Music printing in Renaissance Venice: the Scotto Press, 1539-1572 9780199771608, 9780195102314

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MUSIC

PRINTING IN RENAISSANCE VENICE

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Nal HONG/EDS

PRINTING IN RENAISSANCE VENICE The Scotto Press ¢ (1539-1572)

Jane A. Bernstein |

New York © Oxford

Oxford University Press

1998

Oxford University Press Oxford New York

Athens Auckland Bangkok Bogoté BuenosAires Calcutta Cape Town Chennai Dares Salaam Delhi Florence Hong Kong Istanbul Karachi KualaLumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in

Berlin Ibadan

Copyright © 1998 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford Untversity Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Bernstein, Jane A. Music printing in Renaissance Venice : the Scotto Press, 1539-1572 Jane A. Bernstein.

p. cm. Includes catalogs of Scotto’s music and non-music editions. ISBN 978-0-19-510231-4 1. Scotto (Firm)—History. 2. Music printing——Italy—Venice— History—16th century. 3. Music—Publishing—-Italy— Venice—History—16th century. [. Title. ML405.523B4 1998

070.5'0945'3 1—dc21 97-45586 Publication of this book was supported in part by a grant from the Venetian Research Programs of The Gladys Krieble Delmas Foundation.

TO DANIEL HEARTZ

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PREFACE

nee y work on Venetian music printing began some seventeen years aay ago. At that time, I embarked on what turned out to be a broad a Ga 3 investigation that would take me to fifty-six libraries and archives NM all over Europe and the United States to examine the music books ANA printed by Girolamo Scotto. But the topic ajJso led me on a journey of a different sort. As a printing dynasty that for over a century published in several subjects besides music, the Scotto firm proved to be even more fascinating than [ had anticipated, for it allowed me to explore various fields beyond my own discipline. Every time I opened a book published by the Scotto press, I discovered whole new areas of inquiry from printing, bibliography, and iconography, to the history of books, philosophy, and medicine. Most important, by studying the Venetian book

trade in general, I gained a great deal of insight into the cultural, political, and eco- : nomic history of sixteenth-century Europe. Over the long period this work has been in progress, I received invaluable help from many institutions, colleagues, and friends. The book could have never been

written had it not been for the generosity of numerous libraries and archives in Europe and the United States, which allowed me to consult their holdings and responded to my requests for microfilms and information. I especially wish to thank the Biblioteca Nazionale Marciana, the Archivio di Stato, and Dr. David Bryant of the Fondazione Cini in Venice; Dr. Enrico Paganuzzi, librarian of the Accademia Filarmonica in Verona; the Biblioteca del Conservatorio di Musica Santa Cecilia in Rome; the Biblioteca del Conservatorio di Musica in Milan; the Biblioteca Nazionale Centrale in Florence; the Osterreichische Nationalbibliothek in Vienna; Dr. Marian Zwiercan of the Biblioteka Jagiellohska in Cracow; Dr. Dietrich Nagel, Director of the Ratsschulbibliothek in Zwickau; the August Herzog

Preface

Bibliothek in Wolfenbiittel; Don Pedro Aizpurua of the Archivo de la Catedral Metropolitana in Valladolid; Frances Barulich of the New York Public Library; the Library of Congress in Washington, D.C.; the Rare Book Room of the University of Pennsylvania Library; and John Roberts and the staff of the Music Library of the University of California at Berkeley. Four libraries must be singled out for their extraordinary support and hospitality. The former librarians, Sergio Paganelli and Giorgio Piombini, and the wonderful staff of the Civico Museo Bibliografico Musicale in Bologna, on several occa-

sions, offered me liberal access to the incomparable Padre Martini collection; Oliver Neighbour, Hugh Cobbe, and the staff at the British Library granted me special assistance; and Dr. Robert Miinster, Dr. Helmut Schaefer, and the staff of the

Musikabteilung of the Bayerische Staatsbibliothek in Munich went out of their way to help me during my visits. Above all, I am greatly indebted to my dear friends and colleagues at the Isham Memorial Library at Harvard University, in particular the late Larry Mowers, John Howard, Virginia Danielson, and Douglas Freundlich, for their overwhelming support over the years. I owe much to several institutions for financial assistance. A fellowship from the Gladys Krieble Delmas Foundation and a summer stipend from the National Endowment of the Humanities tn 1982 enabled me to do the groundwork for this

study in Venice. A travel grant from the American Philosophical Society allowed me to visit libraries in Europe. A Fellowship for College Teachers and Independent Scholars from the National Endowment for the Humanities provided me with a year’s leave in 1987-88 from my teaching duties at Tufts University in order to work on the project. I am grateful to the Music Department of Harvard University for making it possible for me to spend the spring semester of 1990 as a Visiting Scholar at Harvard, where I completed the catalogue. I also wish to thank the Tufts University Faculty Research Awards Committee, which awarded me several grants for research assistance on the book. Parts of chapters 4, 5, and 6 first appeared in preliminary versions as “Financial Arrangements and the Role of Printer and Composer in Sixteenth-Century Italian Music Printing” in Acta musicologica 62 (1990): 39-56; “Girolamo Scotto and the Venetian Music Trade” in Atti del XIV congresso della Societa Internazionale di Musicologia, Bologna, 27 agosto—I settembre 1987, ed. A. Pompilio, D. Restani, L. Bianconi, and F. A. Gallo (Turin, 1990), 1: 295-305; and “Printing and Patronage in Sixteenth-Century Italy” in Actas del XV congreso de la Sociedad Internacional de Musicologia, Madrid, 1992 (Madrid, 1997), 2603-13. I thank the International Musicological Society for permission to reuse these materials here. Many friends and colleagues came to my aid by providing important information, advice, and support. I hope I may be forgiven if I have left someone out of the

following list: Richard Agee, Lorenzo Bianconi, M. Jennifer Bloxam, Stanley Boorman, Thomas Bridges, Reinhold Brinkmann, the late Howard Mayer Brown, David Bryant, David Butchart, Donna Cardamone Jackson, Tim Carter, David Crawford, Ruth DeFord, Mark DeVoto, Mary Kay Duggan, Rebecca Edwards, Vill

Preface

Martha Feldman, Kristine Forney, Paul Grendler, John Griffiths, James Haar, Gertrud Haberkamp, Philip Jackson, Susan Jackson, Cristle Collins Judd, Robert Judd, Robert Kendrick, Jeffrey Kurtzman, Harry Lincoln, Gabriele Linke, Lewis Lockwood, Brian Mann, Roberta Marvin, Honey Meconi, John Milsom, Craig Monson, Martin Morell, Giulio Ongaro, the late Samuel Pogue, Keith Polk, Angelo Pompilio, H. Colin Slim, Emilio Rés-Fabregas, Margaret Rosenthal, Richard Sherr, Robert Strizich, Henri Vanhulst, John Ward, and Kent Werth.

I would also like to thank Daniel Page, Andrew Dell’ Antonio, and Cinzia Scafetta, who assisted me with the catalogue. In particular, I am indebted to Andrew Dell’ Antonio for taking on the heroic task of creating the first-line and composer indexes to the music catalogue. There are others to whom I owe a special debt of gratitude. Mary Lewis has been unstinting in her generosity. She made available to me much of her research on Venetian music printing, her private microfilm collection, and, during the early stages of the project, helped me gain access to the Honeywell Multics computer at MIT before the advent of the personal computer. My friend and colleague Jessie Ann Owens read through several rough drafts of the historical study. She offered many astute comments and kept me going during the final stages of the project. Craig Monson and Martha Feldman cheerfully read the entire manuscript. Vincent Pollina provided me with valuable criticisms on chapter 1. My sister, Betty Wolsky, stepped in at the end to create the map in figure 5.1. I wish to thank the staff at Oxford University Press, in particular Maribeth Payne, Nancy Hoagland, Jessica Ryan, and Suzanne Holt for being so flexible and helpful in all matters of production. J have benefited greatly from the helpful comments of Lewis Lockwood, Tim Carter, and Bonnie J. Blackburn, the three readers solicited by the press. I am also indebted to Leofranc Holford-Strevens for his comments and corrections on all things Latin. My gratitude especially goes to Bonnie J. Blackburn, who also served as copyeditor of the entire manuscript. I am not the first author to benefit from her wide-ranging knowledge, generosity, and remarkable dedication. Her critical expertise and helpful suggestions have greatly improved this book. The greatest debt I owe is to my family. My daughter, Lily, who has grown from a small infant to a young woman over the course of my work on this project, has contributed to this book in different ways. She has patiently accompanied me on numerous research trips, resulting in her belief that the tourist sites of Europe are libraries and archives. I especially wish to thank her for creating figures 3.1 and 3.2. My husband, James Ladewig, read the book countless times, offering much wisdom and sound advice. Without his endless patience, unfailing encouragement, and Herculean support, this book would have never been completed.

It has been thirty years since Daniel Heartz published his study on Pierre Attaingnant and sixteenth-century French music printing. His book played an important role in the shaping of my dissertation on the French chanson. It has again become the touchstone and inspiration for this study. It seems only fitting that I dedicate my book to him.

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CONTENTS

List of Tables xv ,

List of Illustrations xiii

Abbreviations and Glossary xvii

Introduction 3

PART I ¢ HISTORICAL STUDY One_ Printers and Publishers: The Merchants of Venice 11

Two The House of Scotto: A Printing Dynasty 29 Three Inside the Scotto Print Shop: The Manufacturing

of a Music Book 55 Four The Financing of Venetian Music Books 109 Five The Distribution of Venetian Music Books 121 Six Composers, Patrons, and the Venetian Music Press 139 Seven Scotto and Gardano: Marketing a Musical Repertory 155 Eight The Early Years (1538-1553) 161 Nine The Late Years (1554-1572) 183

Contents

PART II © CATALOGUE OF MUSIC EDITIONS Prefatory Note 217

Catalogue 223

PART III © APPENDICES Appendix A Table of Venetian Music Editions (1538-1572) 909 Appendix B Table of Dedicatees of Italian Music Editions (1536-1572) 923 Appendix C Binder's and Collector's Volumes Containing Scotto Editions 933 Appendix D Short-Title Catalogue of Non-Music Editions Printed by Girolamo Scotto 951

Appendix E Lost Editions Printed by Scotto 967

PART IV © INDICES Index of Short Titles of Scotto Music Editions 973

Index of Libraries 977 Index of First Lines 981 Index of Composers 1127

Bibliography 1133 General Index 1159

Xil

LIST OF ILLUSTRATIONS

Note: All figures taken from Scotto music prints, including initials and printer’s marks, are reproduced at their original size.

1.1 Detail of Venice showing locations of sixteenth-century music presses. From Georg Braun, Civitas orbis terrarum (1573) = 15 2.1. + Printer’s marks of Ottaviano Scotto] 34 2.2 Printer’s marks of Heirs and Ottaviano ScottoIT 40 2.3. Printer’s marks of Francesco Scotto (?) = 48 2.4 Printer’s marks of Brandino and Ottaviano di Amadio Scotto 49

2.5 Printer’s mark of Melchiorre Scotto 53 3.1 Imposition and folding scheme of oblong quarto format 66 3.2 Imposition of upright quarto format 67 3.3. Venturi, // secondo libro delle villanelle a tre voci (Venice: Scotto, 1571),

bassus, pp. 88-89 69 3.4 Verdelot, Tutti li madrigali del primo et secondo libro a quattro voci (Venice: Scotto, 1540), cantus title page 72 3.5 WVerdelot, Tutti li madrigali del primo et secondo libro a quattro voci (Venice: Scotto, 1540), altus title page 73 3.6 Il primo libro di madrigali di diversi eccelentissimi autori... (Venice: n.s., 1547), bassus title page 75 3.7. Willaert, Canzon villanesche alla napolitana...a quatro voci,... libro primo (Venice: G. Scotto, 1548), bassus title page 76 3.8 Motetti del Laberinto a quatro voci libro secondo (Venice: Scotto, 1554),

tenor title page 77 3.9 Il terzo libro delle Fiamme madrigali a cinque voci (Venice: Scotto, 1568),

altus title page 78 3.10 Anchor printer’s marks of Girolamo Scotto 81 3.11 Fame printer’s marks of Girolamo Scotto 83 3.12 Peace printer’s marks of Girolamo Scotto 85 xiii

List of Illustrations

3.13. Corona della morte (Venice: Scotto, 1568), bassus title page 86 3.14 Casulana, Il primo libro de madrigali a quattro voci (Venice: Scotto, 1568),

tenor title page 87

, 3.15 Striggio, ll cicalamento delle donne al bucato... (Venice: Scotto, 1567), cantus title page 89 3.16 Anselmo Reulx, Madrigali a quattro voci... (Venice: Scotto, 1543), cantus title page 90 3.17 Stefano Rossetto, // Lamento di Olimpia (Venice: Scotto, 1567), tenor title

page 91 3.18 Decorative initials found in Girolamo Scotto’s music editions 93 3.19 Willaert, Musica quinque vocum... liber primus (Venice: Scotto, 1539),

cantus,p.1 97 3.20 Rore, / madrigali a cinque voci (Venice: Scotto, 1544), altus, p.13 98 3.21 Tiburtino, Musica diversa a tre voci (Venice: Scotto, 1549), tenor,p.9 99 3.22 Jacquet of Mantua, // secondo libro de le messe a cinque voci (Venice: Scotto, 1555), cantus, p.2 100 3.23 Contino, Threni Jeremiae (Venice: Scotto, 1561), tenor, p. 1 102 3.24 Duc, Il primo libro de madrigali a quattro voci (Venice: Scotto, 1570),

altus,p.4 104 3.25 Scotto, /l primo libro de madrigali a due voci (Venice: Scotto, 1572),

cantus,p.12 105 3.26 Barberiis, Intabolatura di lauto... libro decimo (Venice: G. Scotto, 1549),

sig. Aaliii 106 3.27 Bianchini, /ntabolatura de lauto (Venice: Scotto, 1563), p.10 107 5.1 Map of transalpine routes used by Venetian bookmen 126 5.2. Indice de Libri di musica stampati dalli magni.ci Scoti [Venice: Heirs of Girolamo Scotto, 1596] 131 5.3. Index Librorum Omnium ... ad Principales Scientias nempe Theologiam, Philosophiam, & luris [Venice: Heirs of Girolamo Scotto, 1591], fol. 1 = 132

5.4 Index Librorum Omnium ... ad Principales Scientias nempe Theologiam, Philosophiam, & luris (Venice: Heirs of Girolamo Scotto, 1591], fol.2 133 5.5. Index Librorum Omnium ... ad Principales Scientias nempe Theologiam, Philosophiam, & luris [Venice: Heirs of Girolamo Scotto, 1591), fol.3 134 7.1. Scotto and Gardano editions by genre 156 7.2 First and reprinted editions of music publications issued by Scotto and Gardano =—:160

X1V

LIST OF TABLES

2.1 Genealogy of the Scotto family 31 3.1 Measurements of Scotto printer’s marks 84

3.2 Initialsets 92 3.3. Textfont measurements 95 3.4 Measurements of mensural music fonts 96 3.5 Measurements of roman plainchant music fonts 103 3.6 Lute tablature measurements 108 5.1 Italian music editions in Frankfurt fair catalogues of 1565 = 129 9.1 Contents of La eletta di tutta la musica intitolata corona de diversi novamente stampata libro primo (Venice, 1569) 190

XV

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ABBREVIATIONS AND GLOSSARY

S Superius

A Altus T Tenor B_ Bassus 5S Quinta pars

6 Sexta pars 7 ~ Septima pars Adams Herbert Mayrow Adams, ed., Catalogue of Books Printed on the Continent of Europe 150]-1600 in Cambridge Libraries, 2 vols. (Cambridge, 1967) AIM American Institute of Musicology ASV Archivio di Stato, Venice BM British Museum, Short-Title Catalogue of Books Printed in Italy and of Italian Books Printed in Other Countries from 1465 to 1600 now in the British Museum (London, 1958) Bohatta Hans Bohatta, Bibliographie der Breviere 1501-1850 (Stuttgart, 1963) CMM _ Corpus mensurabilis musicae compartment a carved, single-piece, decorative enclosure with one or more spaces cut out of the center for insertion of type DBI Dizionario biografico degli italiani, 46 vols. to date (Rome, 1948- ) Durling Richard J. Durling, comp., A Catalogue of SixteenthCentury Printed Books in the National Library of Medicine (Bethesda, 1967) XVH

Abbreviations and Glossary

Edizioni Le edizioni italiane del XVI secolo: censimento nazionale, ed. Maria Sicco and M. A. Baffio, 4 vols. to date (Istituto centrale per il catalogo unico delle biblioteche italiane e per le informazioni bibliografiche; Rome, 1985— )

Essling Victor Massena Essling, Etudes sur l’art de la gravure sur bois & Venise. Les livres a figures vénitiens de la fin du XV¢ siécle et du commencement du XVI (Paris, 1907-14)

Eitner, Quellen-Lexikon Robert Eitner, Biographisch-bibliographisches QuellenLexikon der Musiker und Musikgelehrten, 10 vols. (Leipzig, 1899-1904; 2d rev. ed. Graz, 1959-60)

f. folio frame a border made up of two or more decorative ornaments IA Index Aureliensis: Catalogus Librorum Sedecimo Saeculo Impressorum (Baden-Baden and Geneva, 1962- )

inc. incomplete JAMS Journal of the American Musicological Society Kallendorf Craig Kallendorf, A bibliography of Venetian editions of Virgil, 1470-1599 (Florence, 1991) MGG _ Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume, 14 vols. (Kassel, 1949-86) New Grove The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London, 1980) Nuovo Vogel Emil Vogel, Alfred Einstein, Francois Lesure, and Claudio Sarton, Bibliografia della musica italiana profana pubblicata dal 1500 al 1700. Nuova edizione interamente rifatta e aumentata con gli Indici dei musicisti, poeti, cantanti, dedicatari e dei capoversi dei testi letterari, 3 vols. (Pomezia, 1977) OCLC Online Computer Library Center (formerly Ohio College Library Center) olim at one time or previously in a specific library or collection Pastorello Ester Pastorello, handwritten catalogue of books printed in Venice, 1469-1600, held in selected northern Italian libraries. Sala dei Manoscritti, Biblioteca Nazionale Marciana, Venice

pr.mk. printer’s mark Primo Primo catalogo collettivo delle biblioteche italiane, ed. Ceniro nazionale per il catalogo unico delle biblioteche italiane e per le informazioni bibliografiche, 9 vols. (Rome, 1962-79) RISM _ Répertoire international des sources musicales. A/T/1-9. Einzeldrucke vor 1800, ed. K. Schlager (Kassel,

| xviii

Abbreviations and Glossary ©

1971-92); B/I/1. Recueils imprimés XVF° -XVII¢ siécles. Liste chronologique, ed. Frangois Lesure (Munich, 1960) rule printer’s rule or straight line often used on title page to

separate imprint and date

s.d. no date indicated s.l. no place indicated Sn. no printer’s name indicated STC Short-Title Catalogue of Books Printed in Italy and of Books in Italian Printed Abroad 1501-1600 Held in Selected North American Libraries, ed. Robert G. Marshall, 3 vols. (Boston, 1970) Shaaber M.A. Shaaber, ed., Sixteenth-Century Imprints in the Libraries of the University of Pennsylvania (Philadelphia, 1976)

tavola table of contents type om. type ornament other than ornamental leaf or flower

v verso VV voices Vogel—Einstein Emil Vogel, Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500 bis 1700 (Berlin, 1892). Revised and enlarged by Alfred Einstein (Hildesheim, 1962) [Repr. from Music Library Association Notes, 2—5 (1945—48)]

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MUSIC

PRINTING IN RENAISSANCE VENICE

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INTRODUCTION From almost the earliest years of my childhood I strove with all my might, main, effort and concentration to assemble as many books as | could on every sort of subject. Not only did ] copy many in my own hand when I was a youth, but I spent what I could set aside from my small savings on buying books. For I could think of no more noble or splendid possession, no treasure more useful or valuable, that I could possibly gather for myself. Books ring with the voices of the wise. They are full of the lessons of history, full of life, law, and piety. They live, speak, and debate with us; they reveal matters which are furthest from our memories, and set them, as it were, before our eyes. Such is their power, worth and splendor, such their inspiration, that we should all be uneducated brutes if there were no books. —Cardinal Bessarion, letter accompanying the donation of his library to the Republic of Venice, 1468 (trans. Chambers and Pullan)

peaaemmesene| his book is about music print culture in mid-Cinquecento Venice

CR) COR) as viewed through an exploration of the Scotto press, one of the ¥, Bee aa foremost printers of the Renaissance. It examines the mercantile (asuces activities of the firm through a historical study, illuminating the Rea eee wide socio-economic world of the Venetian printing industry. It also presents a catalogue describing the music editions brought out by the Scotto firm during its most productive period. The commercial phase of music printing began at a particularly propitious moment in Venetian history, for the years from 1540 until 1570 marked an era of unbroken peace and prosperity for the Most Serene Republic. The sense of stability and affluence prompted Venetians to turn their attention to external appearances. Proclaiming themselves the new Romans, they became concerned with ceremonial display and artistic endeavors, made manifest in the construction of new civic buildings and in an ambitious program of patrician patronage.! Architectural

1. On the Venetians patterning themselves on Ancient Rome see D. S. Chambers, The Imperial Age of Venice, 1380-1580 (London, 1970), 12-30. 3

Introduction

projects multiplied, commissions for paintings and sculpture proliferated, and music and literature flourished in both the public and private spheres. This atmosphere of economic and cultural growth provided the ideal stimulus for the burgeoning business of music printing. The Scotto firm, under the leadership of Girolamo Scotto, exemplified the new period of intense commercialism. Active as a publisher, bookseller, and composer from around 1536 until his death in 1572, Girolamo issued more than four hundred music publications containing a huge repertory that ranged from Masses and motets to madrigals, chansons, and instrumental music by all the leading composers of the day. The influence of the Scotto press as printer and publisher extended beyond music into other fields, in particular philosophy, medicine, and religion, where it published a number of books equal to the firm’s music production.

