

Monte: Leggiadre Ninfe 26

30

169

170

Monte; Leggiadre Ninfe

33

PART

Oaave above

II

permissible

Monte: Leggiadre Ninfe 41

44

171

172 47

50

Monte: Leggiadre Ninfe

Monte: Leggiadre Ninfe 53

56

c’ho

nel

pet

-

tq^a - sco

173

174 58

61

Monte: Leggiadre Ninfe

175

30

AHI, CHI MI

D. Veniero

6

ROMPE

IL

SONNO MONTE

Monte: Ahi, chi mi rompe

176

il

sonno

È

Chi

mi

Chi

-

le

va

di

mi

•

man,

-

le

mi

chi

va

man

di

ff le -

va di

-

za,

chi

-

quel

man

quel-

J J

$

mi

Chi.

le -

va

man quel-la

di

spe - ran

mi

le

mi

le

-

à mi

Chi

-

le

va

di

—

man

quel

-

la

spe

ran -

za,

man

quel

-

la

spe - ran -

za.

-

chi

(2^

Che,

$

^

ren

-

do -mi

ren

-

do-mi

glij)c-chi,

do-mi

glij^c

gli

oc-chi, uc -ci

che,

che,

fe

se

uc

il

co

—

-

® fe

-

ci

-

sejl

chi, uc-ci

-

sejl

-

98

-

^

co

m ren

pr

5

-

re.

-

182

31

QUANDO SARÀ MAI QUEL ZONORNO BELL’ (

mm

.

«)

JJ

J

T.l 1.

Quan

-

0

l

J mai de

un può - co

quel

che car

var- da

da.

J

sa -

ne

-

-

rà

quel zo -

-•

no-no.

li- ca

-

ca-ca

-

vi - se

-

se -se

-

-•

lu-lu

-

4.

Fie

de,

fie

de per-

leje

de

ve

5.

Vu

se.

vu

se

bel-

le^e

ben

for-

quan - do

sa -

rà

mai de

Quan -

do,

2.

O

che,

3.

Var

4.

Fie

de,

5.

Vu

se.

.

quan- do

do. che.

Var

3.

1

-

O

2.

-

HAVER

{J.J-Ì

72|

o

che car - ne

lu

ma- ma-ma

quel zo -

-

- ca -

-

no-no, ca-ca

-

vi - se - se- se

-

ve

-

li

var-dajunpuo- co quel fie de per - le^e de vu se bel - le e ben

da,

-

- lu - lu-lu

for -

ma - ma- ma

B.

Quan

- do.

0 Var

quan- do 0

che. -

sa -

che car

-

rà

mai

ne

de

var-dajin può - co

da.

Fie

de.

fie

de per

Vu

se.

vu

se bel - le^e

- le^e

quel zo

-

ca

-

-

quel

de

ben

-

li

vi - se

-

ve

-

- lu

for -

ma

-

[j-j]

l"

J

id’^

-

no

Che

ca-

e.

Var

se

-

to.

-

lu

-

0,

Fie^

de

zo-gie^e de scar

ma- ma -

ma

-

e,

E

nu

se -

zo

-

no- no,

zo

zo

-

no- no

-

-

ca

-

ca-ca

-

ca-

ca-ca

-

ca

-

ca-ca

-

-

se

-

se- se

-

se

-

se- se

-

se

-

se - se -

-

lu

-

lu-lu - lu

-

lu-lu -

-

ma

-

ma- ma -

ma

iV- J

-

e,

se - se - se

-

to.

-

lu-lu- lu

-

0,

Var Cheji Fii

-

ma-ma- ma

-

e,

E

no

se - se

-

se

-

se

-

se -

-

lu-lu

-

lu

-

ma- ma

-

ma

lu

de

mo

tre

Che

no

ca- ca

lu-lu

cu

-

no-no - nor

-

ma -ma- ma

a

-

-

ca

se

- rà

fien

ca

zo -

-

Che

vo

da - ti, ca - ro var- dar-lo^al--le

ste -

va ve

JJ

-

ca-ca

-

-

-

lu

no- no.

- se

ma

ma

-

-

ca- ca

- lu

-

lu

ca

no -no.

-

-

ma-ma

lu -

nor

zo

zo ca

-

-

no -no.

-

-

-

-

-

-

-

no

-

-

-

nor

-

-

-

ca

-

-

-

ca

-

e,

-

-

se

-

-

-

se

-

to.

-

-

lu

-

-

-

lu

-

0,

-

-

ma

-

-

-

ma

-

e,

ste -

da

-

var -

de

nu

Bell’ haver:

Pie

de

zo-gie^e de

E

nu

se -

mo

scar -

-

la

ve - chie

tre

-

Quando

sarà

to,

fie

de

zo

-

giejs

de

scar

ti.

e

nu

se

-

mo

tre

ve

—T—

p

_ _

ben?_

Voi

che

fe -

sin,

Che

s’au

E1

no ne che

gnel

-

le

la

-

to.

Con

chie

-

ti.

Si

_

*

Voi

che

Che

s’au

-

gnel

E1

no ne

-

la

to.

Con

che

for

ti.

Si

vos

-

-

chie -

fe -

ca

sai -

-

re

ben?__ Voi sin, _ Che

-

gnel

-

la

- chie

-

che

le

E1

ne

-

to.

Con

che

-

ti.

Si

vos

-

te^e

ca

sai

fa

for se

-

- re

re

-

-

la - la - la - la - la - la

-

-

e-e-e-e-e-e-

do^a

-

gu- gu-gu-gu- gu-gu

-

bri

-

ga- ga- ga- ga

ga

-

no-no-no-no-no

-

to

lo

to

lo

te_e

-

-

ga

-

la- la - la - la - la -

-

-

do^a

-

gu- gu-gu-gu- gu-gu

-

gu-

ga-ga-ga-ga-ga

-

ga

-

no-'

-

ga

-

m 0 m

P

no-no -no -no -no

io -

la - la -la - la - la - la -

-

e-e-e-e-e-e-

do^a

-

bri

-

-

lae

-

-

sim.

>

sim.

-,

f

pa bru

to

sim.

no-'

e-e-e-e-e-e

le

re

e

gu-

-

P*

-

la -

bru

la -

m i-

no

-

bai

sai -

-

—

pa

bri

tut-tq^a

ca

no -no- no- no- no

pa bru

(S^

mo_un

s’au -

-

-

tut-to_a

se

fe -

no

re

le

P

-

-

mojLin bai

fa

-

bai le

teje

vos - se

sin,

re

tut-to_a

for -

ben?_

le

-

fa

-

-

mojm

mai quel zonorno 183

gu- gu-gu-gu- gu-gu ga- ga-ga-ga-ga-ga

lae -

-

gu-

-

ga-^

—

V 184

Bell’ haver:

Quando

sarà

mai quel zonorno

15

pi

-

co

- lon,l

mejsl co

-

re

-

bu

-

bra - geja co

pan

-

- zaje

le

de

tuoi - to^el cuor se

-

nioj

^ bra - ge_a

co

zi

pan

-

zaje

tuoi

-

tq^el

-

le.

fa

-

to.

n’ha

po - net

5

~9-

pi

co

-

lon.

re

-

sin,

bu

-

mejel co

-

-

el

con cu an - dar

sin,

-

le

cuor

de

po

to,

n’ha

-

co

-•

lon,.

re

-

sin,.

-

za_e

bu

le

tuoi - to^el cuor se -

mo^i

zi

-

de po

-

-

•

se

-

co

-

lon?_

re

-

sin

bu

-

moj

-

ti,

si

-

ve

ve

el

-

le.

fa

-

to.

n’ha

net

-

ti.

ve

la

das

con cu an - dar -

bra -

le

co

-

de -

zi

mejel cc

I

-

la

pan

ve

tuoi - tojel cuor -

se

- zaje

-

mo_i

le

zi

-

le.

-

to. ti.

—g

1

lonPll

re

-

sin

bu

-

el

-

le.

fa

-

to.

net

-

ti.

po

-

co

-

-

de

pi

ge^a

bra

si

das

-

el

fa

net -

-

Ve_

co

1

mejel co

le

-

po

—

pi

pan - zaje le tuoi - tojel cuor - se - moj zi

-

e,

-

1

-

o N’ha

-

-

pan - zajs le tuoi - to^el cuor

la

ve

-

ga

pi

—o

le,

-

-

0

-

net

co

gu

mejel co

bra -

le si

das

-

pi

pan

ve

el

mejel co

-

-

ti.

fa

bra - ge^a

co

•

-

con cu an- dar

zi

-

-

= ^ eJ

«J

e

"1/

le

tran

-

qu il

-

le

not

•

hi

E

ti

so

i

—_

-

-

a

1

1

L

e

1

1

^

1

t

^

t ‘ tran-aiiil-h -j

1


^

i f^

1

1

^

r le

k

tra n-quil

-

le

not

E

ti

ì

tra n-qijìr~

-

not

le

E

ti

/ le

tran - quii

-

le

not

-

ti

»

i

h=

>

©

-

e

se - a

se

»