Girolamo Scotto came from a dynasty of printers, who for over a century played an instrumental role in the international book trade. They marketed books throughout Europe, held interests in retail stores, and acted as publishers who underwrote the editions of other printers. Their prodigious output, the importance of the repertories they published, their business activities in indisputably the greatest center of sixteenth-century printing and publishing, and their impact on other areas of Renaissance thought made them a pivotal force reflecting the fascinating relationship between the worlds of commerce, culture, and scholarship in Cinquecento Venice.

Over the past four decades, a number of studies have appeared on sixteenthcentury music printers. Claudio Sartori’s catalogue of Petrucci and Frangois Lesure and Geneviéve Thibault’s bibliographies of the Parisian firms of Le Roy and Ballard

and Du Chemin were among the pioneering works.? Musicologists of the next generation expanded the format by including historical studies with their catalogues. Dantel Heartz broke new ground by placing the Parisian printer Pierre Attaingnant within his socio-cultural milieu.4 Samuel Pogue in his book on Jacques Moderne dealt with music printers in Lyon, while Catherine Chapman explored Italian music printing at the time of Andrea Antico.> These studies served as proto-

types for later catalogues. More recently, scholars of music print culture have

2. An introduction to the subject of patronage of the arts in Venice appears in Oliver Logan, Cul-

ture and Society in Venice, 1470-1790 (London, 1972). On architectural enterprises see Deborah Howard, Jacopo Sansovino: Architecture and Patronage in Renaissance Venice (New Haven, 1975). Discussion of patronage in the other visual arts appears in several sources, among them David Rosand, Painting in Cinquecento Venice: Titian, Veronese, Tintoretto (New Haven, 1982). Martha Feldman explores music and literature in the private sphere in City Culture and the Madrigal at Venice (Berkeley and Los Angeles, 1995).

3. Claudio Sartori, Bibliografia delle opere musicali stampate da Ottaviano Petrucci (Biblioteca di bibliografia italiana 18; Florence, 1948); Francois Lesure and Genevieve Thibault, Bibliographie des éditions d’Adrian Le Roy et Robert Ballard (1551-98) (Paris, 1955); “Bibliographie des éditions musicales publiés par Nicolas Du Chemin (1549-1576),” Annales musicologiques | (1953): 269-373. 4. Daniel Heartz, Pierre Attaingnant, Royal Printer of Music (Berkeley and Los Angeles, 1969). 5. Samuel Pogue, Jacques Moderne: Lyons Music Printer of the Sixteenth Century (Geneva, 1969); Catherine W. Chapman, “Andrea Antico” (Ph.D. diss., Harvard University, 1964).

4

Introduction

brought to the field a variety of methodologies. They have examined typographical issues and production methods. They have also utilized archival evidence and the tools of descriptive bibliography in their work. Kristine Forney, Henri Vanhulst, and Robert Weaver have concentrated on music printers from the Low Countries.® Italian music printers have been the subject of works by Suzanne Cusick, Stanley Boorman, Mary Lewis, and Thomas Bridges.’ All of these musicologists have contributed a great deal to our knowledge of music print culture during the sixteenth century. The present book follows in the tradition of previous scholarship in document-

ing the history and musical output of the Scotto press. But I also seek to view music printing in a new way. By exploring the economics of the trade, I propose that commerce played a crucial role in every aspect of music printing. I stress the role of the entrepreneur, with the Scotto press serving as the vehicle for the narrative. This book can be viewed, then, as a socio-economic study, in which the transmission of music is perceived primarily as a business phenomenon.

The idea of capitalistic enterprise as the modus operandi of the sixteenthcentury book trade is certainly not a new one; it has already been advanced by several historians and bibliographers. Febvre and Martin, Voet, Lowry, Grendler, Chartier, and Quondam, to name a few, have dealt with this subject from different perspectives.? Above all, Eisenstein has emphasized economics as the moving force of the printing industry. She has also expressed concern that “one rarely gets a sense of its significance as a whole” given the fact that the topic of print culture has been “segmented, subdivided, and parcelled out” among economic and social historians, literary scholars, media analysts, bibliographers, librarians, and print

6. Kristine K. Forney, “Tielman Susato, Sixteenth-Century Music Printer: An Archival and Typographical Investigation” (Ph.D. diss., University of Kentucky, 1978); Henri Vanhulst, Catalogue

des éditions de musique publiées & Louvain par Pierre Phalése et ses fils 1545-1578 (Brussels, 1990); Robert Weaver, A Descriptive Bibliographical Catalog of the Music Printed by Hubert Waelrant and Jan de Laet (Warren, Mich., 1994), 7. Suzanne Cusick, Valerio Dorico, Music Printer in Sixteenth-Century Rome (Studies in Mustcology 43; Ann Arbor, Mich., 1980); Stanley Boorman, “Petrucci at Fossombrone: A Study of Early

Music Printing with Special Reference to the Motetti de la Corona (1514-—1519)” (Ph.D. diss., University of London, 1976); Mary S. Lewis, Antonio Gardano, Venetian Music Printer, 1538-1569:

A Descriptive Bibliography and Historical Study. Vol. \: 1538-49; Vol. 2: 1550-1559 (New York

and London, 1988-1997); Thomas W. Bridges, “The Publishing of Arcadelt’s First Book of Madrigals,” 2 vols. (Ph.D. diss., Harvard University, 1982). 8. Roger Chartier, The Culture of Print: Power and the Uses of Print in Early Modern Europe, trans. Lydia G. Cochrane (Princeton, 1989); Lucien Febvre and Henri-Jean Martin, The Coming of the Book: The Impact of Printing 1450-1800, trans. David Gerard, ed. Geoffrey Nowell-Smith and David Wooton (London, 1976). Originally published as L’Apparition du livre (Paris, 1958). Paul S.

Grendler, The Roman Inquisition and the Venetian Press, 1540-1605 (Princeton, 1977); Martin Lowry, Nicholas Jenson and the Rise of Venetian Publishing in Renaissance Europe (Oxford, 1991)

and The World of Aldus Manutius: Business and Scholarship in Renaissance Venice (Ithaca, N.Y., | 1979); Amedeo Quondam, “Mercanzi d’onore, ‘Mercanzia d’utile’: produzione libraria e lavoro intellectuale a Venezia nel Cinquecento,” in Libri, editori, e pubblico neil’ Europa moderna: guida storica e critica, ed. Armando Petrucci (Rome, 1977), 51-104; and Leon Voet, The Golden Compasses: A History and Evaluation of the Printing and Publishing Activities of the Oficina Plantiniana at Antwerp, 2 vols. (Amsterdam, 1972). 5

Introduction

designers.? To Eisenstein’s list we must also add musicologists, for scholars of music print culture have only just begun to look beyond their specialty. It is surprising that the relationship between the spectalty of music printing and the sixteenth-century book trade in general has received only cursory treatment. The Scotto press, with its impressive body of publications encompassing fields beyond

music, provides the ideal starting point for this discussion. Yet, until now, little attention has been paid to the Scotto firm. The main reason for this lack of interest Jay with the artificial boundaries that divide traditional academic disciplines. Musicolo-

gists have tended to ignore the dynastic firm’s activities 1n the fields of philosophy, medicine, and religion. Conversely, historians, bibliographers, and literary scholars have not realized that the Scotto press played an important role in the discipline of music.

My aim is to broaden the picture. In the present study, I hope to bridge the gap

between music and other disciplines. I have tried to incorporate music printing into : the wider world of the printing industry, and to demonstrate that music printing was no different from any other specialty of the book trade. Within that framework, the singular theme of commercial enterprise runs throughout the historical study. But I

also consider Cinquecento music print culture from another angle by examining Closely the individual books that comprise the impressive opere of the Scotto press. The detailed commentaries presented in the catalogue provide an important source of information about the social, economic, and cultural life of Cinquecento Venice. The book is divided into two large sections. The first, a historical study, contextualizes the Scotto press within the framework of the sixteenth-century Venetian printing industry. Chapter 1 sets the stage with a broad overview of the book trade. Who were the leading firms? How many books were published? Where were the presses located? The emphasis is on the community of printers and publishers. We observe how familial and personal relationships provided the structural underpinnings for most commercial activities, how the bookmen governed themselves, and what their connections were to the intellectual and artistic world of Venice. This

chapter reveals how printing specializations became the basis for the marketing strategies of the industry. It concludes with a survey of those specializations with particular attention given to the field of music. Chapter 2 narrows the focus to the Scotto dynasty by presenting a history of the

, firm. [t begins with the origins of the family and the founding of the firm by Ottaviano Scotto and then proceeds with a discussion of the various second-generation heirs and leadership of the press under Ottaviano II. The period of the firm’s greatest productivity under Girolamo Scotto’s directorship occupies the central portion of the chapter. The narrative continues with a description of other branches of the family active in the book trade and closes with the final years when the firm was in the hands of Girolamo’s heir, Melchiorre Scotto. This chapter suggests how the

9. Elizabeth L. Eisenstein, The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early Modern Europe, 2 vols. (Cambridge, 1979).

6

Introduction

financial successes and failures of the firm throughout its history mirrored those of

the book trade at large. It also examines the contributions made by the Scotto dynasty in shaping the Venetian publishing industry in general, and music printing in particular. The manufacturing of a music book takes center stage in chapter 3. We experience, through the Scotto press, the organization of the workforce within the shop, how a music book was produced, and what materials and supplies were required. The chapter provides crucial details concerning editorial practices, typographical

materials, formats, and title pages unique to the Scotto press. It also gives us a sense of how a typical music print shop operated in the sixteenth century. Chapter 4 is concerned with the financial arrangements made in the publishing of music books, describing independent sponsorship and partnerships with other bookmen. Publications commissioned by composers and other third parties are

also explained. In this chapter I attempt to define the close relationships that existed among Cinquecento Venetian music printers. In chapter 5 we move away from the print shop into the international world of

book distribution. Here, the complicated networks of agents, book carriers, and foreign printers are discussed. The chapter provides information on the trade routes used by the Venetians in their travels throughout the Italian peninsula, as well as across the Alps to northern Europe. It details the northern European book fairs and explains such marketing tools as book-fair trade lists and printers’ broadside catalogues. The chapter concludes with a brief consideration of customers and collec-

tors, both individual and institutional, who purchased music books. . , Chapter 6 considers what influence the music-printing industry had upon its clients. We see how composers could augment their income by commissioning and then selling their own editions and, in some Cases, even entering into the business of printing and publishing. The role of the patron and the involvement of the composer in the printing process are also addressed. The last part of the historical study concentrates on the marketing of musical repertories. Rather than present a traditional survey, in this section I look at repertories from an economic perspective. Chapter 7 opens with a general discussion of Girolamo Scotto and Antonio Gardano, the two major music printers of midCinquecento Venice, and the musical repertories they published. It examines previous hypotheses conceming possible rivalry or cooperation between the two printers. It then proposes a new view of their relationship, based on the strategies Scotto and Gardano followed in the acquisition and marketing of their music books. The final two chapters explore these business strategies through a chronological account of specific publications. Acting as case studies, these music editions not only help clarify the marketing tactics used by the Venetian music presses, they also suggest a new methodology in the analysis of repertorial issues and cultural tastes. While the historical study portrays the multi-faceted world of music printing, the second part of the book focuses on the publications themselves. It offers a catalogue of 409 extant music editions brought out by the Scotto press from 1539 to 1572. Each entry includes a detailed description of a single music edition: its title 7

Introduction

page, dedication page, and colophon, as well as information concerning collation, typography, and paper. A list of the contents, locations of surviving copies, secondary literature, modern editions, and a brief commentary about the edition are also provided. A short-title catalogue listing non-music editions issued by Girolamo Scotto during the same time period appears in appendix D. Four other appendices present a table of all extant Venetian music editions from 1539 to 1572, the names of dedicatees found in all Italian music editions from 1536 to 1572, an inventory of binder’s volumes containing Scotto music editions, and a list of lost

music editions issued by Girolamo Scotto. The catalogues and appendices constitute the foundation of the work. Many of the concepts found in the historical study stem from an exploration of individual books. Taking up the lion’s share of the present book, they offer significant biblio-

| graphical information on individual publications, authors, repertories, and patrons of the sixteenth century. It is my hope that they will serve as valuable reference tools for future studies in Renaissance music.

8

PART I

Historical Study

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One

PRINTERS AND PUBLISHERS The Merchants of Venice Venice may be called a summary of the universe, because there is nothing originating in any far-off country but it is found in abundance in this city. The Arabs say that 1f the world were a ring, then Ormuz,

by reason of the immeasurable wealth that is brought thither from every quarter, would be the jewel in it. The same can be said of Venice, but with much greater truth, for she not only equals Ormuz in

the variety of all merchandise and the plenty of all goods, but surpasses her in the splendor of her building, in the extent of her empire, and, indeed in everything else that derives from the industry and providence of men. —Giovanni Botero, Della relatione della Republica Venetiana, 1605 (trans. Chambers and Pullan)

\ ie ES _ rns

Paes) he Venetians never wanted an empire,’ remarked Gore Vidal, CH CE “They just wanted to do business . . .”! and business did flourish yes ah ZS in sixteenth-century Venice. Venice was indeed the marketplace

(nsw) of the world. Its location on the lagoons and its unique connec-

Sie tion with the sea distinguished it among the great commercial centers of the Renaissance. A maritime power and trading emporium, it survived for a thousand years as an independent city-state protected from internal strife and foreign invasion. It gained its power and prosperity neither from the quantity of lands owned by its patriciate nor from a powerful military force but solely from the mercantile activities of its residents. It is in this larger context that we must begin our study, for commerce and trade played a central role in the development and achievements of music printing in general and of the Scotto press in particular. Venetian merchants inhabited a cosmopolitan world, where they trafficked in luxury goods, dealt in high finance, and set the standard for international trade. They sold spices, salt, cotton, grains—items they had imported from the East for centuries. They also traded in commodities

1. Gore Vidal, Vidal in Venice (New York, 1985), 48.

1]

Historical Study they manufactured themselves: woolen cloth, glassware, soap, and silks. In the late fifteenth century, these entrepreneurs created a whole new industry, the production

of books. Venice offered an ideal center for the printing of books. It boasted the best and most advanced distribution system in the world. As a Republic, it was not hampered by the controls of an authoritative monarch or the Church. And because its printers and publishers could not rely on the patronage of a ruler but depended solely on market forces in order to make their living, the Venetian printing industry, from its inception, became a capitalistic enterprise, producing books in larger quantities and distributing them much further afield than any other European center. The first book was not printed in Venice until 1469 when a German immigrant named Johannes de Spira obtained a five-year monopoly from the Venetian Senate. The monopoly did not last long, for Johannes died only a few months after his request was granted. Others quickly came to Venice to seek their fortune in the new industry, and by 1473 there were at least a dozen printers active in the city. Printing became a boom industry, in which many competed but few survived.4 One of them, the Frenchman Nicolas Jenson, became the most celebrated publisher in Venice during this period. Jenson and Johannes de Spira’s firm, now headed by Johannes’s brother Wendelin and by Johannes de Colonia, formed two syndicates that dominated the industry. Between them they produced some sixty-four editions during the period 1471~72—about half of the total for all Venetian presses.> A number of Italians from other cities came to Venice during the last two decades of the fifteenth century. These new arrivals succeeded the Germans and French who had dominated Venetian printing during its formative years. Several of them prospered and, in turn, established their own dynastic presses, some of which lasted for over a century. Among these printers, the houses of Giunti, Giolito, and Manuzio became the preeminent publishers of Cinquecento Venice. To these illustrious firms we must add the Scotto press, which, until now, has remained unrecognized as a leader of the Cinquecento book trade. During its 134-year history, the House of Scotto printed more than 1,650 editions—a number that matched or exceeded the other great printing houses of Venice. Indeed, the Scotto firm was not just an important Venetian press, it was one of the most renowned publishing houses of Renaissance Europe.

2. For an overview of these industries see Frederick Lane, Venice: A Maritime Republic (Baltimore, 1973), 309-21. 3. Rinaldo Fulin, “Documenti per servire alla storia della tipografia veneziana,” Archivio veneto 23 (1882), 99, doc. f. On the early years of printing in Venice, see Victor Scholderer, “Printing at Venice to the End of 1481,” in Fifty Essays in Fifteenth- and Sixteenth-Century Bibliography, ed.

Dennis E. Rhodes (Amsterdam, 1966), 74-89; Leonardas Gerulaitis, Printing and Publishing in Fifteenth-Century Venice (London, 1976); and Horatio Brown’s pioneer study, The Venetian Printing Press 1469-1800 (London, [891). 4. From the one hundred or so printing firms established tn Venice up to 1490, twenty-three continued into the next decade, and only ten outlived the century. Lowry, The World of Aldus Manutius,

9, as calculated by Rudolph Hirsch, Printing, Selling and Reading, 1450-1550 (Wiesbaden, !967), 42-43. 5. Scholderer, “Printing at Venice,” 75. 12

Printers and Publishers Scholars of print culture have been at a loss for what to call the dynastic bookmen, in view of the wide repertoire of roles they played in the printing industry. Eisenstein designated them master printers; Lowry simply labeled them publishers.© Grendler noted that the terms stampatore, libraio, and bibliopola were commonly used to identify booksellers and printers.’ But the Scotti, Giunti, and Gioliti belonged to a different class; they were men of distinction and reputation, who sometimes stylized themselves as nobile. Contemporaries did have a name for

these early capitalists; they called them mercatori or merchants. : The Venetian mercatori dealt with all facets of their trade. They directed a com-

plex mechanized operation that employed a highly skilled workforce and used expensive equipment and materials. They oversaw every aspect of the production of their books, from the acquisition of manuscripts to the setting of type, running of presses, and proofreading of copy. As a prototype of the early capitalist, the mercatori were responsible for all financial aspects of the business. They solicited other printers, publishers, and entrepreneurs to form syndicates or invest in their publications and, in turn, they underwrote the publication of books produced by other bookmen. They cultivated potential authors and clients, who might commission books. Above all, these dynastic printers supervised a complex distribution

network that extended throughout Europe. They retained book carriers, who hawked their publications from town to town, formed alliances with foreign presses to sell their books, and employed book agents to look after their interests abroad. They owned or invested in bookshops, and, in several cases, maintained satellite offices in other cities.