-

a

-

a

t=^

F

Ej

so

-

14

18

hll

Wert: Mia benigna fortuna

241

22

Voi

-

ti

su-bi-ta-men

Voi

-

te in

do

-

gliae’n

te in

do

-

te in

do

-

pian

to,

pian

to,

glia e’n

pian

glia^e’n

-

-

do

te in

-

ti

su-bi-ta-men

do

in

-

glia^e’n.

do

in

to,

30

- glia

%

e’n pian

do

- te in

O

to,.

glia^e’n pian

do -glia e’n pian

in

to,

m pian

glia e’n

-

pian

-

to,

O-

diar

vi

vi

-

mi

-

ta

mi

fan

-

no e

bra

to.

O

-

diar

ta

fan

-

-

no e

242 34

Wert: Mia benigna fortuna

Wert: Mia benigna fortuna 47

52

243

T

=

1 ‘

Wert: Mia benigna fortuna

244 58

ri^-ò—L 1/ P

1 1

1

^ Q

^

ò V

mia

1. .

p

li P.

r\

1

L

I

^

J

di

me

-

t)

tajin

^^

—

,

nar tut

pian

-

•

ma

to,

1

k

r mia

ta

vi

1

-

64

'

F'~

1

11

m e- nar

di

t

-

ma

to,

f—-1

—d—

1

1

t

ut

^

tajn pian

pian

»

-

to.

—

p—f

t>

pian

-

ma

di

J J

nar

tu,t

me- nar

tut

-

-

-

ta

mia

*MT~ P— to,

ma

di

me -

-

ta

I.

mia

Vi

-

tajn pian

-

t:o.

1

Ma 61

sj ^

1

n

1

l=Tr!i r

1

K.

1

5— -

'i

^

» ^.•V»

^

.

— ^®

^

1

1

1

^

«j

vi -

L

,

h U ^

T (f£

1

1

i ta

1/

K

1

di

me

-

nar

tut

-

Wert: Mia benigna fortuna

245

68

le

do

-

glio

not

-

-

-

ti,

ffff -

glio - se

not

glio

-

-

se

le

do

- glio

-

-

ej gior-nij)-scu

ti,

ej

ti,

e

72

not

se

le

not

do

-

glio

-

ti.

-

gior-ni o

se

-

scu

not

-

ej gior-nij)-scu

ri,

-

ri

-

ti,

ej

e

i

gior-nij3-

246 80

90

Wert: Mia benigna fortuna

Wert: Mia benigna fortuna 95

vin - cejD

e’I

sti

103

-

-

-

le,

mio

du

-

-

gni

sti

e’I

ro

vin

mio

247

Monteverdi: Ecco mormorar Tonde

I

:

8

249

250

Monteverdi: Ecco mormorar Tonde

12

Ec- co già Talb’ap-

Monteverdi: Ecco mormorar Tonde 21

251

— Monteverdi: Ecco mormorar Tonde

252 21

#

n

K

_K

«

^

r gie

-

-

E

lo

i

S’

'

L

ùi

w

•

--^

J

^

mon

ti

-

tijn

-

de

ra.

»

k

1

~4

nm

i'

^

^

L

per

h

-

gl ’al

-

lajl

dol

-

ce

-

gie

-

E

lo

gTal -

ti

mon

- tijin

-

-

f

'

—— 1

w

s E

gTal -

ti

mon-tijn-do

-

-

-

i

Monteverdi: Ecco mormorar Tonde

253

33

de

Tau

L’au

-

-

ra,

-

-

L’au

de

tua

Tau

mes

ra,

Tau

sag

rajè tua

mes

-

sag

ra^è tua

mes

-

sag

-

254

Monteverdi: Ecco mormorar Tonde

39

.

255

44

OVE NE VAI (//

SÌ

IN FRETTA

premiato)

GASTOLDI [

J =

mm 84]

2.

Fra

mil

Nin

-

fe^e

3.

O

sia

tu

be

-

ne

4.

Go

ia

com’

io

-

- le

per

-

T’ha per

me

let

-

ta

det

-

ta

Poi

che non par

fet -

ta

Non

pro-va_al-cun

so

-

-

lo^A

-

ti^an

-

Pa

-

256

Gastoldi:

Ove ne

vai

s'i

in fretta

-é

é Fa

É Lun Deh

la

la

la

la

la

la

la

la.