GROWTH OF AN INDUSTRY

The rise of these publishing houses reflects the rapid development and success of the Venetian book business in general. Figures compiled by modern bibliographers show that printing and publishing reached its zenith in La Serenissima during the period from 1540 to 1575—an era of unbroken peace which came to an end with the disastrous plague. Scholars have conservatively estimated that in the sixteenth century, Venetian presses published around 7,560 to 17,500 editions.® Yet the total

6. Eisenstein, Printing Press as an Agent of Change, |: 56n. 49. 7. Grendler, Roman Inquisition, 4. 8. Ester Pastorello, in her pioneering work, Tipografi, editori, librat a Venezia nel secolo XVI (Florence, 1924) based her total of 7,560 editions on the holdings of selected northern Italian libraries. Her unpublished catalogue listing the titles brought out by Cinquecento Venetian printers is located in the Sala dei Manoscritti of the Biblioteca Marciana in Venice. The higher total of 17,500 appears in Grendler, Roman Inquisition, 8. He arrived at this figure by doubling Pastorello’s total, and then by adding the outputs of the firms of Manuzio, Gioliti, Giunti, and Marcolini, as cited in S.

Bongi, Annali di Gabriel Giolito de’ Ferrari (Rome, 1890-97); Scipione Casali, Annali della tipografia veneziana di Francesco Marcolini da Forli (Forli, 1861-65); Paolo Camerini, Annali dei Giunti (Florence, 1962); and Antoine Renouard, Annales de l’imprimerie des Alde, ou Histoire des trois Manuce et de leurs éditions, 3d ed. (Paris, 1834). 13

Historical Study number is even greater than has been reckoned. The production of individual printers, in many cases, is three to twenty times greater than the figures first cited by Pastorello.? Surviving editions published by Venetian music printers demonstrate this point: Pastorello counted 347 Scotto editions for the entire sixteenth century, whereas extant titles number about 1,500. She cited twenty-nine editions by Anto-

nio Gardano, while Lewis noted 438. Pastorello listed only two editions from Merulo’s press, whereas thirty-four survive. Neither Pastorello nor Grendler, furthermore, took into account Cinquecento editions that no longer exist. Though

an exact total cannot be determined until all significant Venetian presses have been | studied, doubling the number to 35,000 individual editions seems a more reasonable estimate. !0

The size of the pressrun for Venetian editions varied from title to title, depending on the type of publication. A “vanity” book commissioned and financed by an

author or patron probably ran to about 500 copies, since the Venetian Senate refused to grant a privilege for a pressrun of fewer than 400 copies.!! “Bestsellers” brought out by a major publisher might number as high as 2,000 to 3,000 copies. The pressrun for an ordinary edition was about 1,000 copies.!2 Pressruns in specialty areas such as music correspond to these figures.!3 The total number of copies printed also depended on whether a private party commissioned the edition or a syndicate financed it. In 1565 Girolamo Scotto printed 500 copies of the Passiones, Lamentationes, Responsoria of Don Paolo Ferrarese, an edition commissioned by the Monastery of San Giorgio Maggiore.!4 In 1516 Andrea Antico contracted in a partnership with Ottaviano II Scotto and other bookmen to print 1,008 copies of an anthology of Mass settings titled Quindecim missarum.'5 How many books did the Venetian printers produce? On the basis of the size of average pressrun and total number of editions, we can estimate that more than thirty-five million books were printed over the course of the sixteenth century. !©

The locations of the bookmen’s presses and shops emphasized the success of the Venetian printing industry. Unlike bookmen in Paris, who were generally

9. Pastorello’s estimates are also questioned by Quondam, “Mercanzi d’onore,” 56. 10. Grendler’s analysis of imprimaturs in Roman Inquisition, 8-9 as another method of deducing the total production of Venetian books is also flawed, since printers did not seek licenses for the vast majority of their books. See Richard J. Agee, “The Privilege and Venetian Music Printing in the Sixteenth Century” (Ph.D. diss., Princeton University, 1982). 11. Grendler, Roman Inquisition, 9. 12. Ibid. 13. On the pressrun of music books see the survey of extant contracts in Agee, “A Venetian Music Printing Contract in the Sixteenth Century,” Studi musicali 15 (1986): 59-65. The contract discovered by Bonnie J. Blackburn, in “The Printing Contract for the Libro primo de musica de la salamandra (Rome, 1526),” Journal of Musicology 12 (1994): 345-56, should be added to Agee’s list. On Spanish contracts, see John Griffiths and Warren E. Hultberg, “Santa Maria and the Printing of Instrumental Music in Sixteenth-Century Spain,” in Livro de homenagem a Macario Santiago Kastner, ed. M. F. Cidrais Rodrigues, M. Morais, and R. Veiera Nery (Lisbon, 1992), 347-60. 14. Agee, “Venetian Music Printing Contract.” 15. Chapman, “Andrea Antico,’ 448. 16. Again this figure is approximately double Grendler’s estimate of 15 to 20 million books; Roman Inquisition, 12.

14

Printers and Publishers

Lo ous pee WV Ee NDE TOI. PA. | oo es ; . ro”. a el “3 PRY rn a mn a we ae _ so 7 Let. niaeloia de vangeli man Reet - Pe

Be - ' ~ neo eer Y on wee i tae npr Mn ee , ’, : a - . i. aan _ ' vies ite Creet

ee vena” ae Re ie, “~racer Ce PA ~ eeinANG’ i ten. aea rs ar —We i PPT nIn et See Aa oa = y. hal; . a are — ‘psPeer 7 em = . we fsOy, ‘ * . ee 7 aR? > al ae meeUh -s a Waa c. ‘ My J er A ijaie he ‘coe nS” ATP Siler (27 On POTN. Nee A ee ee ee BOTTI | Pas, ae: ah cee or ee sr Rf Roan ty nS are a LS ZR FS RE, ate wert ee SLRS Rly PEL RR Pe A ee G7 ee Pos fp ps Fp... MAS So =@*5 ee GeeR OeOR ARRAakhE it S|ah” | SRR FEE teiSTOO sian TT OS Pee ee LO FSAI» at a SE eee RT AERTS Cree te: Oe FAee SPP ts PON Gere ST eae CEE Se eee aD ae. Ey eel Pr OS GES haar ae: BPA Sigete sitar Sa Ree Dra then Aros Rocca te MG 2 fee Ra Senpn Dt anaes Cerna Meahenen 8 [rw Se nee PES ee OG oc: Ce A hs ee” SR ee GA easeNike Sana te ECA IN EEN PES LES nn Riaf< ¢ Go, PAA 8 “seme apes ASSXeRieee I Cy nyMe en RUBE gi eer eS

=e oo Jey aa His first effort in music printing occurred in 1481, when he completed a Missale Romanum in quarto format containing blank spaces for music

on 29 December. Both the staves and the note heads were to be filled in later by hand.!© The next year, on 31 August 1482, Ottaviano brought out a Missale

10. Lowry, World of Aldus Manutius, 8.

11. An endorsement of a will dated 1 March 1481 mentions one Battista, son of Andrea de Dentis of Bellano, as an “impressore librorum de confinio S Samuelis in domibus ser Ottaviani Scotti.” See B. Cecchetti, “Altri stampadori ed altri librai,” Archivio Veneto n. ser., 29 (1885): 412—13 at 413.

12. British Museum, Catalogue of Books Printed in the XVth Century now in the British Museum. Part V. Venice, ed. Julius Victor Scholderer (London, 1924), 275. 13. Bridges, “Publishing of Arcadelt’s First Book,” 1: 134.

14. In popular literature, Aldo Manuzio has often been credited with the invention of the socalled portable book. As Lowry, World of Aldus Manutius, 142-43, notes, octavo format had already been used in manuscripts and in printed books of a religious or devotional nature.

15. German printers working in Italy issued books with music notation printed from movable type before Scotto. See Duggan, /talian Music Incunabula, 102 and Sartori, “La famiglia,” 22.

16. Duggan, Italian Music Incunabula, 102-5; a plate of a folio from the missal appears as fig. 39.

32

The House of Scotto

Romanum in folio format; this time the book contained music printed from movable type. In this and two other later missals, Scotto employed the doubleimpression method, whereby the staves printed first in red ink were overlaid with the notes in black ink.!” Ottaviano printed four missals before 1484 and published another three in the 1490s with music printed by Johann Hamman.!8 Ottaviano used his monogram, O.S.M. (Octavianus Scotus Modoetiensis), as his device. Initials placed within an orb and surmounted by a double cross was a favorite symbol among Venetian printers during the incunabular period.!9 Ottaviano employed it in four printer’s marks of varying sizes (fig. 2.1). This monogram and its modified version S.O.S. (Signum Octaviani Scoti) continued to be used by his heirs throughout the life of the firm. By 1484, only five years after his first publication, Ottaviano abandoned his work as a printer to become a publisher-underwriter whose books were printed by others. Among the printers who worked for the Scotto firm were Matteo Capcasa, Giovanni and Gregorio de Gregori, Antonio di Gusago, Johann Hamman (Herzog), Giovanni Leoviler di Hall, Andrea di Paltascichi, Cristoforo di Pensa da Man-

dello, Albertino Rossi, Giovanni Tacuino da Cerato, and Bartolomeo Zanis da Portesio. But the most important printer identified with the Scotto firm was Boneto Locatelli, a priest from Bergamo, whose long association with the Scotto firm lasted

well into the next century.29 During this time Ottaviano concentrated his efforts on | the commerce of bookselling. Noted as a mercator who underwrote the publications

of other printers, he was mainly involved with the international distribution of books. His commercial relationships extended from Italian bookmen throughout the entire peninsula to printers and publishers as far away as Valencia, Spain.! On 24 December 1498, Ottaviano died in Venice. He was buried in the Franciscan church of San Francesco della Vigna, where his tombstone on the floor of the cloister still remains today with the inscription: “Nobilts Octavianus Scotus de Modoe[t]ia Mercator Libror[um] Imp[re]ssor sibi et successoribus qui obiit XXIII Decembri[s] 1498.” His coat of arms, a crest containing a dove in the upper lefthand section and his monogram printer’s mark on the right-hand side, is carved in the middle of the marble slab.22

17. Ibid., 103. 48. William H. J. Weale and Hans Bohatta, Bibliographia liturgica: catalogus missalium ritus Latini, ab anno M.CCCC.LXXIV impressorum (London, 1928), nos. 870, 875, 877, 926, 938, 1815, 1822 (no. 1821 is a ghost); Kathi Meyer-Baer, Liturgical Music Incunabula (London, 1962), nos. 126, 127, 152, 156, 212, 215; and Duggan, Italian Music Incunabula, nos. 55, 60, 62, 95,

104, 131, 136.

19. See Giuseppina Zappella, Le marche dei tipografie degli editori italiani del Cinquecento

(Milan, [1986]), 2: no. 53, “Cerchio et croce,” for several examples of this sign. 20. British Museum, Catalogue of Books Printed in the XVth Century, 5: xxii.

21. ASV, Serenissima Signoria, Lettere sottoscritte, Mar. I I.a 164 dal 12 marzo al novembre 1492, as cited by Volpati, “Gli Scotti di Monza,” 369.

22. Other members of the Scotto family, including Girolamo, are buried in the same church. Only Ottaviano I’s tombstone survives in the clotster; a sketch of the stone appears in Sartori, “La famiglia,” 20[bis]. According to a Franciscan monk of the church, the remaining family stones were destroyed during the Napoleonic occupation.

33

FIGURE 2.1 Printer’s marks of Ottaviano Scotto I

34

The House of Scotto

THE HEIRS OF OTTAVIANO SCOTTO (1500-1533) Only months after Ottaviano’s death, Venice succumbed to one of the worst finan-

cial crises in its entire history. Political enemies threatened the Most Serene Republic on two fronts: to the east, the Ottoman Empire endangered its naval supremacy in the Mediterranean by capturing nearly all of the Venetian ports in Greece, while to the west, the shifting alliances of France, Spain, Germany, and the Pope jeopardized both its newly acquired and established territories on the mainland. In order to finance its military operations on land and sea, the Venetian state imposed forced loans in the form of government bonds upon the taxpayers. Excessive demands for money compelled Venetians to withdraw their own funds from the banks, which, in turn, caused a run on all the banks in Venice. The panic that ensued prompted the failure of two banks.”3 The shortage of cash and credit during the crash of 1499 had a profound effect upon all commercial enterprises. It caused a major catastrophe for the relatively new printing industry. Of the twenty-three firms active in the 1490s, fewer than ten survived the century.24

The Scotto press turned out to be one of the fortunate few. In 1499 editions continued to be issued under Ottaviano’s name, but during the following year the imprint of the firm was changed to the “Heirs of Ottaviano Scotto” (Heredes Octaviani Scoti). In accordance with Venetian law, the estate apparently did not pass solely to the eldest surviving male heir, but was shared jointly by all male heirs. Since Ottaviano died without male issue, the inheritance of the firm reverted to the sons of his three brothers, Brandino, Antonio, and Bernardino. The heirs, who probably held financial shares in the press, included Ottaviano’s nephews: Amadio, son of Brandino Scotto; Giovanni Battista, son of Antonio Scotto; and Paolo and Ottaviano II, sons of Bernardino Scotto. All of these nephews lived in Venice. They presumably formed a fraterna or family partnership, designating one of them, perhaps the oldest, to serve as manager of the firm. Although Ottaviano Scotto’s last will and testament no longer survives, we learn from a contract dated 27 November 1499 that Amadio di Brandino Scotto had been named Ottaviano’s beneficiary.2? We know that Amadio soon assumed the directorship of the firm, for in 1500 he requested a privilege from the Venetian Senate to print the unedited works of Galen, a book of “Rhasis . .. continens omnia quae ad medicinam spectant, cum novo ordine et correctione,” the problems of Aristotle, a “Descrizione di Terra Santa,” and “Cesario de exemplis.”2© The fact that Amadio

did not use his own name in the imprints to the books issued by the Scotto firm also points to joint ownership of the press by the nephews. Divisiveness among

23. Frederic C. Lane, “Venetian Bankers, 1496-1533,” in Venice and History, 69-86 at 69-79. 24. Hirsch, Printing, Selling and Reading, 42. 25. ASV, Quattro Ministeriali: strida e clamor, Registro 79, c. 108. Parts of the document are quoted in Sartori, “La famiglia,” 22 n. 20. 26. ASV, Notat. Collegio 28, c. 28; as cited in Fulin, “Documenti,” 142-43. Aristotle’s Problemata appeared in 1501 (a copy of this book is located in London, British Library).

35

Historical Study

the heirs might have prompted the collapse of the firm, but the soundness of the business and the acumen of its new director helped guide the press through these

| perilous years of financial instability in Venice. Amadio moved the press to the parish of San Felice, where he lived with his cousins, Giovanni Battista, Paolo, and Ottaviano IH. They continued to publish subjects that their uncle had established as specialties of the House of Scotto. The total output of the heirs during the thirty-five-year period exceeded 280 books.?? By 1531 Amadio was proud to declare in a petition to the Venetian Senate that

the House of Scotto was “famosissimi impressori di opere nove non piu stampate | precipue della sacra teologia, de logica et philosophia et medicina.”28 As with his uncle, most of his books were either printed by others or published with the help of a consortium of bookmen.

During the early years of the century from 1500 to around 1509, Boneto Locatelli, who served as the principal printer for Ottaviano Scotto, continued in that capacity. His colophon can be found on practically all the non-liturgical Scotto books from this period. Shortly thereafter, other printers, such as Giorgio Arrivabene and the firm of Francesco Bindoni and Maffeo Pasini, replaced Locatelli as printers for the Scotto press. From 1513, editions issued with the Scotto imprint included the added phrase,

“ac Sociorum.” This meant that the Scottos joined with others to form partnerships. The scarcity of printing agreements among sixteenth-century bookmen prevents us

from knowing all the partners who helped finance these books, but a contract dated 25 June 1507 does name Luc’ Antonio Giunti, Zorzi (Giorgio) Arrivabene, the brothers Battista and Silvestro de Tortis, and Antonio Moreto as partners with Amadio Scotto to print several books.2?

We cannot be sure how many of these titles were actually issued, for only two years after the contract was signed, an alliance of all the great European powers known as the League of Cambrai plunged Venice into a war that threatened her very existence. On 9 May 1509 Venice suffered a disastrous defeat at Agnadello; in a matter of weeks, French and Habsburg forces overwhelmed nearly all of her possessions on the Italian mainland. Venice was forced to cede the empire she had carefully built up during the previous century. Only in her darkest hour was the Most Serene Republic saved by the loyalty of her citizens in the neighboring towns of Padua, Vicenza, and Treviso, and by the Pope and Spanish king, who decisively switched their allegiance away from the French and the Habsburgs to the Venetians. La Serenissima, after seven years of war, regained most of her territory.

27. This estimate is calculated from a number of published and unpublished catalogues that list the holdings of several European and American libraries. To mention a few: Adams, BM, Durling, Edizioni, IA, Pastorello, Primo, RISM, STC, Shaaber, and Margaret H. Jackson, ed., Catalogue of the Francis Taylor Pearson Plimpton Collection of Italian Books and Manuscripts in the Library of Wellesley College (Cambridge, Mass., 1929). 28. ASV, Senata Terra, Registro 126, fol. 184; as cited in Volpati, “Gli Scotti di Monza,” 372.

29. ASV, Miscellanea Gregolin, b. 32; transcribed in Fulin, “Nuovi documenti per servire alla storia della tipografia veneziana,” Archivio veneto 23 (1882): 390~405 at 401-5.

36

The House of Scotto

The war with the League of Cambrai, however, took its toll on the Republic; it became a turning point in Venetian history. The years 1509 to 1513 were difficult ones for the Venetian printing industry. Several printers went bankrupt, while others were forced to suspend operation. The total output of all twenty firms still in business amounted to only fifty editions per year.°9 In 1509 the great Aldine press dissolved temporarily, and its director Aldo Manuzio was forced to leave Venice and to travel around northern Italy for the next

three years.*! Little is known about the Scotto press during this time period. Though it survived these turbulent years of war and financial instability, the firm’s production declined drastically. In 1508 the Scotto firm issued at least fifteen editions, while their output for the next four years dwindled down to a total of only three publications. That the wars had a devastating effect on the printing industry may be observed in a request made by Ottaviano Petrucci to the Venetian Senate. In his petition dated 24 June 1514, Petrucci appealed for a renewal of his monopoly on music printing. He stated that he and his partners were unable to benefit from his invention, since the war had disturbed business and they were unable to recoup their 1nitial capital investment.32 The Venetian Senate granted Petrucci and his partners a five-year renewal. This petition turns out to be a seminal one for our study, since

one of Petrucci’s silent partners was Amadio Scotto. Scotto’s connection with Petrucci and his other partner, Nicolo di Raffaele, apparently began with the estab-

lishment of Petrucci’s music press some fifteen years before. The fact that the House of Scotto acted as publisher-underwriter and bookseller for several printing enterprises suggests that Amadio Scotto helped finance the original venture that allowed Petrucci to be the first to print polyphonic music from movable type.

With the end of the war in 1513, the Scotto press resumed its printing and publishing activities at a normal level, and the firm prospered once again, as ts evident from the properties Amadio Scotto purchased. In that year, he rented a house that was explicitly not used for the business of printing,33 and in 1522 he acquired ten fields with buildings and farmland.34 Several documents refer to Amadio not only as a “libraro” but also as a “mercadante di libri”’ He was clearly well respected by other Venetian bookmen; his name appears as executor of the estates of Bernardino Benalio and Lazzaro di Soardi, two important Venetian printers of the incunabular period.35

30. Georg Panzer, Annales typographici ab artis inventae origine ad annum 1500 (Nuremberg, 1800), 8: 410-24. 31. Lowry, World of Aldus Manutius, 160-61.

32. ASV, Registro Notatorio XXV, 1512-1514, c. 92. A transcription of the petition appears among other places in Sartori, Bibliografia delle opere musicali, 19. For further discussion see Boorman, “Petrucci at Fossombrone,” 21-22.

33. Volpatt, “Gli Scotto dt Monza,” 371. | 34. ASV, Dieci Savi Decime, reg. 1233, 64; also ASV, Dieci Savi, Condizioni di decima, b. 92,

no. 57.