-

gi

da

Fug - gajor da Le tue sa

mia

te,

can-giajn

al

-

mejo -

le

-

gni

et - te^e’l

É Fa

Lun Deh la

la

la

la

la.

-

Lun Deh Fa

la

la

la

la

la

la.

la

la

la

-

tue

sa

gi

da

mia

te, al

-

le

-

et -

-

te^e’l

mia

te,

can-giajn

al

gni

-

le

Fug -gajor da mejo-gni Le tue sa - et - te, e’I

Lun Deh Fa

da

Fug- gajar da mej)

Le

$

gi

can-giaJn

-

Fug Le

gi

da

gajor da tue

mia

te, al

-

le

mejo

-

gni

can-giajn

sa - et - te^e’l

r

Lun Deh Fa

0

Note values halved

0‘C’

in

all

parts.

in this

la

la

and other sections in

la

triple

la.

metre and black notation.

Fug Le

-

gi

da

can-giajn gajor da tue

sa -

mia

te, al

mejo et -

-

le

gni te^e’l

•

Gastoldi:

[J

Di -

-

va.

grez - za

no

-

ia.

Co

-

L’al

-

Lie

me ma

-

Hai

vuoi

vi - via

ti

fo

-

co.

Di

-

va.

Co

-

za

L’al

-

me ma

ia.

Lie

-

ti

tu

voi- ti,

-

A-mor,

vai

sì

257

in fretta

= J-]

ch’io

ch’ai pian-to^è^a

Ove ne

-

moJn in

vi

-

va?

vez

-

za.

gio

-

ia.

gio

-

co.

Fa

la la

la

la

la

la

la

la

Fa

la

la

la

la

la

la

la

la

la

la

la

la

la

$ -

grez

-

no

-

fo

-

co.

$ -

Di

-

va.

Co

-

za

L’al

no

-

ia.

Lie

fo

-

co.

Hai

Di

-

tu

ch’io

vi - via -

vol-ti^A-mor,

Hai

grez

vuoi

ch’ai pian-to_è_a

-

-

me ma ti

vuoi

tu

va.

Co

-

-

za

L’al

-

no

-

ia.

Lie

-

fo

-

co.

Hai

me ma ti

mojn in

ch’io

vi - via -

vuoi

tu

-

va?

-

za.

gio

-

ia.

gio

-

co.

vi

-

va?

mojn

gio

-

ia.

in

gio

-

co.

ch’io

jj

vol-ti^A-mor,

-

-

ch’ai pian- to vi - via -

vi

vez

vez

ch’ai pian-tq^è_a

vol-ti^A-mor,

grez

-

mojn in

vi -

-

za.

la

Fa

va?

vez

-

za.

gio

-

ia.

gio

-

co.

•Fa

la

r

j j Di

-

va,

Co

grez

-

za

L’al

no

-

ia,

Lie

fo

-

co.

Hai

-

-

me vuoi ma ch’ai ti

tu

pian-to_è^a

vi - via

voi -ti,

j

ch’io

-

A-mor,

mojn in

la

258 Gastoldi: Ove ne vai

O

tu

sì

qui

in fretta

re-stajD

La-scia^A-ma

rii -

-

li

la

-scia

me

ve

- nir,

d’es-ser-mi cru-del,

la.-

Scher-ziam, ba

E

tua

mer

O

tu

qui

Scher-ziam, ba

E

tua

ci -

do mio

Sol,

ce-de^o for-te^a- la-to_Ar-cier,

-

rii - li

la

-

-scia

me

ve

-

nir.

d’es-ser-mi cru-del.

ciam-si^o lu

-

mer

-

-

re-staj)

La-sciaj\-ma

{

ciam-si^o lu

-

-

ci -

do mio

Sol,

ce-dq^^o for-te^a -la-to Ar-cier,

Che Che

sen -za

te

mi con- ver-

ria

mo

ben tu quant’ io ti sia fe Na-tu-rajej\-mor co - sì co-man-da e Or go- do, il col-mo d’o-gni tuo pia sai

-

-

te mi con- ver -ria mo ben tu quant’ io ti sia fe Na-tu-ra^ej\-mor co - sì co-man-dajs Or go-do^il col-mo d’o-gni tuo pia

Che Che

sen -za sai

m O

tu

qui

re-staj3

La-sciaj\-ma

-

Scher-ziam, ba

{

E

tua

li

la

-scia

-

me

ve

- nir.

d’es-ser-mi cru- del.

ciam-si^o lu-

-

mer

rii -

ci

-do mio

Sol,

ce-de, o for-te^a- la-to Ar-cier,

te mi con- ver- ria mo ben tu quant’ io ti sia fe Na-tu-raj:^A-mor co- sì co-man-da^e Or go-do, il col-mo d’o-gni tuo pia

Che Che

J '

O

tu

qui

re-staj3

La-scia^A-ma la.