35. ASV, Notarile Testamenti, B. 974, no. 7. Benalio’s two wills date from 1516 and 1517. Soardi died in 1517; his will appears in ASV, Notarile Testamenti, B. 999, no. 145. Cited in Volpati, “Gli Scotto di Monza,” 369 n. 4.

37

Historical Study

Another nephew who originally inherited the press from Ottaviano was Giovanni Battista di Antonio Scotto. Although only his will has come to light, we know that Giovanni Battista owned a share in the main branch of the firm, since his cousin, Ottaviano (II) di Bernardino Scotto, mentioned in his own will “the particular portion of our account of printed books inherited from Giovanni Battista.”3° Giovanni Battista died sometime between 1529, the year he drew up his will, and 1533, the year that Ottaviano II took over the firm. Since Giovanni Battista died without male issue, his cousin, Ottaviano II, became executor of his will and also inherited the bulk of Giovanni Battista’s estate.3?

The two remaining original heirs of the Scotto press, Paolo and Ottaviano II, were sons of Bernardino Scotto. Paolo Scotto was first named as a printer in a will he witnessed in 1514.38 He was also a bookdealer, according to a posthumous document of 1534, which referred to him as “Paulo de Scoti liberer.”3? In addition to his activities as a printer-bookseller, Paolo apparently composed music. As Thomas Bridges notes, works by “Pauli Scoti” or “Paulus Scotus” appeared in several Petrucci music publications.49 That these works are by Paolo Scotto cannot be doubted, in light of Petrucci’s indebtedness to the Scotto firm and the specificity of his attributions. Paolo was a friend of the music theorists Giovanni Spataro and Pietro Aaron, who send him greetings in letters of 1523; he also wanted a copy of one of Spataro’s masses.*! Paolo died sometime before 1529, since his wife, Faustina, is referred to as a widow in his cousin Giovanni Battista’s will of that year. He presumably bequeathed his share of the printing concern to his son Francesco, who, as we shall see, also became a bookdealer. Amadio, the director of the firm, probably died around 1533, the year the imprint of the firm changed back from “Heredes Octaviani Scoti” to “Octaviani Scotti.” Upon the deaths of Paolo, Giovanni Battista, and then Amadio, ownership of the main branch of the firm passed to Ottaviano II. His shares, combined with those inherited from his cousin Giovanni Battista, gave Ottaviano II a controlling interest in the firm, while the shares owned by Amadio and Paolo were divided among their heirs.

36. “. . . tutta la mia particular portion della raggion nostra di libri a stampa hereditata dal quondam messer Zuanbapt. mio cuxin fiolo del quondam messer Antonio.” ASV, Notarile Testamenti, Angelo Calvi, b. 307, no. 308. A partial transcription of the will is in Sartori, “La famiglia,” 25-26 n. 29.

37. ASV, Notarile Testamenti, b. 887, no. 61; partially transcribed tn Sartori, 23-24 n. 24. The remaining bequests in the will not transcribed by Sartori are to female relations for dowries, etc. Giovanni Battista left Faustina, widow of his cousin Paolo, 25 ducats; to Lucretia, daughter of Amadio, 100 ducats to be spent at the time of her wedding with the consent of his cousin, Ottaviano IT. He also left 100 ducats for a marrtage dowry to a Margherita “who lives with me.”

38. “Paulo de Scotis de Mediolano domini Bernardini,” ASV, Notarile Atti, Registro 10635, fol. 1; cited in Volpati, “Gli Scotto di Monza,” 374.

39. The document quoted in Volpati, 374, ASV, Provveditor di Comun, b. 10, Atti 1534-45, Registro n, 8, fol. 11%, concerns a 30 lire debt owed by his widow, Faustina, to Isabeta, widow of Bartolomeo Tagliapietra. 40. “Publishing of Arcadelt’s First Book,” 1: 136. 41. See Bonnie J, Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford, 1991), 1013-14.

38

The House of Scotto

LEADERSHIP UNDER OTTAVIANO SECONDO (1533-1539)

Ottaviano II took over the press sometime during the latter part of 1533. The colophon to an edition of Verdelot’s First Book of Four-Voice Madrigals of 1533 contains the phrase “Ad instantia deli Scotti,” suggesting that Amadio was still alive. By the end of year, however, Ottaviano brought out his own publications; his very first independent publication may have been an edition of Gabriele Zerbo’s Anathomie dated 1 October, 1533.42 _ Ottaviano kept the press at the same location in the district of San Felice, where it remained until 1547, if not later. He continued to employ many of the printer’s marks used by his predecessors as well as a few of his own, in particular a figure representing Fame carrying a trumpet atop a winged globe with the initials O.S.M. (see fig. 2.2). The monogram O.S.M. in this device as well as the earlier orb and double cross printer’s marks referred to his uncle Ottaviano (Octavianus Scotus

Modoetiensis), but it also applied to Ottaviano I, who was from Milan (Octavianus Scotus Mediolanensis). For the next six years, Ottaviano Scotto carried on the tradition of the firm by publishing over sixty texts in fields that had established the reputation of the House of Scotto, particularly philosophy, medicine, and religion. Ottaviano held more

than a passing interest in at least the first two subjects, for he was a Doctor of Medicine and was conversant in the field of philosophy. On more than one occasion, Ottaviano served as editor of the Aristotelian commentaries that his firm published. In his dedication to an edition of Aristotle’s De Physica printed in 1540,

Ottaviano stated that he had emended the commentary and “tried to cleanse it of errors.” He may even have made his own translation of the Commentaries to Aristotle’s Topica. Ottaviano’s abilities in both of these fields should not surprise us since within the faculty of arts of Italian universities, logic and natural philosophy played an integral role in the curriculum, being considered preparatory subjects for the study of medicine.44 He clearly moved in academic circles and was well known by the literati not only of Venice, but also at the University of Padua, from where he most assuredly received his doctorate in medicine. In his preface to Alessandro Piccolominti’s De la Institutione, Ottaviano extolled the virtues of the Sienese humanist’s book and cited his own participation in the famed Accademia de gli Infiammati in Padua. He addressed his preface to Alfonso d’ Avalos, the marquis of Vasto and governor-general of Milan, and his wife Maria d’Aragona, important patrons of the Scotto press during the early 1540s.

42. “Impressum Venetiis apud Octavianum Scotum Anno Domini 1533 Kal. Octobris.” A copy of the edition is located in the library of the University of Pavia. 43. Catalogus translationum et commentariorum: Medieval and Renaissance Latin Translations and Commentaries, ed. Paul Oskar Kristeller ((Washington, 1960]), 1: 103. 44. Knisteller, “The Aristotelian Tradition,” in Renaissance Thought, 42.

39

= a me (EME Oe BONN (| Soren Mane AE Deer osname eaasisienespnra/ammnenaiaasieapapemenaet nee eT prea alent eta eretinge raeenmnsteerent-wecnceeieneseaat hp =. &

MTS SE II RE TT BT EY RTT ETI ee

mgr NEE: Ase Gente aa ene Soe fe ties: oa= ee eal “ a " ‘ This watermark and at least three from other families with the anchor design appear in paper found in Scotto publications. Other watermark designs include two types of fleur-de-lys, a cardinal’s hat surmounted by a Greek cross, an ox head with turned-in horns surmounted by a cross, a crescent within a circle surmounted by a star, two types of crowns, crossed arrows surmounted by a star, a cross bow with arrow, a dragon, an angel within a circle surmounted by a star, scales within a circle surmounted by a star, three mounts within a circle surmounted by a star, a four-pointed star, and a heart surmounted by a cross.

FORMAT

During the sixteenth century, books were printed in a variety of formats. The term refers to the relationship between an individual leaf of a book and the original printed sheet of paper, which can vary in the number of leaves it contains.44 The arrangement of the printed pages on one side of the sheet of paper known as the forme and the subsequent folding of the original sheet determine the format of a volume. 41. Lewis, Antonio Gardano, 1: 39. 42. Gaskell, New Introduction, 61.

43. Vladimir Mogin, Anchor Watermarks, ed. and trans. J. S. G. Simmons and B. J. van Ginneken-van de Kasteele (Amsterdam, 1973), 24-25, Type It. If.2.A.d.

44. Boorman, Glossary in Music Printing and Publishing, 510-13; Gaskell, New Introduction, 80.

64

Inside the Scotto Print Shop

The most common formats are folio, quarto, octavo, duodecimo, and sextodecimo. In folio format, two pages are printed on each side of a sheet of paper, which is then folded once along the shorter side (crosswise) to make a two-leaf, four-page gathering. A quarto is produced from a sheet containing four pages printed on each side folded twice, once crosswise and once along the longer side (lengthwise), thus creating a four-leaf or eight-page gathering (duerno). Printed sheets for octavo

format have eight pages printed on each side; the paper is subsequently folded once crosswise, once lengthwise, and then crosswise again, making an eight-leaf or sixteen-page gathering (quaderno).

The standard orientation of a format is upright. Some formats can also be oblong, whereby the horizontal axis is Jonger than the vertical. During the midsixteenth century, the most common format for music books was oblong quarto. The layout or imposition of the pages on the forme and folding sequence for an oblong format differs from that of an upright format. Figure 3.1 illustrates the page placement and folding scheme of oblong quarto. The position of the watermark and the direction of the chainlines on the leaf also differ between the two formats. As seen in figure 3.2, the chainlines run horizontally and the watermark appears in the middle of the spine fold in upright quarto. Oblong quarto, in contrast, has vertical chainlines with the watermark at the top center of the leaf.4>

Scotto employed at least six different formats for all his books: upright folio, upright and oblong quarto format, upright octavo, upright duodecimo, and upright sextodecimo. The subject of the book dictated the type of format used. As seen in appendix D, the majority of Scotto’s non-music books appeared 1n folio format. They included many of his Aristotelian commentaries and classical texts in Latin. These large volumes were intended for the libraries of wealthy patricians. The Scotto press also produced some of the same titles found in the folio editions in upright octavo format. Aimed at the academic market, the smaller, cheaper volumes must have been lucrative for the Venetian firm. Scotto also reserved the octavo format for medical handbooks, dictionaries, letters, and other familiar writings of vernacular literature such as Castighione’s // Cortegiano (1556) or Contarini’s La republica ei magistrati di Vinegia (1544).4 On rare occasions, Scotto would employ upright quarto format for special literary projects, such as his first edition of Alessandro Piccolomini’s De la institutione di tutta la vita de ’ homo... (1542), or for chivalric romances containing several woodcut illustrations, such as Boiardo’s Orlando Inammorato (1545) and Pulci’s Morgante maggiore (1545).47 Scotto also printed several of his liturgical books (Missale Romanum and Breviarum Romanum) in this mid-size format. Only a handful of books in the tiny formats of duodecimo and sextodecimo survive from the Scotto press; they include

45, Krummel, “Oblong Format in Early Music Books,” The Library, Sth ser., 26 (1971): 312~24 at 312; Forney, “Tielman Susato,” 164—68; and Lewis, Antonio Gardano, |: 37. 46. See nos. 229 and 51 in app. D. 47. See nos. 34, 69-70, and 85 in app. D.

65

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religious devotional books and Bibles in the vernacular, such as the New Testament (1548) and St Augustine’s Meditations (1566).*8 Scotto’s music publications appeared in four basic formats at different times in his publishing career. He used oblong quarto from 1539 until the early 1560s for all his music publications. An exception occurred in 1544, when he reversed the

| orientation to upright quarto. The catalyst for this sudden change in format was probably Antonfrancesco Doni, for whom Scotto printed both the Dialogo di musica and Lettere. The Dialogo’s unusual conception as a hybrid musico-literary work presumably prompted the use of upright quarto. Upright octavo, traditionally employed for literary dialogic works, was too small to incorporate both music works and dialogue, while the oblong quarto of music editions was too wide and therefore wasted space for the texted portions. Scotto seemed to like the idea of the new format, for in that year he issued at least another six music editions in upright quarto.

48. See nos. 127 and 332 in app. D. , 66

Inside the Scotto Print Shop

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The experiment, however, did not last. Girolamo ceased to print music from 1345 to 1547, and when he resumed his music-printing operations in 1548, he reverted to the traditional orientation of oblong format.4? With one exception, oblong quarto continued as the favorite format until 1564, when upright quarto superseded it at the Scotto press. Scotto was, in fact, the first Italian music printer to change from oblong to upright quarto format. It took another twenty years for the upright orientation to become standard for all music printers. The format of choice for villanesche editions by most printers was the smaller oblong octavo. Colonia in Naples, Dorico and Barré in Rome, Moscheni and Pozzo in Milan, Susato in Antwerp, and Le Roy and Ballard in Paris all used the diminutive format.°° Even Gardano adopted it in 1560 for his Villotte alla napolitana series. Perhaps in response to Gardano’s change in format, Scotto, in 1561, inaugurated another new format, upright octavo, for his music editions of canzone alla napolitane, villote, and other three-voice dialect songs. No other music printer took up the upright orientation for the octavo size. The diminutive dimensions of the

49. On the unsigned music publications printed during these years see J. Bernstein, “Burning Salamander,” 483-501. 50. Donna Cardamone, The Canzone villanesca alla napolitana and Related Forms, 1537-1570

(Studies in Musicology 45; Ann Arbor, Mich., 1981), 1: 7. Earlier printers such as Petrucci, Antico/Scotto, and Attaingnant also employed the format.

67

Historical Study

format fit in well with the modest size and style of the pieces. Scotto adopted two different methods of presenting the poetry and music on the page. In most cases, he followed Gardano’s lead by printing only the first stanza of text underneath the music and placing any additional strophes in a group at the bottom of the piece (see fig. 3.3). On rare occasions, Scotto copied the arrangement used by other printers, by placing the music with one stanza of text underlay on the verso page and the entire poem on the opposite page.>! Only two of Scotto’s music publications survive in folio format. They are singlevolume lute books that were commissioned by their authors, Galilei and Barbetta.°2 Unlike Gardano’s editions, none of Scotto’s sacred books appears in choirbook format. Only one volume, the Villancicos of 1556, is laid out in choirbook fashion. Unusual for this arrangement and upright quarto format, the Villancicos is the only book of Spanish-texted music to be published in Cinquecento Venice.*3 Scotto’s music partbooks generally followed the typical structure of four leaves per gathering in quarto format, and eight leaves per gathering in octavo. The average edition consisted of four or five gatherings (either sixteen or twenty leaves), but some editions, particularly of liturgical music, would run into more. Six staves of music were printed to the page in oblong quarto, but from 1554 to 1556, while experimenting with a larger music font, Scotto used five staves.>4 When he turned his quarto books upright, Scotto either employed eight or nine staves of music per page, depending on the size of the music and text fonts. His upright octavo books could accommodate up to six staves of music, but often contained only four, leaving space at the bottom of the page for additional stanzas of text. The editions of lute tablatures printed in oblong quarto contained four staves per page.

PAGINATION AND SIGNATURES

Unlike Gardano, who used pagination for almost all his editions,°> Scotto tended to be inconsistent in his numbering system, especially in the early years. He preferred pagination for his madrigal editions, foliation for his liturgical publications and lute books, and simply numbered each piece in his early motet editions. By the 1550s pagination became standard in Scotto publications. Whatever the numbering system, Roman numerals appeared in the majority of Scotto’s music editions until 1559, when they were superseded by arabic numbering.

Signatures appear on the bottom right-hand corner of the recto of at least the first and second leaves of a gathering. They consist of a letter from the Latin

Si. As seen in Corona delle napolitane 1570/reed. 1572 (Catalogue nos. 360 and 397) and I primo libro delle justiniane 1570/reed. 1572 (nos. 359 and 398). 52. Catalogue nos. 306 and 314. 53. See Catalogue no. 153. 34. The use of five staves only lasted for two years; Scotto then reverted back to the more economical six staves of music. 55. Lewis, Antonio Gardano, 1: 36.

68

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Historical Study

alphabet and sometimes a brief phrase or signature title identifying the work. Signatures assisted the printer in assembling the book by enabling him to identify the order of the gatherings and the correct way to fold them. Since books were shipped and sold in unbound gatherings, signatures and signature titles also helped booksellers and their customers in distinguishing between different publications. The signatures for a set of partbooks presented a unique problem. They had to be similar in order to show that the set belonged together, but they also had to differentiate each of the partbooks. Several methods were devised by music printers. One system consisted of starting all the partbooks with the same letter, but distinguishing among them by using a different font or doubling the letters (A—F for cantus, a—f for tenor, AA-FF for altus, etc).°© Scotto utilized this method for all of his pre-1545 music publications. Another method favored by many Italian printers was to letter the partbooks consecutively (e.g., A~D for cantus, E-H for the tenor, I-M for the altus, etc.).°’ This scheme became the predominant system employed by the Scotto press from 1548 until 1572. A third system, in which each partbook contained the same signature in upper-case letters (e.g., A-E; A-E; A-E etc.), proved untenable, since it did not differentiate the partbooks. Scotto used this method for the brief period 1554-55, and only sporadically thereafter.>®

TITLE PAGES AND COLOPHONS

The development of the title page ran parallel to the history of printing as a whole. Deemed “one of the most distinct, visible advances from script to print,’>? the title page not only played a substantive role in facilitating the organization of libraries and catalogues, but it also made a crucial contribution to the commercialization of the book trade. In an age of “self-fashioning,’®! it acted as an advertisement for the book, author, patron, and publisher all in one. It offered convenience by providing the necessary data upon which consumers could base their decision whether

or not they wished to purchase a book. This was especially crucial in the field of music, where the consumer more than likely did not have the musical expertise to browse through and comprehend a music edition laid out in separate partbooks. Soon after the advent of the printing press, bookmen began to print short titles on the blank front leaf of the book. At the end of the fifteenth century, practically

56. This scheme was employed by the Parisian printer Attaingnant. See catalogue to Heartz, Pierre Attaingnant. It also appears on rare occasions in later Scotto editions. 57. These included Petrucci, Dorico, Antico/Scotto, and Gardano. See Lewis, Antonio Gardano, 1: 38, and catalogues in Cusick, Valerio Dorico, and Boorman, “Petrucci at Fossombrone.” 58. This method was commonly used by Moderne and Susato. 59. S. H. Steinberg, Five Hundred Years of Printing (London, 1955), 105. 60. Eisenstein, Printing Press, 1: 52. 61. The term was coined by Stephen Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare (Chicago, 1980).

70

Inside the Scotto Print Shop all books had title pages. At first the title page consisted of only a brief designation with all publishing information retained in the colophon. By the second decade of the sixteenth century, printers realized its marketing potential and soon presented prolix titles detailing the various sections of the book, identifying the author, editor, commentator, and/or translator, and displaying the printer's mark.©2 The title pages of Venetian music editions took a longer time to evolve than those of other fields. Petrucci, at the beginning of the century, employed generic titles that simply identified the number and kind of pieces contained in the volume. This practice continued through the 1530s. Only in the early 1540s, when music printing became a commercially viable enterprise, did the title page catch up with other fields. Both Gardano and Scotto quickly adopted more elaborate titles promoting the fame of the composer, the novelty of the music, and, most significantly,

the correctness of the edition. Girolamo Scotto’s earliest music publications reflected the new marketing approach, as seen in the title page to Gombert’s fourvoice motets: Of the most excellent Gombert, by his skillful genius chief among those in the art of music, maestro di cappella of Emperor Charles V, Music for four voices (commonly called motets), apt for viols and for shawm band. Recently composed with great diligence, never before published, but with great accuracy newly brought to light. Book one... .®3

The style of title pages at the Scotto press changed several times over the course of Girolamo’s career. Some of the alterations reflect the market place’s penchant

for newer, more up-to-date designs, others indicate experimentation, and still others reveal the influence of other printers. Title-page styles for Scotto’s music publications fall roughly into five periods, 1539-44, 1545-47, 1548-53, 1554-56, and 1558-72, with minor variants occurring among editions within each period. The most significant feature during the earliest period was the use of two completely different title pages—one for the cantus book, and the other for the lower voices. Title pages of multiple partbooks obviously raised an intriguing dilemma for the Scotto press. Rather than repeat the same information on the title pages

to all the partbooks, Girolamo decided to follow the same procedure used by his brother Ottaviano in the 1530s. He displayed the complete matter on the title page of the cantus only, and offered an abbreviated version identifying the composer, work, and voice part on the remaining partbooks, which were intended as

62. See Mortimer, Harvard College Library ... Italian 16th Century Books for examples in the transformation of the title page.

63. “Gomberti excellentissimi, et inventione in hac arte facile principis, chori Caroli quinti imperatoris magistri, musica quatuor vocum (vulgo motecta nuncupatur), Lyris maioribus, ac Tibiis imparibus accomodata. Nuper maximo authoris studio composita, nulli hactenus visa, sed noviter accuratissime in lucem edita. Liber primus . . 2” (Catalogue no. 3). This unusual word order is part of the advertising for the volume, giving greatest prominence to the composer and less to the actual contents, Music for four voices.

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Bayerische Staatsbibliothek abteilung.

Historical Study

companion volumes to the cantus.54 By 1544 Scotto decided to follow Antonio Gardano’s example and adopted the same title page for all his partbooks. This was one way of streamlining production, since the compositor did not have to set two different title pages, but could keep the standing type and simply change the voice part indication. The style of the cantus title pages dating from 1539 through 1544 vary from edition to edition, but they normally include anywhere from two to four different sizes of roman capitals, often with a small italic or roman lower-case type font for subheadings (fig. 3.4). The abbreviated title pages of the lower-voice partbooks— much simpler in design than the cantus book—usually used two sizes of roman capitals (fig. 3.5). All of Scotto’s early music editions share two common traits: the layout of the page above the printer’s mark formed an inverted triangle and a printer’s leaf always appeared on the line before the printer’s mark. The inverted triangle design was routinely employed by many sixteenth-century printers. The unsigned editions of 1545-47, though not printed by Girolamo Scotto, were underwritten by the Scotto firm. The title-page styles of these editions fall into three categories: (1) a simple design of all roman capitals in an inverted triangle with no printer’s marks; (2) an inverted triangle format containing a mixture of roman capitals and lower-case italic found in all the lute-tablature editions; and (3) a lozenge-shape layout with fleurons straddling the top line of the title and the device of a burning salamander (fig. 3.6). The differences among the three styles suggests the work of two if not three presses. The next major modification of Scotto’s title-page design occurred in 1548 with the introduction of a medium-size italic upper-case font with more elaborate swash capitals.> Scotto employed this new typeface in his non-music publications as early as 1545, but they did not appear with any regularity in his music editions until 1548. At first Scotto exclusively employed the swash italic capital on a few of his title pages (fig. 3.7), but from 1549 until 1553 he toned down its dynamic appearance by combining it with more austere upright roman capitals. Only five years after the appearance of the italic swash capital, Scotto introduced yet another typeface: a large roman lower-case font, which he combined with anywhere from one to four sizes of roman capitals in the heading. Occasionally he mixed the new roman font with the swash italic capitals typeface found in the editions of 1548-53. Title pages vary in their use of smaller lower-case italic and roman typefaces for subheadings and the imprint. This stylistic phase lasted only from 1554 through 1556 (fig. 3.8).

64. When a set of partbooks has been split up, or only the lower-voice partbooks survive (a common occurrence among extant prints), the use of different title pages among the partbooks as well as the absence of date, place of publication, and printer/publisher information in the lower-voice partbooks has led to confusion among present-day bibliographers. See, for example, the entry for the 1539 edition of Arcadelt’s Terzo libro dei madrigali a quattro voci (Catalogue no. 2) in RISM-A and RISM-B as well as Nuovo Vogel.

65. The term “swash” refers to a slanted cursive form of the italic capital, often with extended flourishes.

74

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103

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104

Inside the Scotto Print Shop TABLE 3.5 Measurements of roman plainchant music fonts (mm.)

Font A Font B Font C Print Method Double impression: Double impression: Single impression: red and black ink red and black ink black ink only

Staff 14.1 12.2 11.0 Virga 10.1 x 3.0 4.7 x 1.8 5.5 x 2.3

C clef 8.0 x 2.0 44x] 5.5 x 1.5 plainchant, Scotto would print the music staves first in red ink; the paper would then go through the press a second time with the notes and text underlay printed in black ink.?2 Font A, the larger of the two, was used for the deluxe folio edition of the Missale Romanum of 1542 (Catalogue no. 400). Font B appears in all the quarto and octavo editions. A third typeface (Font C) was specially created as a single-impression font. It was utilized in only one extant missal printed by Scotto, the folio edition of 1560 (Catalogue no. 407). In 1536, Johannes Sultzbach brought out in Naples Francesco da Milano’s Intavolatura de viola o vero lauto ... libro primo della Fortuna e libro secondo, the first lute publications produced by a single-impression method.? The technique differed from that of mensural notation in that a single piece of type contained both one character and a single segment representing only one line of the six-line staff. These pieces of type were then lined up vertically on top of each other to create the six-line staff of the lute tablature. Rhythmic symbols, mensuration signs, text, and other miscellaneous type then completed the forme, which was then run through the press once.”4

This method of printing lute tablatures, though more Jabor-intensive and time-consuming than the single-impression technique devised for mensural notation, was commercially more viable for lute publications than either the earlier woodblock or multiple-impression technique.?° It thus became the primary one used for printing lute intabulations throughout the sixteenth century. The single impression process for tablature was not employed in Venice until 1546, when a series of six unsigned editions financed by the Scotto press and eight lute books printed by Gardano appeared. The wide separation between segments of

92. See chap. ! fora fuller description of the process. 93. The two books were first described by Yves Giraud, “Deux livres de tablature inconnus de Francesco da Milano,” Revue de musicologie 55 (1969): 217-19. See also the preface by Arthur Ness to Francesco da Milano, /Intavolatura de viola o vero lauto, I-II, facs. ed. (Geneva, 1988). 94. Charles P. Coldwell, “The Printing of Lute Tablature” (paper delivered at the annual meeting of the American Musicological Society, Louisville, Kentucky, 28 October 1983). 95. Publications for the lute must have still been fairly expensive to produce, as demonstrated by the small percentage of lute editions brought out by the large music presses. Only 22 lute publications out of 409 extant music editions survive from Girolamo Scotto’s press, 22 out of 431 extant music editions from Antonio Gardano’s press (Lewis, Antonio Gardano, 1: 96), 18 lute, cittern, and guitar intabulations out of 320 from the Parisian firm of Le Roy and Ballard (Lesure and Thibault, Bibliographie des éditions d’Adrian Le Roy et Robert Ballard, 22), and 28 out of 189 from the press of Pierre Phalése of Louvain (Vanhulst, Catalogue des éditions de musique, p. XXX1).

105

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FIGURE 3.27 Bianchini, Intabolatura de lauto (Venice: Scotto, 1563), p. 10. Reproduced with permission of the Musiksammlung der Osterreichischen Nationalbibliothek, Vienna.

Historical Study TABLE 3.6 Lute tablature measurements (mm.)

Rhythmic font I Rhythmic Font II (without note heads) (with note heads)

Semibreve 10 (vertical stroke only) 4.2 X 2.5 Minim 10.2 X 2.1 10 X 2.8 Semiminim 10.3 X 2.3 10 X 2.5

Fusa X 2.3 16.9 10.8 2.4 Staff9.716.9

02I 2.5 3X3 3x3 X 1.5 2.5 2.8 X 2 2.8XX1.5 2

Fret Numbers

3 2.8 X 1.4 2.8 xX 1.4 45 3.1 X 3.2 3.1 X 3.2 2.9 1.5 2.9 X 1.5 the staff found in figure 3.26 reveals that during the 1540s Scotto used individual pieces of type for every character, rhythmic symbol, and line of the staff in his lute books. By the 1560s Scotto and Gardano improved the technique by utilizing rules for the blank staves which extended over the width of several characters instead of a single character font (see fig. 3.27). The longer rules had several advantages over the previous system. First, they helped stabilize the smaller character pieces of the forme, creating an interlocking jig-saw puzzle pattern; they also decreased the number of blank staff fonts needed, and finally they improved the visual appearance of the music page with neater and smoother-looking staves. This kind of singleimpression type, known as “nested” type, was employed by Susato and other Netherlandish and German music printers for their mensural notation rather than the traditional pieces of type containing a five-line staff favored by Italian and

French printers. Scotto utilized the same character fonts for all his lute publications, though he employed two different type fonts for the rhythmic symbols (see table 3.6). Rhythmic font I consists of the standard lute notation of stems without note heads, while Rhythmic font II contains a representation of the entire note.

Paper, formats, title-page styles, typefaces, decorative initials, and printer’s marks were all an important part in the shaping of the marketing process. Public taste dictated subtle changes that occurred in the physical features of music books.

Girolamo Scotto remained cognizant of this fact, by operating a printing shop — whose organization and working habits embodied the attributes of a thriving sixteenth-century music press. The production of music books, however, was only

one aspect of the business. In order to succeed in the marketplace, Girolamo Scotto, like other great Venetian publishers, had to direct a multifarious operation.

Financial contracts, marketing of books, distribution routes, composers, and patrons all played an important role in the intricate world of music printing and publishing, as we shall see in the chapters that follow. 96. For an excellent description of “nested” music type and a plate picturing two music matrices see Forney, “Tielman Susato,” 112~13; 264.

108

Four

THE FINANCING OF VENETIAN MUSIC BOOKS J, Don Benedetto Venitiano, monk of S. Giorgio Maggiore of Venice,

as the procurator of the said monastery, promise to give to messer Girolamo Scotto eighty-eight ducats and five lire... whenever the said messer Girolamo gives me five hundred copies of the music of Don Pauletto Ferrarese. —-Music book contract, 1565

ae Goes usic publishing presents a rare opportunity to observe the interreWhy WSroles lationship an artand form and a commercial enterprise.world The Neo eag playedbetween by printers musicians in the cosmopolitan

ON BI| roles played by printe p :

Nk A 2) of Cinquecento Venice were not always mutually exclusive.

SEARO! Scholars have depicted the music printer as a member of intellec-

tual circles, acting as a friend and colleague to the leading musicians and l/iterati of his day. But music printers were also merchants involved in the day-to-day commerce of the industry. The financing, manufacturing, distributing, and promoting of books were all major concerns of the printer/publisher in this specialty trade. Music printing in sixteenth-century Venice was a complicated and multifaceted business. It involved many financial risks and required substantial sums of money. As a specialty aimed at an elite audience, music printing demanded an expertise on the part of the printer and his pressmen. In comparison with other fields, the music book trade did not generate an impressive income. Yet the music publisher/printer had to have good business sense, for in order to be successful he not only had to gain entrance into intellectual circles, but also had to remain, first and foremost, a businessman who could carry on his trade in the international marketplace. At the heart of the business were the financial arrangements made for the publi-

cation and sale of an individual book. These varied from one title to the next. Essentially there were two different strategies that Venetian publishers could follow in the financing of their publications. First, they could fund their books either independently or in partnership with other bookmen as a business venture. Second, they could accept books on a commission basis, taking no financial risk for the enterprise. Independent sponsorship of publications by printers was a highly risky enterprise. Only the large Venetian presses, such as the Scotto firm, had the necessary 109

Historical Study

capital and contacts to finance their own publications. They not only issued their own editions, but also operated as publisher-underwriters to other printers, owned retail stores, and marketed books through international trade networks. These publishers or mercatori were willing to speculate on a popular textbook, liturgical book, or literary best seller such as Ariosto’s Orlando furioso, for after taking a gamble on the first edition, they could make a good return on capital investments with successive reprints. In the field of music, didactic editions such as Jhan Gero’s Il primo libro de’

madrigali italiani et canzoni francese a due voci and Lupacchino and Tasso’s | Primo libro a due voci were probably initiated by the printer/publisher.! The marketability of these instructional publications was not lost on Scotto or Gardano; both printers were composers in their own right, and both issued editions of their own duos and trios early in their printing careers.2 The large number of reprinted editions of these didactic titles, published well into the seventeenth century, attests to the popularity of the genre.

FINANCIAL BACKERS AND PATRONS

Unfortunately, evidence concerning independent funding by printers of their music editions remains admittedly sparse. Indeed, we must be cautious in claiming that printers furnished all the capital for some of their publications, since the absence of contractual agreements does not necessarily exclude the possibility that silent partners might have provided financial assistance for many best-selling publications, including the lucrative reprints. Dedications signed by Venetian printers, in fact, lend support to the notion that printers acquired or at least requested assistance from various patrons, particularly during the early stages of their printing careers. This was certainly the case with Claudio Merulo, who dedicated his 1566 reprint of Verdelot’s Madrigali del primo & secondo libri a 4 to Don Pellegrino Filarmon-

ico degli Stellini, one of the original financial backers and silent partners of

1. In his dedication of the Gero “Duos,” Scotto specifically states that the works were “completed at my request by the excellent musician Gian Gero.” See Jhan Gero, /! primo libro de’ madrigali italiani et canzon francese a due voci, ed. Lawrence Bernstein and James Haar (Masters and Monuments of the Renaissance !; New York, 1980), pp. xxii-xxiii, which lists a total of twenty-five extant editions of the Gero Duos. On the Lupacchino and Tasso Duos see Catalogue no. 190. 2. Gardano issued his Canzoni francese a due voce in 1539 (RISM 15392!), while Scotto coun-

tered with his publication ff primo libro de i madrigali a doi voci in 1541 (RISM $2618). Haar, Essays on Italian Poetry and Music in the Renaissance, 1350-1600 (Berkeley and Los Angeles, 1986), 102 n. 12, suggests that Scotto may not have been the composer of the madrigal editions that appeared under his name. This seems unlikely, not only because of the numerous reprints of the duos, and of Scotto’s insistence on the title pages that the madrigals were printed ipso authore, but also because a selected number of works by him appeared in other collections. Furthermore, these musical works, in particular the duos, though technically capable, do not show great creativity on the part of the composer.

110

The Financing of Venetian Music Books

Merulo’s printing venture.> Antonio Gardano’s dedications to Bishop Leone Orsini in early editions of Arcadelt’s Primo Libro a 4 and Venticinque Canzoni Francese strongly imply that the Venetian printer received financial assistance from Orsini at the outset of his printing career.4 Even a well-established publishing firm might have requested aid from patrons. Girolamo Scotto turned to Alfonso d’ Avalos, the marquis of Vasto and governor-general of Milan, for sponsorship of at least two of his early publications.

PARTNERSHIPS AMONG BOOKMEN

Venetian music printers, in their speculative dealings, resorted to another kind of financial arrangement—the societas or compagnia. The high expense of printing and marketing specialized books required printers to band together and form partnerships so that they could spread the risks among themselves. A variety of intricate printing contracts emerged from such dealings. Some involved only short-term partnerships for the printing of one or two editions. Girolamo’s brother Ottaviano formed such a partnership with Andrea Antico and Antonio Giunta in the publishing of Liber Quindecim Missarum. The partnership is described in two Roman contracts. The first, a statement of debts dated 26 May 1516, lists Ottaviano Scotto, a “merchant accepting the jurisdiction of the Roman curia,’ as the financial backer of the print. He or his agent, the Ferrarese printer Giovanni Mazzocchi, was to

advance Antico the sum of 604 ducats and 59% bolendini. Scotto was then entrusted with the pressrun of 1,008 copies. Antico and Scotto were to share equally in the profits made from the sale of the books. The contract stipulated, however, that Antico could not collect his profits until Ottaviano recouped his investment as well as the money Antico owed him. Under the terms of the agreement, Ottaviano Scotto financed the publication and was in charge of the sales and distribution of the pressrun, Antico prepared the woodcuts and edited the music, and another bookman, Antonio Giunta, printed the book. Giunta did not share in the profits, but was paid a flat fee for the printing.°

The agreement was signed in a Roman bookshop jointly owned by Ottaviano Scotto and Adriano de Bave located in the district of Parione. This contract between Scotto, Antico, and Giunta exemplifies the typical financial agreement made by the House of Scotto in which the firm participated as the underwriter and silent partner. As we have seen, the Scottos tended to emphasize

3. See Rebecca A. Edwards, “Claudio Merulo: Servant of the State and Musical Entrepreneur in Later Sixteenth-Century Venice” (Ph.D. diss., Princeton University, 1990), 176-77. 4. Gardano’s device of a lion and bear holding a rose also points to patronage by Orsini since it forms a rebus on the bishop’s name. See Lewis, Antonio Gardano, |: 20. 5. Reproductions, transcriptions, and English translations of the contractual documents appear in Chapman, “Andrea Antico,” 3: 448-53, pls. 13 and 14.

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the marketing of books in their business activities. A second contract drawn up between Ottaviano Scotto and Antico, dated 20 August 1516, in fact deals with this aspect of the book trade. Scotto was to sell the pressrun of about 1,000 copies. The books were priced at 20 giulii retail per copy or 15 giulii wholesale for multiple copies. The revenues from books sold in Italy, France, and other northern countries were to be shared by Scotto and Antico. Thus, the Scotto firm financed and took charge of distribution and selling of the books, while other partners, such as Antico, were mainly responsible for book printing and production.

Other documents reflect more long-standing commitments. The well-known . request of 24 June 1514 for a renewal of Ottaviano Petrucci’s monopoly on music printing records a partnership among Girolamo’s uncle Amadio Scotto, then head of the Scotto press, Nicolo di Raffaele, and Petrucci that had begun with the establishment of Petrucci’s press some fifteen years before. From this petition we gather that Scotto and Raffaele underwrote the original venture while Petrucci did the presswork.°®

Although music-book contracts that identify partnerships and spell out the terms of the agreement are rare, other kinds of documentation, particularly the privileges and the prints themselves, provide evidence of consortia among Venetian

publishers. In 1548 Domenico Splendor applied for a privilege to publish “Li moteti, et madrigali a 4 et a 5 voci, d’Henrico Scafen.’’ The next year Girolamo Scotto issued Schaffen’s four-voice madrigals con gratia et privilegio. Another privilege of 1563 names Zuan Battista and Marchio Sessa in a request for permission to print, among other things, Paolo Aretino’s Lamentations.® In that same year, Scotto issued an edition of this sacred work. Again no documents survive connecting Scotto with the Sessa firm, but since the House of Sessa did not specialize in music printing, it must have financed this publication jointly with Scotto or commissioned the music printer to print it for a fee. The music publications themselves also hint at partnerships among bookmen. Title pages and colophons sometimes indicate the underwriter of the publication. As we have seen in chapter 2, the colophon of the 1533 edition of Verdelot’s First Book of Four- Voice Madrigals stated that Andrea Antico prepared the woodblocks, the firm of Giovanni Antonio da Sabio and his brothers did the presswork, and the House of Scotto financed the edition.

Unfortunately, very few Venetian music prints dating from after 1540 include a colophon which might identify the parties involved in the production of the book; to complicate matters further, the title page usually designates only the printer and not the underwriter of the publication. Other physical characteristics of the book, in particular typography and printer’s marks, do on occasion indirectly point to the

6. A transcription of the petition appears among other places in Sartori, Bibliografia ... Petrucci, 19; for further discussion see Boorman, “‘Petrucci at Fossombrone,” 21-22. 7. For the full privilege, see Agee, “The Privilege and Venetian Music Printing,” 221. 8. Ibid., 258.