Scher-ziam, ba .

-

E

tua

mer

O

tu

qui

-

rii - li

la

-scia

ve - nir, - del,

do mio

Sol,

ciam-si^o lu -

me

d’es-ser-mi cru ci -

ce-de, o for-te a-la-to Ar-cier,

re-staj3

la

-scia

me

ve

- nir.

La-sciaj\-ma - rii - li d’es-ser-mi cru-del. Scher-ziam, ba - ciam-si^o lu - ci - do mio Sol,

la.^

-

E

tua

mer

-

ce-de, o for-te a-la-toj\r-cier.

sen- za

-

sai

-

J

te mi con -ver -ria mo ben tu quant’ io ti sia fe Na-tu-raje_A-mor co - sì co-man-dajs Or go-do, il col-mo d’o-gni tuo pia

Che Che

sen -za

Che Che

sen -za

sai

sai

te

ben

Na - tu-ra_ej\-mor Or go-do,

il

mi con- ver -ria

tu quant’ io

co

- sì

ti

sia

mo fe

co-man-da_e

col-mo d’o-gni tuo pia

-

Gastoldi:

-J]

Ove ne

vai

si

in fretta

259

260

45

VIVER LIETO VOGLIO (//

beir umore)

CASTOLDI

ì

Gastoldi: Viver lieto voglio 5

EJ •

J

rest

fam

-

mijil-le

-

grò

star

EJ

261

Gastoldi: Viver lieto voglio

262

mor,

Spep - dij pun- gen Spe - gni pur la

tir

Con

star

I -

-

sa

mijl

et - tar -

mio

bar

il

m’è

di

- let

-

to

^ sa

et - tar

bar

il

m’è

di

-

9

cor; -

to

-

Con

car;

Con

star

sa

et

bar

il

m’è

-

tar -

-

O

ve non

pa ar

non

ve

me non

Che

vo- lon-

Io

o

vo

Io

-

vo

Io

pa

-

-

ar -

ar

-

ar

ir;

Con

car;

ian

fra

lu-

dejD

sfa

ce,

sog

gior

no.

ian

fra

-

li;

sfa

-

ce.

Nul Nul

gior

-

no.

Lui

-

ce.

Nul Nul

-

no.

Lui

-

ian

fra

dej)

sfa

sog

-

gior

li;

-

ian

fra

-

-

dejD

sfa

-

ce.

gior

-

no,-

sog

lon- tier

-

not

e

lui

dejo

sog

tier

non pa

ve

-

lon- tier

me non

Che

to

tier

non pa

ve

me non

Che

-

not

e

lui

Spen - dij pun-gen Spe - gni pur la

cor; -

gio

me non vo - lon -

Io

mijl

mio

di - let

Che

i

not

e

lui

Spen- dij pun- gen Spe - gni pur la

tir

O

not

e

Spen - dij pun-gen Spe - gni pur la

ir;

-mor, -

lui

-

-

-

ti

stra

tua

fa

te_e

gior

li

ce -

no

ti

stra

li

tua

fa

ce

te^e

gior

-

-

no

-

gio

let

Con

car;

9

mio -

ir;

mijl

not

e

Spen- diJ pun-gen Spe - gni pur la

cor; -

gio

lui

"

-

la

-

la

ti

-

-

-

-

-

-

ti

stra

tua

fa

tej:

gior

-

la

la

ti

stra

li

fa

ce

tejs

gior

-

no

ti

stra

li

tua

fa

ce

te^e

gior

sti -

tem’ iojl

ti

no

-

tua

sem-pre He

-

li

ce

-

no

moj)

po

-

co

tuo

fo

-

co

vo

-

co.

-

co

-

-

tojn

sti -

moj3

po

tuo

fo

co

vo

co.

tem’ iojl

sem- pre He

-

toJn

-

li;

LI ..U 0 Che Io

-

non pa me non ar vo- lon- tier ve

-

ian

fra

dej)

sfa

-

ce.