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existence of partnerships. Such is the case with a group of twenty-two unsigned music publications dating from 1545 to 1547 issued by a societas of bookmen including Girolamo’s cousin Ottaviano di Amadio, the Paduan printer Jacopo Fabriano, and possibly others all connected in one way or another to the House of Scotto.? Typographical features of two music editions published by Scotto—Jacquet Berchem’s and Giovanni Battista Melfio’s First Book of Four-Voice Madrigals of 1555 and 1556 (RISM M2219), respectively—indicate a connection between Girolamo Scotto and another music printer, Francesco Rampazetto.!° No contracts or privileges survive to document such a collaboration, and the editions contain no colophons that might name the co-printer. A close examination of these editions, however, reveals that, although Scotto’s name appears on the title page, the music type font and initials belong to Rampazetto. It 1s tempting to speculate that Rampazetto and Scotto shared a partnership in the Melfio and Berchem editions. More likely, Rampazetto, the less experienced of the two, was subcontracted to print these books for Scotto, as he did for other publishers. He might, in fact, have apprenticed at the Scotto firm, for on several occasions during his printing career, Rampazetto borrowed typographical materials from the Scotto press. Decorated initials belonging to Scotto appear in the younger printer’s publications.!! At least two books issued by Rampazetto, Vergil’s Aeneid of 1560 and Ariosto’s Orlando furioso of 1554, contain woodcut illustrations which originally occurred in Scotto editions of a decade earlier. !2

Dedications in music editions can also indicate business connections in the

, printing industry. The 1541 edition of Jhan Gero’s /I primo libro de madrigali itallani et canzon francese a due voci, for example, though printed by Gardano, contains a dedication signed by Girolamo Scotto.!3 This edition proves valuable since it is the only known document that establishes a liaison between the two most important music printers of mid-sixteenth-century Venice.!4 In the dedication Girolamo Scotto implies that he underwrote the project. It would appear, then, that Scotto subcontracted Gardano to print this volume for a fixed fee or that the two

formed a partnership and shared in the profits. Both the dedication and Scotto’s :

9. A detailed account of these editions appears in Bernstein, “Burning Salamander.” 10. See Catalogue nos. 139 and 149. 11, One particular decorated initial, a floriated S, which Rampazetto used in his 1554 edition of

Ariosto’s Orlando furioso, suggests a connection between Rampazetto and the group of unsigned music prints from 1545-47 cited above. See Bernstein, “Burning Salamander,’ 493.

12. The Vergil edition is described in Mortimer, Harvard College Library... ltalian 16th Century Books, 2: 731. A woodcut of the Trojan horse taken from Scotto’s 1545 edition of Luigi Pulci, Morgante maggiore, and employed by Rampazetto in his Vergil edition is reproduced in Leo S. Olschki, ed., Choix de livres anciens rares et curieux (Florence, 1940), 12: 5064. 13. Haar was the first to mention this connection tn “The Note nere Madrigal,’ JAMS 18 (1965): 22-41. For a detailed description of this edition see the preface to Jhan Gero, I! primo libro.

14. Although Antonio Gardano is not mentioned tn any of Scotto’s notarial documents, his father- and brother-in-law Agostino and Marcantonio Bindoni appear as witnesses to a Scotto contract of 1557 (ASV, Notarile Atti B. Solian, b. 11868, fols. 32-33).

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position in the early 1540s (unlike that of Gardano) as the head of a wealthy publishing house suggest the former. A case could be made, in fact, for Scotto’s generosity in jobbing out this print to Gardano. After only two years as an independent printer, Gardano might have experienced financial difficulties. In 1540 he published only one edition. Mary Lewis has suggested that Gardano’s printing shop possibly sustained physical damage because of his publication in 1539 of Nicolo

Franco’s Le pistole vulgari, not to mention his personal friendship with the author.!5 Franco had been a secretary to Pietro Aretino, the most notorious literary

figure in Venice. Having witnessed the success of Aretino’s published letters, | Franco decided to try his hand at this genre and contracted Gardano to publish his work. This had dire consequences for Franco, and possibly for Gardano, too. In a letter appended to his second book of letters of 1542, Aretino denounced Franco as a “sodomite who from copyist became imitator of my letters. He made a book of

them and because he did not sell a single copy he ruined the French printer Gradana [sic] who lent him money to print them.”!© Franco was forced to leave Venice after having been expelled from Aretino’s house and badly beaten up in the street. It is possible that Gardano also might have been roughed up and his printing shop smashed for his role in this episode, for upon resuming printing in 1541, he employed new type and music fonts.!? Henceforth, Gardano confined his publishing activities almost entirely to the “safe” field of music. Two copies of an undated and unsigned tenor partbook of the Gero duos in Palermo and Munich further confirm Scotto’s authoritative role in the publishing of this work. Both tenor partbooks were previously thought to be copies of the 1541

Gardano edition and the 1552 Scotto edition, respectively.!8 Lorenzo Bianconi was | the first to speculate that the Palermo copy was an unknown first edition dating from 1539.!9 Recognizing it as the work of Scotto, Mary Lewis brought the partbook to the attention of Lawrence Bernstein and James Haar, who, in turn, concluded that it was “brought out by Girolamo Scotto between 1541 and 1543,” that is, after the 1541 edition by Gardano.*° Bianconi’s hypothesis, though conjectural, actually comes closer to the date of publication, for typographical evidence reveals that Scotto could only have printed the tenor partbook in 1540. It 1s, therefore, the earliest surviving edition of the Gero duos. Since the cantus partbook, which customarily contains the dedication, ts lost, we do not know whether Gardano pirated the earlier Scotto edition, dedication and all, or if sales encouraged Scotto to have

15. Antonio Gardano, |: 23 n. 35. 16. The letter and incident are also described by Bridges, ‘Publishing of Arcadelt’s First Book,” 1: 104.

17. Lewis, Antonio Gardano, 1: 23.

18. The Munich copy is incorrectly cited in Nuovo Vogel 730 as a copy of the 1552 edition (RISM G1630), while the Palermo copy is listed in the RISM Einzeldrucke as a copy of the 1541 edition (RISM G1626). See Catalogue no. 16.

19. “Weitere Erginzungen zu Emil Vogels ‘Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500-1700’ aus italienischen Bibliotheken,” Analecta musicologica 9 (1970): 142-202 at 162 n. 22. 20. Jhan Gero, Il primo libro, p. xxvi.

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The Financing of Venetian Music Books

Gardano reprint it for him. The former seems highly unlikely, since Gardano and Scotto, when reprinting each other’s first editions, rarely if ever included the same dedication. At any rate, it appears that Scotto and Gardano, at least in the early years of their publishing careers, maintained some kind of business relationship.?!

COMMISSIONED PUBLICATIONS

While independent production and partnerships represented financially risky ventures for bookmen, another type of agreement, the commissioned work, offered Scotto and other music printers a safe and steady income. Surviving contracts, dedications, and privileges indicate that many Venetian music editions were paid for by others both inside and outside the printing industry. In these cases, the printer would publish the book for a fixed fee, taking no financial risk for the publication at all. This type of agreement seems to have been popular especially in the highly specialized world of music printing, for it assured a steady influx of funds and protected the printer against the immediate problems of cash flow. Editions devoted exclusively to the works of one composer, many of which went through only one printing run, fall into this category—what we would now call, for want of a better term, vanity publications. Certain turns of phrases such as “da lui composti & stampati,’ “novamente da lui composti rivisti & posti in luce,” or “dal proprio auttor composti & mandati in luce” found on the title pages of madrigal editions printed by Scotto assert only that the composer authorized the publication of their works, but in their dedications composers sometimes remark, as did the Florentine Francesco Corteccia in his Libro primo de madriali [sic] a 4 (1544)?2 or Baldassaro Donato in his Secondo libro de madrigali a 4 (1568),23 that they were financially responsible for the publication of their madrigals. Printers might have also profited financially from the sales of certain singlecomposer editions that proved successful. Reprints of single-composer works not bearing a dedication or privilege by the composer suggest that the printer brought out the composer’s work on his own. Printers apparently also benefited from the trafficking of first editions. In some cases, they either legally or illegally issued extra copies of a commissioned book beyond the pressrun stipulated in

the contract. Most extant music-printing contracts spell out whether or not a printer could issue extra copies. The contract between the composer Carpentras and the printer Channey of 1531, for example, states that the printer “must give up all the copies of what he prints . . . reserving only four of each [edition] to himself,

21. For more on the relationship between Gardano and Scotto see chap. 7. 22. “io habbia fatto stampare questo primo libro de i miei Madriali’”’; see dedication in Catalogue

™ 23. “Per il che li ho fatti stampare, & come parto destinato a lei innanzi, che ‘1 nascesse, |i ho publicato co ‘] titulo del suo honorato nome”; see dedication in Catalogue no. 304.

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under pain of L. 300 penalty.”24 A Madrid contract of 1598 drawn up by the Spanish composer Tomas de Luis Victoria stipulates that the printer may issue an additional 100 copies for himself which he could only begin to sell twelve months after publication.25 Interested parties other than composers also assumed the expenses of music publications. One lucrative source of funding was the Church. Various Orders commissioned music printers to issue responsories, hymnals, Magnificats, Lamenta-

tions, and other musico-liturgical books on a fee-for-service basis. While dedications written by clergymen for sacred publications, such as the 1567 edition of Jacquet of Mantua’s Orationes complures ad officium, only allude to this type of agreement, an actual contract of 1565 between Girolamo Scotto and the Monastery of San Giorgio Maggiore in Venice offers concrete evidence concerning church support of music publications. This document proves very valuable as one of a handful of extant contracts concerning the printing of music, and the only one of its kind to survive from Cinquecento Venice. Since it provides in remarkable detail what must have been a typical agreement between private parties and printer, it will be considered here in detail.2¢ Dated 8 March 1565, the contract was drawn up between Girolamo Scotto and Don Benedetto Venetiano for the Benedictine monastery of San Giorgio Maggiore, situated on the island facing the Piazza San Marco.2’ In the contract, Scotto is paid for printing in “stampa grosetta” (the larger of the two music fonts employed in his music editions during this period) 500 copies of a music work by Don Pauletto Ferrarese.28 He must use fine, white paper, unspotted and without flaws. Scotto is also responsible for all expenses and must correct without charge any errors or deviations from the exemplar. He ts to print at least one folio per day, and the work must begin on 12 March. The contract stipulates that if Scotto does not live up to the agreement in any way, the document shall be declared null and void. For his labors, Scotto is to be paid a set fee of 550 lire or 88 ducats and 5 lire upon completion of the work. Scotto completed the printing of the edition three months later, on 10 June. He apparently satisfied the procurator of San Giorgio Maggiore, since on that day

Girolamo deposited the books at the monastery and collected 450 lire for his efforts. Girolamo’s nephew Melchiorre received the remaining 100 lire from Don Benedetto nine days later.

24. Heartz, Pierre Attaingnant, U1}. 25. Tomas Luis de Victoria, Opera omnia, ed. F. Pedrell (Leipzig, 1902-13), 8: Ixxxv.

26. A transcription of the contract appears in Agee, “A Venetian Music Printing Contract,” 59-65. 27. In 1562 Scotto also published a Breviarium Monasticum in accordance with the Cassinese Congregation of the Benedictine order (to which S. Giorgio Maggiore belonged; possibly it was commissioned by the monastery; see no. 301 in app. D). 28. The publication in question, Don Pauletto Ferrarese’s Passiones, Lamentationes, Responsoria, Benedictus, Miserere, Multaque alia Devotissima cantica, was issued by Girolamo Scotto in 1565; see Catalogue no. 261.

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The Financing of Venetian Music Books

This contract sheds light on several aspects concerning the production of music publications. First, it tells us the size of the pressrun. Although five hundred copies may appear to be a small number, it was probably average for a commissioned work of this type.2? Secondly, the agreement specifies the production schedule. Scotto had to adhere to the completion of one folio per day; in this case, 176 folios (each of the four partbooks contains forty-four folios), which translated into 176 working days or a little over eight months (the average month consisted of twenty — working days). This apparently gave Scotto more than ample time to complete the project, and allowed him to deliver the partbooks five months ahead of schedule.2° Finally, the fee mentioned in the contract offers us some idea of how much profit a music printer might anticipate. The fee of 88 ducats and 5 lire, or 550 lire, came to about one lira per set of partbooks. The account books of the Accademia Filarmonica of Verona dating from the 1540s inform us that the average retail price for a set of four partbooks with five gatherings each was one lira and four soldi.3! The set of

four partbooks ordered by the monks of San Giorgio, however, contained the unusually large number of eleven gatherings. Scotto’s fee of one lira per set of partbooks of the Paolo Ferrarese edition was clearly a wholesale price, since the retail price for this particular publication could not be less than two lire. Since Scotto was presumably still making a profit on this contract, the price for his music books sold in the retail market had to be more than double his cost of production, or, to put it another way, the gross profit per unit was at least 100 per cent.32

In addition to outside parties, Venetian publishers not specializing in music printing, formed another important group who contracted books from music printers. As we have seen tn chapter 1, the tremendous expense and highly competitive nature of the industry forced bookmen to specialize in the subject matter they published. Thus, if publishers of non-music books received an order from a third party or wanted to publish a music work that they owned outright, they had to consign their presswork to a music printer. Francesco Rampazetto, who owned a small printing press, generally worked on consignment, issuing many of his books for other publishers. The bookman Giovanni Comencino, for example,

29. Opinions on what was the average pressrun for a sixteenth-century music publication appear in Lewis, Antonio Gardano, |: 87-89; Heartz, Pierre Attaingnant, 122; Pogue, Jacques Moderne, 45, and Agee, “A Venetian Music Printing Contract,” 61-65.

30. Since it took Scotto less than half the time allotted, his compositor must have set at least two folios per day, a figure that coincides with the number of formes of literary text that a northern European compositor could set per day. See D. F. McKenzie, “Printers of the Mind: Some Notes on Bibliographical Theories and Printing-House Practices,” Studies in Bibliography (Papers of the

Bibliographical Society of the University of Virginia) 22 (1969): 1-75 at 8, and Voet, Golden Compasses, 2: 33.

31. Several inventories and account books of the Accademia Filarmonica from 1543 onwards specifying the titles of music editions and their prices appear in Giuseppe Turrini, L’Accademia Filarmonica di Verona dalla fondazione (maggio 1543) al 1600 e il suo patrimonio musicale antico (Atti e memorie della Accademia di Agricoltura, Scienze e Lettere di Verona 18; Verona, 1941), 30-40, 44-45, 56-68, 81-82, and 87-92. 32. Grendler, Roman Inquisition, 15 comes up with a comparable figure.

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hired Rampazetto to print Pietro Vinci’s /] secondo libro de madrigali a cinque voci (RISM 156724; V1673), as noted both on the title page of the edition and in the privilege that Comencino took out in 1567.33 Publishers and booksellers from Italian cities lacking a well-established music press also called on the services of Venetian music printers. The Neapolitan bookseller Scipione Riccio on 4 June 1587 signed a contract to have printed in Venice 200 copies of a book of sacred music by Giovanni Battista Racchiano, for which he paid 43 ducats.34 Even an important regional center such as Florence did not have a printer specializing in music until the 1580s. As the Florentine publishers Jacopo

and Filippo Giunti ruefully remark in a 1563 petition to the Medici court: “... when we have had to print a book of importance and requiring expense . . . we have had them printed in Venice.”35 Indeed, only four months after submitting this petition, the Giunti brothers commissioned Francesco Rampazetto to print Serafino Razzi’s collection of Laudi Spirituali on their behalf.36

CONNECTIONS AMONG MUSIC PRINTERS

Music printing fostered close relationships among bookmen working in this highly specialized field. The supposition that fierce rivalries chronically occurred among Venetian music printers is not born out by existing evidence, for 1t appears that throughout the sixteenth century practically all Venetian music printers were con-

nected in one way or another with the Scotto firm. We have already noted the important role played by the House of Scotto as underwriters to both Petrucci and Antico in the early sixteenth century. During Girolamo’s tenure as head of the Scotto firm, a younger generation of bookmen presumably gained their start by either apprenticing or working for the press. As noted above, Francesco Rampazetto printed two of Scotto’s music editions in the mid-1550s, and after establishing his own press, borrowed typographical materials from the Scotto firm. Another music press associated with the Scotto firm was that of Claudio Merulo and Fausto Bethanio. In 1566 Claudio Merulo da Correggio, composer and organ-

ist at San Marco, joined together with Fausto Bethanio, Bolognino Zaltieri, an established non-music printer, and Don Pellegrino Stellini, a priest from Ravenna, to form a music-printing firm. Each partner contributed a specific expertise to the

33. A transcription of the privilege appears in Agee, “The Privilege and Venetian Music Printing,” 265-67. 34. This contract is mentioned in Angelo Pompilio, “Editoria musicale a Napoli e in Italia nel Cinque-Seicento” in Musica e cultura a Napoli dal XV al XIX secolo, ed. Lorenzo Bianconi and Renato Bossa (Florence, 1983), 79-102 at 94; Keith Larson, “Racchiano, Giovanni Battista” in The New Grove, 15: 524; and Gaetano Filangieri, Documenti per la storia, le arti e le industrie delle provincie napoletane, 6 (Naples, 1891), 354-55. 35. English translation taken from Tim Carter, “Music-Printing in Late Sixteenth- and Early Seventeenth-Century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni,’

Early Music History 9 (1989): 27-72 at 34. ;

36. Both the printer’s mark and the name of the house of Giunti appear on the title page and the

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The Financing of Venetian Music Books

compagnia: Merulo, the composer and musician, supplied the music and read the proofs; Zaltieri must have acted as the retail agent and distributor for the firm; while Stellini underwrote the operation.3? The fourth partner, Fausto Bethanio, whose life until now has remained a mystery, was apparently in charge of the

actual printing of music. Two years before the formation of this partnership, Bethanio, as a witness to the last will and testament of the writer Veronica Franco,

refers to himself as a printer at the Scotto press (“‘stampator in venetia alla d[itta] Scotti”).38 It is clear from this document that Bethanio had learned the technique of music printing by working either as a journeyman or apprentice at the Scotto firm. Rampazetto and Bethanio were not the only music printers we can link with Girolamo. Ricciardo Amadino, an important music publisher from 1583 until 1617, witnessed Girolamo’s will in 1569, and might also have worked at the Scotto press.>? Amadino and his partner Giacomo Vincenti sold a considerable number of books issued by the Scotto firm, as seen in an extant trade list of 1591 issued by Vincenti after the breakup of his partnership with Amadino.4 Whether the use of Ottaviano IV and Brandino Scotto’s printer’s mark by Pietro Pietrasanta, who published a handful of music editions in 1557—the year in which no Scotto music publications survive—connects this bookman with the Scotto firm remains highly speculative.4! A more shadowy figure, Antonio dell’ Abate, who published along with Antico the important 1536 edition, La Courone et fleur des chansons a troys, might be the Antonio dell’ Abbate da Rovigo whose name appears in numerous contracts as Scotto’s agent and debtor.42 Scotto’s most important contemporary, Antonio Gardano, also had a connection with the Scotto firm at least during the early years of his publishing career. Several scholars have speculated on the source of the Frenchman’s knowledge of music printing. Both Moderne in Lyons and Attaingnant in Paris have been named as possible mentors,43 as well as the Venetian printer Agostino Bindoni, whose daughter Gardano married. Bindoni, however, never printed music books. Could Gardano have worked for the Scotto press during the late 1530s? His connection with Girolamo during the early stages of his press and the fact that the House of Scotto was the only Venetian firm to issue music editions consistently throughout this crucial period argue in favor of this possibility.

37. Edwards, “Claudio Merulo,” 171-84. 38. ASV, Notarile testamenti, not. Antonio Maria Vincenti, b. 1019, no. 806, as cited by Margaret F, Rosenthal, The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice (Chicago, 1992), 76. I am grateful to Professor Rosenthal for sharing this information with me before publication of her book. 39. Bridges, “Publishing of Arcadelt’s First Book,” 1: 231. AQ, Mischiati, /ndici, cataloghi e avvisi, 93-98. 41. See J. Bernstein, “Burning Salamander,” 491. 42. ASV, Notarile Atti B. Solian, b. 11875 (1567), fol. 23; 11876 (1569), fols. 77-79 and fol. 122'-’. Bridges, “Publishing of Arcadelt’s First Book,” 1: 91 also suggests this correlation. Considering the close relationship between Abbate, Scotto, and Antico, it is tempting to speculate that the Scotto press might have had a hand in the publication of La Courone. 43. Pogue, Jacques Moderne, 73 and Heartz, Pierre Attaingnant, 158-59. 44, Bridges, “Publishing of Arcadelt’s First Book,” 1: 97~98 and Lewis, Antonio Gardano, |: 20.

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Independent production, partnerships, and commissions—all these arrangements illustrate how complicated the economics of producing a music edition were

, in the sixteenth century. Yet financial agreements were only the first step in the production of music books. Music printers and publishers had to deal with other aspects of the book trade. One of them, the marketing of their books, as we shall explore in the next chapter, remained a constant and central preoccupation of the Venetian bookmen.

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Five

THE DISTRIBUTION OF VENETIAN MUSIC BOOKS SALARINO: Your mind is tossing on the ocean; There where your argosies, with portly sail,— Like signiors and rich burghers of the flood, Or, as it were, the pageants of the sea,— Do overpeer the petty traffickers That curt’sy to them, do them reverence. As they fly by them with their woven wings. —Shakespeare, The Merchant of Venice

Py eer rateaey| cal money in music publishing lay not with the printing of books,

Ka) PoNe but with their distribution. First and foremost a book merchant,

we LES Girolamo Scotto maintained an efficient marketing system Zsa) involving an established network of publishers, printers, and Sane ars) booksellers that stretched far beyond the confines of Venice. The relationships among these bookmen formed the basis for the European book trade. In order to reach an international market, Scotto relied on a group of employees, different from the men who worked in his printing shop, to distribute his books.

The most important members of this workforce consisted of the procuratori or agents, who traveled to or resided in cities outside of Venice. Their duties concerned all aspects in the transport of books, including the receipt of book shipments, the selling of books either in their own bookshops or to other bookdealers, and the collecting of money and bills of exchange from other bookmen for the mercator. In addition to employing his own agents, Scotto entrusted independent book carriers to transport his books to the northern book fairs where they bought and sold books for several publishers. At the final destination point were the librarie or bibliopolae, who sold Scotto’s books in their retail shops. The success of this entire organization depended on familial relationships. Publishing houses were often made up of extended families whose members could be entrusted to carry out the duties of the firm both in and outside of Venice. Partnerships between the resident merchant and a brother, son, or nephew were common. Relatives would often serve as resident agents in other cities, managing stores or distributing books for the main firm. The House of Scotto proved no exception. 121

Historical Study Although Girolamo ran the press by himself, he actually co-owned the firm with his brother Ottaviano. More distant relatives worked for the press in other Italian cities. As already noted, Girolamo’s nephew Giovanni Maria Scotto maintained a branch in Naples, where he ran a bookshop and acted as an agent.! Two other nephews, Gian Andrea and Gian Michele Maldura, were resident agents in Milan and Mantua. Girolamo’s second cousin Ottaviano di Amadio Scotto, an independent printer in Venice, made trips as far afield as Rome to collect debts for the main branch of the firm.? Girolamo’s nephew Melchiorre helped as agent and manager

in Venice as early as 1565 until Girolamo’s death in 1572, when he inherited the , business.

In addition to family members, Scotto had a highly developed syndicate of contacts all over the Italian peninsula. Notarial contracts name librarie or bibliopolae from Perugia, Ferrara, Brescia, Siena, Cremona, Milan, Mantua, Rome, Florence, and Padua. The intricacy of the relationship between Scotto and a bibliopola

would vary according to the status of the bookman and the nature of the task performed. Large firms would reciprocate favors, for example, the Florentine print-

ers Filippo and Jacopo Giunti, who, in 1559, acted as intermediaries for Scotto in the collection of funds from another Florentine bookman.? Other agreements concerned the appointment of distributors outside of Venice. In August 1566 Scotto designated the Roman printer Marco de Amadoro as his agent “to seek, sell, and

receive money and goods, and seek whatever people he needs in the city of Rome.”4 Many of Scotto’s notarial documents deal with the establishment of such agents or procuratori. As a wealthy mercator, Scotto also acted as a broker in the transport of books issued by smaller Venetian printers to other cities. In May 1569 Domenico and Angelo Pederzano, printers at the sign of the Tower, gave Scotto 207 ducats to ship

books to their brothers in Palermo to be sold in their store.) Scotto not only shipped books for other printers, he also apparently eliminated the middlemen and

acquired his own barges and ships, or at least bought interests in the shipping industry. He might even have gone a step further in the buying and selling of wood

for the purpose of shipbuilding, as seen in an agreement made with two other Venetians to form a company in order to purchase oak and ash, the primary woods used to build ships.®

At the other end of the marketing process were the distribution centers and retail stores. Owners of modest presses tended not to have sufficient capital. They had to rely on the larger publishing houses to distribute their books. Scotto would

1. He was also an independent printer, who issued over 35 of his own publications; see Manzi, “Annali tipografici,” 159-206,

2. On the connection between Girolamo and Ottaviano di Amadio see J. Bernstein, “Burning Salamander,” 495-97, 3. ASV, Notarile Atti B. Solian, b. 11870, fol. 277%. 4. ASV, Notarile Atti B. Solian, b. 11875, fol. 123. 5. ASV, Notarile Atti B. Solian, b. 11876, fols. 106-10. 6. ASV, Notarile Atti B. Solian, b. 11874, fols. 16-17’.

122

The Distribution of Venetian Music Books

take a percentage of the book sales or buy up books printed by these small firms and market them at various outlets. The wealthy publishers often held interests in the retail bookshops where their books were sold. The type of partnership varied from store to store. As early as 1516, the Scotto firm co-owned a bookshop in Rome.’ They also maintained a store in Naples. Often the financial arrangements of these partnerships were intricate, as is seen in a contract dated 2 October 1559 between Scotto and the owner of a smail Venetian bookstore. Baldo Sabin1, whose shop was located at the sign of the Colombina at San Bartolomeo, agreed to sell a quantity of Scotto’s books for which Sabini would receive the usual commission of 15 percent. As part of the contract, Scotto had to pay half the annua! rent of 37 ducats for Baldo’s shop, giving Scotto a share in the store.®

THE TRADE ROUTES

As heir to a printing dynasty, Scotto relied on his firm’s traditional trade networks. He also established new avenues in the dissemination of his music books. His first sales outlet was the Most Serene Republic itself. Venice held a unique position in the commercial world as the principal crossroad between East and West. Tourism was then as now an important part of Venice’s economy. Along with foreign mariners and merchants, pilgrims setting off for the Holy Land flooded the streets and shops of the city. The Rialto, the financial district of Venice, was the starting point of the Mercerie, which extended all the way to San Marco; this street and the Frezzeria, which stretched from the churches of San Moisé to San Fantin, would tempt sixteenth-century passers-by with stalls and shops filled with books. Travelers included foreign aristocrats such as Henry Fitzalan, the duke of Arundel, who bought music books for his library at Nonesuch Castle or an ordinary German woman possibly on a pilgrimage named Maria Pfaffenperg, who proudly inscribed on the flyleaf of her music purchase: “Anno 1577 In Venedig | Dis buech gehGrt mir.”? Yet even a large cosmopolitan city such as Venice could not absorb an entire pressrun of 500 to 1,000 copies per music book. When one figures that the population of Venice by 1540 numbered 170,000 people, it is clear that Scotto had to look

beyond his city and export his music editions to other places.!9 His market extended throughout the Italian peninsula and even further to Spain and northern Europe. Scotto exported his music editions in small consignments, packing them

7. Chapman, “Andrea Antico,” 448-52. 8. ASV, Notarile Atti B. Solian, b. 11870, fols. 261-62’. 9. The inscription appears in the altus partbook of the British Library copy of Paolo Ferrarese’s Passiones, Lamentationes, Responsoria . . . (Venice: Scotto, 1565), see Catalogue no. 261. 10. Eugene Rice, “Recent Studies on the Population of Europe, 1348-1620,” Renaissance News 18 (1965): 180-87.

123

Historical Study

with a wide assortment of other books in large wooden crates. Printed books “desligadi e diverse sorte,” that is without bindings and representing a variety of titles, comprised each bale, which might include only one or two copies of a particular music title. The shipments were then dispatched to their destination by boat, wagon, or a combination of both. The crates, though sturdy, ran the risk of water damage, particularly at the bottom of a ship’s hold.!! Any ruined books were the responsibility of the distributor, as we learn from a bill of exchange dated 5 October 1558 between Scotto and his nephew, Giovanni Maria, where Girolamo subtracts 8 ducats for libri bagnati damaged during transport to Naples.!4 Scotto sent his cargoes of books via Venice’s traditional land and maritime trade routes. Books and other merchandise were sent whenever possible by water, since transport by sea and inland waterways was considerably cheaper than by land. Local transport occurred by barge along the coast of the Adriatic and up the rivers

| of the plain to Padua, Vicenza, Verona, Trent, and other northern Italian cities. Larger carracks or round boats were used for long-distance travel.!3 They followed some of the old trade routes of the fifteenth-century state galleys. Some traveled at

least part of the Acque Morte route, heading south down the Adriatic into the Mediterranean between Sicily and the toe of Italy out to Spain. Among the local cities, Padua provided an important outlet for Scotto’s books, especially for his titles in medicine, philosophy, and law. The Aristotelian commentaries he published tn such great volume were intended for this university market. Scotto maintained close ties with Padua, as demonstrated by the substantial amount of property he and other members of his family owned there. He also had

connections with a number of Paduan printers, booksellers, and paper dealers. Scotto’s relationship with the Paduan publisher Jacopo Fabriano of the papermaking family lasted for more than thirty years. Fabriano and his sons acted as agents, sold books for, and possibly owned property jointly with the Scotto family.!4 Scotto’s lute publications, though few in number, were probably intended for Padua and other university towns. Foreign students from northern Europe could sample a variety of genres, including intabulations of chansons, madrigals, motets, and Masses, as well as dances and ricercars by oltremontani and native Italians.

Often these foreign students returned home with their book purchases. The German Peter Poach, who received his doctorate in medicine from Padua and then

became medical officer for the town of Zwickau, brought back several Venetian music publications now preserved in the Ratsschulbibliothek in Zwickau.!5 The international repertory contained in these lute editions made them the most

11. A general description of the distribution of books appears in Febvre and Martin, Coming of the Book, 222-44. 12. ASV, Notarile Atti B. Solian, b. 11869, fol. 230¥. 13. An account of the round boat, state galleys, and trade routes appears in Lane, Venice: A Maritime Republic, 336-89. 14. J. Bernstein, “Burning Salamander,” 492. 15. Emil Herzog, Chronik der Kreisstadt Zwickau (Zwickau, 1839), 2: 371.

124

The Distribution of Venetian Music Books

catholic of all sixteenth-century music publications. Scotto certainly had the Paduan market in mind in 1546 when he requested a privilege to print two volumes of lute intabulations by the Paduan lutenist Antonio Rotta.!© Although only the first book of Rotta’s intabulations appeared, it became the lead volume in Scotto’s first series of ten lute publications, containing five volumes of lute music by another Paduan, Melchiore de Barberiis. Two of the major staging points for Venetian book distribution were the Kingdom of Naples and Sicily.!?7 Although they might seem distant for the trafficking of books, these southern points were made more accessible to Venice by boat routes than the closer inland Italian cities. It is clear from archival documents that Naples and Sicily were crucial outposts for the Scotto firm. Girolamo’s nephew Giovanni Maria, as we have seen, was in charge of operations in Naples. Scotto’s notarial contracts name some nine bookmen alone in the cities of Messina and Palermo.!8®

The Italian peninsula clearly provided Scotto with his most valuable market. This is evident not only from the intricate distribution system but also from the music repertory issued by the Venetian printers. Scotto and Gardano held a monopoly on Italian music printing; thus music with a “national” bias, both light and serious music with Italian texts, dominated their musica] output.

BOOK TRADE WITH NORTHERN EUROPE

While catering to his Italian market, Scotto also had an eye on the international book trade to the north, for his primary aim was to secure as wide a market for his music books and as great a demand as possible. His commercial relations with the north were well established and extensive. The Scotto press had business contacts in both the Catholic and the Protestant transalpine centers. In order to reach the northern centers, Scotto had to transport his books overland by way of the more expensive transalpine routes. The route to Flanders taken by the Venetian State gal-

leys a century before, which went north up the Atlantic coast to the city of Bruges, : was abandoned by 1530 because of the perils of piracy and wars. Accessibility to the German centers lay north by barge up the Adige, Piave, Brenta, and Tagliamento rivers and through the Brenner and other eastern passes. Books traveled to

16. For a transcription of the privilege see Agee, “The Privilege and Venetian Music Printing,” 220. In 1560, Canon Scardeonius wrote that Antonio Rotta was virtually unrivaled as a lutenist in Italy and was also an excellent teacher who had grown quite rich by giving lessons on the lute [to university students, literati, academicians}. See Hans Radke, “Rotta, Antonio,” in New Grove 16: 260.

17. Marciani, “Editori, tipografi, librai veneti.” 18. ASV, Notarile Atti B. Solian. b. 11866 fol. 325%; 11867 fol. 63; 11868 fol. 32; 11869 fol.

159; 41873 fol. 156; 11875 fol. 59; 11876 fol. 185% mention the following Sicilian bookmen: Tomaso della Porta, Antonio Bertoleno, Simon de Franco, Giovanni Franco and Lodovico Carrara, Giovanni Battista Calegaris, Sebastiano de Paladini, Francesco Patavino, Agostino Canella, and Battista de Bonadio.

125

Historical Study

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FIGURE 5.1 Map of transalpine routes used by Venetian bookmen

French and Swiss centers via the plain rivers and then by land through the western Alpine passes (see fig. 5.1). Independent book carriers made the long journeys to Lyons, Geneva, Strasbourg, Basel, and Zurich, as well as to the German towns of Munich, Augsburg, Nuremberg, Wittenberg, Leipzig, Erfurt, and Cologne, where they would buy and sell books for several publishers at one time. The music edi-

tions were then sold in the bookshops of northern European cities. The daily account books of the famed Plantin press in Antwerp, for example, record among its purchases and sales music books from Venice. !9 Important outlets for the Venetian booksellers were the northern European fairs, which served as focal points for the international book trade. From the late fifteenth century until the mid-1560s, the most successful fairs were held at Lyons.2° The French city was ideally situated on a direct route from Italy to Paris. Venetians made their way to Lyons by taking the overland route across Lombardy over the Alps by way of the Great St. Bernard Pass, with a stopover in Geneva. The fairs

occurred four times a year for a period of fifteen days each. The French king granted liberal privileges to the foreign traders, who were issued safe-conducts to and from the fairs, exempted from taxes on goods bought or sold, and permitted to use foreign currency at its fair market value. Merchants from all over Europe and the Middle East attended the fairs. Italians from Venice, Florence, Lucca, Genoa, Bologna, and Milan came to trade in literally every commodity known to Renais-

19. Henri Vanhulst, “Suppliers and Clients of Christopher Plantin, Distributor of Polyphonic Music in Antwerp (1568-1578),” in Musicology and Archival Research. Colloquium Proceedings Brussels 22+23.4.1993, ed. B. Haggh, F. Daelemans, and A. Vanrie (Archives et Bibliothéques de Belgique 46; Brussels, 1994), 558-604 at 584, 596. He suggests that “Moralis Hispani Missae 4° Venetiis” sold by Plantin in 1568 might have been a copy from the 1563 edition printed by Rampazetto or Scotto (see Catalogue no. 233), and a copy of “Jachet Motetti”’ bought by the Jesuit College in Bruges might be from one of the 1565 Scotto editions (see Catalogue nos. 256-58). 20. A detailed account appears in Henri Brésard, Les Foires de Lyon au XV¢ et au XVI siécle (Lyons, 1914).

126

The Distribution of Venetian Music Books

sance Europe. Lyons became an international center for the book trade, particularly for the importation of Italian books, which their printers would then copy and issue in pirated editions. The importance of the French market was such that some of the major Italian publishers such as the Giunti opened up permanent branches of their firm in Lyons. By the mid-sixteenth century, book fairs in the German towns of Frankfurt and

later in Leipzig came to eclipse those held in Lyons.2! The Frankfurt fair had become the commercial center of the Rhineland, where dealers from England. and the Low Countries traded their commodities with merchants from German-speaking cities, France, and Italy.2 A directory of the 1569 Autumn Fair listing eighty-

seven bookdealers indicates the thriving book trade. Among this international group were three representatives of the Venetian book trade—Gasparo Bindoni, Pietro Valgrisi, and Pietro Longo.*3 All three were carriers who transported books to and from the fairs for other publishers as well as for private clients. Bindoni and Valgrisi were members of two prominent families in the printing trade. Bindoni had close business connections with the Scotto firm, maintaining at least one partnership with Scotto and several other bookmen for the publication of law books.24 Longo and Bindoni traveled together many times, often stopping on their return from Frankfurt for additional books in Basel.2°

BOOK FAIR LISTS AND PUBLISHER’S CATALOGUES

The most significant by-product of the Frankfurt fairs were the trade lists of books available at the fair.2© They provide us not only with the titles of lost editions, but also with invaluable documentation as to the number and types of music publications that the Italian publishers sent to Frankfurt. In light of their small delegation, the Venetian publishers were represented by a disproportionately large number of

21. Although the Lyons book fairs declined by 1560, a brisk trade between Lyonnais and Venetian printers continued well into the late sixteenth century. Archival documents show that in August 1583, Melchiorre Scotto received three or four bales of books from Lyons which went through Venetian customs without being inspected by the Inquisition. See Grendler, Roman Inquisition, 185. 22. See the contemporary account of the fair by Henri Estienne, The Frankfurt Book Fair, trans. J. W. Thompson (Chicago, 1911). 23. Friedrich Kapp, Geschichte des deutschen Buchhandels (Leipzig, 1886), 1: 772-74. 24. ASV, Notarile atti, B. Solian, b. 11875, fols. 25¥—26’.

25. Apparently the Frankfurt fair was not only an important center for the dissemination of books in general, but also for the clandestine trade in titles placed on the Index of Prohibited Books by the Holy Office. Pietro Longo turned out to be a smuggler of banned books and was eventually put to death by the Inquisition for trafficking in prohibited titles and possibly for holding Protestant beliefs. See Grendler, Roman Inquisition, 186-89. 26. A facsimile edition of all the complete catalogues from 1564-73 appears in Georg Willer, Die Messkataloge Georg Willers Herbstmesse 1564 bis Herbstmesse 1573, vol. 1 of Die Messkataloge des sechszehnten Jahrhunderts, ed. Bernhard Fabian (Hildesheim and New York, 1972). For a modern transcription of the music books only see Albert Gohler, Verzeichnis der in den Frankfurter und Leipziger Messkatalogen der Jahre 1564 bis 1769 angezeigten Musikalien (Leipzig, 1902).

127

Historical Study

music editions. Of a total of 154 music titles listed in the catalogues during the period 1565-70, ninety-one were of Italian origin. The 1565 catalogues, for example, list thirty-two from Venice, one from Rome, one from Louvain, and one from Wittenberg. The Italian editions listed in the 1565-70 catalogues divide equally into sacred

and secular music, suggesting that there was just as much a market for Italian madrigals as for sacred music in northern Europe. A closer examination of both the publisher’s output and the specific titles in the fair catalogues, however, clarifies

the northern European taste in Italian music prints. By piecing together the title . descriptions given in the catalogues for the year 1565 with extant editions, we discover that the Scotto press brought out most of the Venetian music editions.??

As shown in table 5.1, Scotto offered very recent publications. All the titles that correspond to extant Scotto prints were issued between 1560 and 1565. Of these thirty-one editions, seventeen were sacred and fourteen secular. The music publications containing sacred music are equally divided between motets (9) and Masses and other liturgical music (8). Many of the publications are by lesserknown composers, such as Schaffen (a Netherlander), Schiavetto, Garugli, and Varoto. Scotto’s list of secular titles, on the other hand, is more selective—present-

ing a best-selling composer, Cipriano de Rore, the more popular canzoni alla napolitana collections, works by the northerner Orlando di Lasso, and anthologies of three-voice pieces. Yet even though one-half of the music editions in the 1565 Frankfurt catalogues include Italian madrigals, this figure remains misleading when viewed against Scotto’s entire music output for the period. Between 1560 and 1565, the Venetian printer published a total of ninety-four music editions. Sixty-seven of the publications contain madrigals and instrumental music, as opposed to only twenty-seven sacred editions. Thus even though Scotto issued a large number of Italian madrigals, he deliberately catered to northern European taste by emphasizing music with Latin text, particularly Masses and other liturgical genres, in the publications he exported to the Frankfurt fairs. The fair trade lists evolved from book catalogues put out by individual booksellers. As early as 1460, publishers printed broadsides containing announcements to prospective customers of their forthcoming publications. Printers seem to have issued hundreds of these single-sheet “flyers” during the incunabular period, but due to their ephemeral nature only a handful of them survive today.28 What began as advertisements for one or two books led to full-fledged sales catalogues. Lists of books for sale were an early feature of the Venetian publishing trade. One of the first, brought out by Johannes de Colonia and Manthen, appeared sometime before

27. The Augsburg publisher Georg Willer prepared the Frankfurt fair catalogues from 1564 until 1573 (see previous footnote). Entries in the earliest catalogues (1564-67) often did not specify printers and dates of publication. The omission of this information makes identification of certain music

cautrons problematic, since Gardano and Scotto both issued editions of the same titles during this ° 28. Albert Ehrman and Graham Pollard, The Distribution of Books by Catalogue from the Invention of Printing to A.D. 1800 (Cambridge, 1965), 23.