Nul Nul

gior

-

no.

Lui

sog

-

li;

-

la

-

la

ti

sti -

tem’ iojl

sem-pre He

-

-

mojo

po

tuo

fo

co

vo

co,

tojn

-

co

Gastoldi: Viver lieto voglio 19

Ej

fam

-

mijil-le - grò

263

264

46

CRUDA AMARILLI MARENZIO

Guarirli

PART

I

[

J =

mm

72]

T.« T.2

-

-

daj\-ma-ril

li,

che

co’l

nom’an

-

co

-

ra D’a-mar,

ahi las

li,

che

co’l

nom’an

-

co

-

ra D’a-mar,

ahi las -

-

so,

$ -rii

-

-rii

-

-

da A-ma-ril

-

-

-

ahi las

li.

-

li,

J

^

- rii

li:

che

co’l

nom’an

-

co

- ra

D’a-mar,

ahi

so.

-

so.

Marenzio: Cruda Amarilli 8

I

i

1

1

I

14

265

266 17

Marenzio: Cruda Amarilli

Marenzio: Cruda Amarilli 26

Laji

ì

1

u

I

mi mo-ro.

mi

1

1

mo

-

/O

mi mo-ro

ro.

1

cen

do.

ta

-

mi

mo

-

ro

ta

mi

mo

- ro

ta

o

cen

-

-

do.

cen

do.

r poi che co’l dir t’of-fen

mi mo-ro, 30

PART

1

mi

mo

do

-

-

i

mi mo-ro,

ro

ta

i

mi mo-ro

-

cen

-

do.

do.

II

Ma

gri-de-ran per

me

Ma

gri-de-ran per

me

Ma

gri-de-ran per

me

le

le

piagg’

e

$

33

cen

ta -

i

f piagg’

le

piagg’

e

Ma

gri-de-ran

per

me

le

piagg’

ej

Ma

gri-de-ran per

me

le

piagg’

eJ

i

mon

mon

e

i

-

mon

mon

ti.

mon

-

-

ti

ti

267

268 36

Marenzio: Cruda Amarilli

Marenzio: Cruda Amarilli 47

54 J

M.

1

^ ,

rm -

J

J 1

li

mio

ràjl

-

-

ràjl

mi(3

mi0

-

ri

—

m

I

M

mo

1

» s

vU

J ^

1

E

ti

di

'»

0

ti

di

-

re:,

ri

1

mio

ràjl

fi

r - le -

E

mJ

mo

ri

-

-

-

rà

rà

%J 7

mor

la

tejl

—

E

E

di

ti

——

^

mio

mo

-

ri

-

re,

E

ti

-

fTTÌ ttrl

^

re.

rà.

M Fi

tejl

*Siri

0

>

1

U

-

1

1

-

mor

la

lì -

J

'

^

rà

1

^

-

re,

rà

L

la

rà

—

me>r

1

1

di - rà

di

ti

J 1

d

1

la

la

ir.

me)r

-

-

tejl

te

1

1

\

,L

It

ri ^

!

ttid

1

mor

-

tejl

269

270 57

61

Marenzio: Cruda Amarilli

271

47

LANGUISCO E MORO GESUALDO [

J =

mm 66]

A.l

A.

ahi, cru

ahi, cru

da.

$

~sr da,

ahi,

cru

-

da,

lan

-

gui

SCO e

mo

$ -

cru

da.

da,

cru

-

ahi,

da.

cru

-

da,

lan

-

gui

-

scojs

mo

lan

-

gui

-

sco^e

mo

lan

-

gui

-

ro.

ro.

scoje

mo

-

ro.

Gesualdo: Languisco e moro 22

$

j del

fin

fin

del

mio

mio

lan

-

-

re:

‘Or.

che pie

-

to

-

sa

-

re:

‘Or.

che pie

- to

-

sa

-

re:

‘Or

che pie

-

to

-

sa

‘Or.

che pie

-

to

-

sa

‘Or.

che pie - to

-

sa

gui

lan- gui

0

^.

^

Pit

pknM

.

...

UOr^ ».

-I;.:.*r'*:

‘T

v'

Vit^

ibni

’

.1

-,

.

•

..t

.

»*u 'f^y

'

:.ȴ*'',

Y; ^’s

.< 8 twjiujp-i

i.

,

•;

_4

.._K-.>f*-

'J;

•f .

'W

''^¥w^'

^frrv’

V

I

'

«

fr

-