128

TABLE 5.1 Italian music editions in Frankfurt fair catalogues of 1565

Entry in Frankfurt fair catalogue Extant edition i. Archadelt Madrigalia 4 voc. Italice. Venet. 1565 Gardano: ca. 1565 2. Contino: Cantionum 5 voc. libri duo. Venet. [Bk. 1] Scotto: 1560 3. Contino: Cantionum 5 voc. libri duo. Venet. [Bk. 2] Scotto: 1560

4, Contino: Cantionum 6 voc. Venet. Scotto: 156] 5. Contino: Missae sacri chori...4 voc. Venet. Scotto: 1561

6. Contino: Hymni ecclesiastici. .. a 4 voc. Venet. Scotto: 1561 ; 7. Contino: Introitus & Haleluia. .. 5 voc. Venet. Scotto: 1561 8. Contino: Threni Hieremiae . .. 4 voc. Venet. Scotto: 1561

9, Garugli: Cantiones ... 5 voc. Venet. Scotto: 1562 10. Ghibel: Introitus Missar ...5 voc. Romae Dorico: 1565 11. Lassus: Madrigalium libri tres 4 voc. Venet [Bk. 1] | Scotto: 1562; Gardano: 1562; 1565 12. Lassus: Madrigalium libri tres 4 voc. Venet [Bk. 2] | Only Bk. 1 survives 13. Lassus: Madrigalium libri tres 4 voc. Venet [Bk. 3] Only Bk. 1 survives

14, Lassus: Madri. libri tres 5 voc. Venet. [Bk. 1] Scotto: 1562; Rampazetto: 1562

15. Lassus: Madri. libri tres 5 voc. Venet. [Bk. 2] Scotto: 1562; Rampazetto: 1563; Gardano: 1565

16. Lassus: Madri. libri tres 5 voc. Venet. [Bk. 3] Scotto: 1563; Gardano: 1564 17. Morales and Lupi: Missae quinque ...5 voc. Venet. Scotto: 1565

18. Morales: Missae 4 voc... Venet. Scotto: 1563 19. Pauli Ferrarese: Passiones, Lamentationes ... Scotto: 1565 20. Primavera: Cant. Neapolitanae 3 voc. Venet. Scotto: 1565 21. Primavera: Cantionum Neapolitanarum liber

quartus 3 voc. Scotto: 1565

22. Rore: Madri. libri quatuor 5 voc. Venet. [Bks. 1-4] | Scotto: 1562; Gardano: 1563

23. Rore: Moteta...4 vocib... Venet. Scotto: 1563

24. Scaffen: Cantionum sive Motetorum 5 voc.

libri duo [Bk. 1] Scotto: 1564 libri duo [Bk. 2] Scotto: 1564

25. Scaffen: Cantionum sive Motetorum 5 voc.

26. Schiavetti: Moteta 5 & 6 voc. Venet. Scotto: 1564

27. Varoti: Missae 6 voc. .. Venet. Scotto: 1563 28. Vinci: Madrigalia 5 voc. Italice Venet. Scotto: 1565; Gardane: 1564 29. Madrigalia diversorum autorum tres libri [Bk 1] Scotto: 1562 30. Madrigalia diversorum autorum tres libri [Bk 2] Scotto: 1562 31. Madrigalta diversorum autorum tres libri [Bk 3] Scotto: 1562 32, [Azzaiolo] Cantiones Italicae ... 4 voc.

Villote de fiore Scotto: 1560; 1564

33. Moteta del Frutti 4 voc. Venet. Scotto: 1562

129

Historical Study 1476.2? Aldo Manuzio issued a book list in 1498 and another dated 1513. His cata-

logues not only enumerate the publications available at his press, but also specify

| the prices for each edition.>° While it is likely that the Scotto press periodically issued catalogues of their books, only two such book lists survive, dating from the 1590s.3! The Indice de libri di musica stampati dalli magnifici Scoti cioé quelli che sino al presente anno 1596 si ritrovano (see fig. 5.2), exclusively lists music books printed by the House of Scotto up until 1596, while the other, the Index Librorum Omnium [t]am ad Principales Scientia[s] nempe Theologiam, Philosophiam, & luris utriusque peritiam..., contains about 300 titles of the remaining subjects issued by the Scotto press up until 1591 (figs. 5.3~5).32 The choice of Italian for the title of the music book list and Latin for the index of non-music editions reveals how the Scotto firm viewed itself and its readership. As a publishing house with two disparate specializations, it produced Latin books in science, theology, and philosophy intended for an academic and ecclesiastical readership fluent in that language. The music books, on the other hand, were aimed at a wider, universal clientele more comfortable with the vernacular.

Both book catalogues are printed in folio broadside format, that is on one side of a single, unfolded sheet of paper. The music book list presents the titles of 256 publications in three long columns. The entries are methodically arranged according to genre and number of voices, and within each group in alphabetical order. The catalogue begins with music for two voices, then alternates madrigals and “canzone & napolitane” for three, four, five, and six voices. The final column presents Masses, motets, and “vesperi & salmi” in three large sections. The inordinately large format of the broadside supports the notion that this music book list served as a poster, a circular, or possibly even a handbill. Today, the catalogue aids us greatly in the identification of lost editions and a reconstruction of the musical repertory.

BUYERS AND COLLECTORS

In light of the widespread distribution of music books throughout Europe, one wonders about the potential market for these new publications. What type of

29. Ibid.; the book list is reproduced in Gutenberg Jahrbuch (1961), pp. 43-48. 30. The complete catalogue appears in Renouard, Annales de l‘imprimerie des Alde, 329-31.

31. Conrad Gesner, in compiling his Pandectae, made use of printed catalogues supplied by such firms as Manuzio and Estienne; see Hans Fischer, “Conrad Gesner (1516-1565) as Bibliographer and Encyclopaedist,” The Library, 5th ser., 21 (1966): 119-33. Since Gesner honored Scotto as one of the scholar-printers to whom he dedicated a section of his catalogue, he presumably acquired an index of books issued by the Scotto press.

32. Both catalogues are located in the Broxbourne Library Collection now housed in the Bodleian Library, Oxford. A complete transcription of the music book list appears in Mischiati, Indici, cataloghi e avvisi, 99~106.

130

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“F%1-> The Royal library of John IV of Portugal contained a phenomenal assemblage of sixteenthcentury printed music, all of which was destroyed in the great earthquake that struck Lisbon in 1755.36 Venetian music books made their way to England, as seen

in the Arundel—Lumley library, which contained several Gardano and Scotto | prints.37

Throughout the German-speaking provinces, dukes as well as patrician collectors procured Venetian music editions for their libraries. Surviving collections, some containing a great number of books, others now consisting of only a few sets of partbooks, are scattered throughout the libraries and archives of Europe, sometimes far from their place of origin. Duke Albrecht V and his son Wilhelm II of Bavaria owned an important collection of music books containing many Venetian editions that now make up the nucleus of the music section of the Bavarian State Library in Munich. A collection of partbooks in the University Library in Cracow

once belonged to Duke Wilhelm of Liineburg and his cousin, Duke Julius of Brunswick-Liineburg, the founder of the first ducal library at Wolfenbiittel.38 Ecclesiastical institutions also bought and even financed the printing of music publications. Archival documents concerning II Santo in Padua and the Monastery of San Giorgio Maggiore in Venice, for example, reveal that these organizations

either rewarded individual composers or paid outright for the publication of music.3? Other ecclesiastical establishments purchased numerous Venetian music

33. Only a brief survey of owners and collectors of printed music books is offered here as a counterpart to the list of binder’s and collector’s volumes found in appendix C. A- more detailed discussion occurs in Jane A. Bernstein, “Buyers and Collectors of Music Publications: Two SixteenthCentury Music Libraries Recovered,” in Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, ed. Jessie Ann Owens and Anthony Cummings (Warren, Mich., 1997), 21-34.

34. Edmond vander Straeten, La Musique aux Pays-Bas avant le XIX siécle (Brussels, 1867-88), 8: 365-83; see binder’s volumes from Valladolid in appendix C.

35. Higinio Anglés, “El Archivo musical de la Catedral de Valladolid,” Anuario musical 3 (1948): 59-108 at 60-61.

36. Joachim Vasconcellos, ed. Primeira parte do index da livraria de musica muyto alto, e poderoso do Rey Dom Jodo o IV... Por ordem de sua Mag. Por Paulo Crasheck. Anno 1649 (Porto, 1874-76). 37. John Milsom, “The Nonsuch Music Library,” in Sundry Sorts of Music Books: Essays on the British Library Collections presented to O. W. Neighbour on his 70th birthday, ed. Chris Banks, Arthur Searle, and Malcolm Turner (London, 1993), 146-82. 38. On the discovery of this collection see Bernstein, “Buyers and Collectors,” 23-24. The contents of the collection-appears on pp. 29-30 and also in appendix C of the present book.

39. On Il Santo see Jessie Ann Owens, “I] Cinquecento,” in Storia della musica al Santo di Padova, ed, Sergio Durante and Pierluigi Petrobelli, Fonti e studi per la storia del Santo Padova 6 (Vicenza, 1990), 27-92 and 285-338. 135

Historical Study publications, such as the palatine basilica of Santa Barbara in Mantua, constructed in the 1560s by Duke Guglielmo Gonzaga, an avid music lover and composer. The bulk of the extensive Santa Barbara collection survives today in the Milan Conservatory Library.4° The Jesuit Colleges in Palermo*! and Regensburg,4? and the Monastery of Saints Ulrich and Afra in Augsburg,*3 also had impressive music collections. A number of ecclesiastical institutions in Bologna contained choral

libraries rich in Venetian music publications, for example, the Scuola Pia, an ospedale, which taught music to the orphans,*4 and the Monastery of San Salvatore, where the theorist Artusi was a canon.*> The choir school of the Carmelite Convent of St. Anna in Augsburg possessed one of the most extensive music collections of all church establishments. A group of no fewer than forty different sacred sixteenth-century music editions now located in several northern European and American libraries contain on their title pages a supralibros with the monogram SANA, identifying these publications as part of the St. Anna collection.*® Secular institutions, including academies and universities, also purchased music books for their membership. Sixteenth-century Italian academies played an important role in the intellectual and cultural life of their time. Antonfrancesco Doni describes a circle of dilettanti devoted to the study of poetry and music in Piacenza

in his Dialogo of 1544.47 The surviving inventories and account books of the Accademia Filarmonica in Verona document the purchase of individual music editions directly from Venice.*8 Still other volumes in the collection were given by individual donors. Bartolomeo Cartero, a composer and member of the academy,

40. On the original library see Iain Fenlon, Music and Patronage in Sixteenth-Century Mantua (Cambridge, 1988), 201-8. On the part of the collection that survives see Gilda Grigolato, comp., and A. Zecca Laterza, indexer, Musiche della Cappella di Santa Barbara in Mantova (Conservatorio di Musica “Giuseppe Verdi,’ Catalogo della biblioteca . . . Fondi speciali I; Florence, 1972).

41. An example from the Palermo collection appears in Palermo, Biblioteca Nazionale, Rart | .a.29-32. The core of the rare music collection in the Biblioteca Nazionale of Palermo comes from the library of the Jesuit College. See Lewis, Antonio Gardano, |: 147. A2. A set of five partbooks (Regensburg, Proskesche Musikbibliothek AR 284-290) contains the

inscription: “Collegij Societatis Jesu ad D. Paulum Ratisponae.” See Lewis, Antonio Gardano, 1: 150.

43. Clytus Gottwald, Die Musikhandschriften der Staats- und Stadtbibliothek Augsburg (Handschriftenkataloge der Staats- und Stadtbibliothek Augsburg 1; Wiesbaden, 1974). 44. See the listing under Bologna in app. C for music editions that once belonged to the Scuola Pia. For more on the ospedale see Carlo Vitali, “‘La scuola della virtt delle Zitelle’: insegnamento e pratiche musicali fra Sei e Ottocento presso 1] Conservatorio degli Esposti di Bologna,” in / Bastar-

dini: patrimonio e memoria di un ospedale bolognese (Bologna, 1990), 134 n. 4. I wish to thank Craig Monson for bringing this article to my attention.

45. A listing of Scotto music editions that once belonged to San Salvatore appears under Bologna in app. C. On San Salvatore and its manuscript collection see Oscar Mischiati, La prassi musicale presso i Canonici regolari del Ss. Salvatore nei secoli XVI e XVII e i manoscritti polifonici della Biblioteca musicale” G. B. Martini” di Bologna (Rome, 1985). 46. For further details on the identity of the collection and a list of editions from the collection see Bernstein, “Buyers and Collectors,” 27-28 and 31-33. 47. Catalogue no. 40. A modern transcription of the complete edition appears in Antonfrancesco Doni, L‘opera musicale, ed. Anna Maria Monterosso Vacchelli (Instituta e monumenta, ser. 2, vol. 1; Cremona, 1969). See below, chap. 8 for further discussion of the Doni edition.

48. Turnini, L’Accademia Filarmonica, 30-40, 44—45, 56—68, 81-82, and 87-92.

136

The Distribution of Venetian Music Books

donated at least eight sets of partbooks to the academy.*? Another five editions once belonged to Count Giovanni Severino.°° Universities constituted another type of secular institution that acquired music publications. The University of Jena, for example, which maintained its own church and library, owned a large collection of music manuscripts and prints, given to the university by its founder, Elector Johann Friedrich der GroBmiitige, in 1548 for use by the university choir.>!

In addition to aristocrats and institutions, individual owners from professional and merchant classes also bought music publications. Augsburg, an important German commercial center with close ties to Venice, had several patrician collectors of music, Two of them were Johann Georg von Werdenstein and Hans Heinrich Herwart, whose libraries were later purchased by the duke of Bavaria.5* Various members of the well-known Fugger family also owned impressive libraries containing music publications. Most of the collections assembled by the brothers, Raimund (1528-69) and Georg (1518-69), and Georg’s son, Philipp Eduard (1546-1618), in 1655, passed into what is now the Austrian National Library in Vienna.°? Only a handful of surviving Venetian publications attest to the music collections once owned by individual composers. Twelve Venetian editions belonged to the Augsburg composer Gregor Aichinger, who may have obtained them when he studied with Giovanni Gabrieli in Venice.>4 The early seventeenth-century Hamburg composer Thomas Selle acquired a collection of Venetian music editions dating from the 1540s.55 The title page to a Venetian edition of Lasso madrigals now in the Ctvico Museo Bibliografico Musicale in Bologna bears the signature of the famous madrigalist Luca Marenzio.°® With ownership of music publications by composers, we come full circle— from the creation and printing of music to its dissemination into the hands of other composers. The role of the composer in the book trade was not just limited to that of consumer. The commercialization of music printing had a profound influence on the lives of composers as well as their patrons in Cinquecento Italy.

49. Ibid., 145-46. See also Paganuzzi, “Il Cinquecento,” in La musica a Verona, ed. E. Paganuzzi et al. (Verona, [1976]), 135; the portrait appears as fig. 90. For more on the books Cartero donated, see app. C under Verona. 50. Turrini, L’Accademia Filarmonica, 144—45. See app. C for the titles of the Severino books. 51. See app. C under Jena for a partial list of contents of the print collection. 52. H. Colin Slim, “The Music Library of Hans Heinrich Herwart,” Annales musicologiques 7

(1964-77): 67-79. 53. Richard Schaal, “Die Musikbibliothek von Raimund Fugger d.J.: Ein Beitrag zur Musikiiberlieferung des 16. Jahrhunderts,” Acta musicologica 29 (1957): I-137. 54. The set of partbooks is now in Augsburg, Staats- und Stadtbibliothek, 4° Tonkunst Schletterer 411-415; for a description see Lewis, Antonio Gardano, |: 128-29.

55. An elaborately bound set of partbooks in the Hamburg, Staats- und Universititsbibliothek (shelfmark Scriv. A594). See ibid., 1: 133-34. 56. See Hans Engel, Luca Marenzio (Florence, 1956).

137

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Six

COMPOSERS, PATRONS, AND THE VENETIAN MUSIC PRESS J have composed and published many works, but have far more in my possession, in publishing which I am delayed by the (financial) con-

straints I spoke of. A great deal of expense is needed, especially should larger notes and letters be used, as church music above all

requires... —Giovanni Pierluigi da Palestrina, Dedication to Pope Sixtus V, Lamentations, 1588

ue aaa Sy) omposers quickly became aware of the possibility of addressing a 5 aes 3| larger audience through the press. With the commercialization of

Sy es : . . . . ue

A La music printing, they no longer had to rely solely on their immediRaced « ate circle of patrons for the circulation of their music. In addition pmniaeiseses! to retaining the existing patronage system as their primary means

of support, they could now seek out other patrons to supplement their income. They could use their publications to “advertise” for another position, or they could act as entrepreneurs by selling their own editions. Not just established musicians but also rank amateurs tried to reach the public at large through the print medium, as the German theorist Hermann Finck lamented: Moreover, many of those whom I have mentioned even dare to claim for themselves the title of composer. After managing, in the space of half a year, to produce with much sweat a little song, such as it may be, with scarcely three consonances in it, they immediately get it printed, so that their great and glorious name may become known to the whole world.!

Nowhere was this felt more clearly than in Venice, where, unlike its northern counterparts, editions devoted to the works of an individual composer outnumbered music anthologies or recueils, as they were more commonly known in the

1. “Praeterea multi ex illis, quorum mentionem feci, audent etiam Componistarum titulum sibi arrogare, cuma[ue] intra spacium dimidij anni multo sudore qualemcumg[ue] cantiunculam, quae

vix tres concordantias habeat fabricarunt, statim typis illam excudi curant, quo etiam ipsorum magnum & gloriosum nomen in universa terra notum fiat.” Practica musica (Wittenberg, 1556), sig.

Ooiii’. lam grateful to Jessie Ann Owens for drawing this source to my attention and for her atd with the translation.

139

Historical Study north. Musicians understood the influence of the new industry and tried to use it to their advantage in several ways. They eagerly sought out reliable and competent publishing houses that would issue their works quickly and correctly, as we learn from Heliseo Ghibel, who praised Ottaviano Scotto for bringing out his motets.? At times publishers are thanked for their generosity, as in the unusual circumstance of the composer Claudio Veggio, who in his 1540 Book of Four-Voice Madrigals acknowledged Girolamo Scotto for donating six pieces by Arcadelt to complete his own book of madrigals. Composers could now augment their fixed income either by selling their works outright to printers, or by getting involved in the actual publishing and marketing of their own works. Evidence regarding the type of payment authors received in the sixteenth century remains ambiguous at best. Sources dealing with literary publications suggest that, for the most part, printers did not pay authors a flat fee for their works, but instead furnished them with complimentary copies of their publications.4 The handful of documents concerning payments to composers, however, offer a conflicting view. The Englishman Thomas Whythorne, who visited Italy

in the 1550s, noted that in order to obtain new music, printers “do fee the best musicians that they can retain, to the end that when they do make any new songs their printers may have the only copies of them to print; which encourageth the musician to employ and give his mind and endeavour the more to his study therein.”> Though from a different country and time period, a court case concerning the publishing of John Dowland’s Second Booke of Songs in 1600 reveals that

Dowland’s wife was paid a fee of £20 for the manuscript.® As early as 1536, Costanzo Festa apparently attempted to sell his music outright to a printer. In a letter addressed to Filippo Strozzi, the composer requested the Florentine nobleman to find an unnamed Venetian printer to whom he could sell his hymns, Magnificats, and basse for the enormous sum of 200 scudi.’ Festa either was unsuccessful in selling his sacred works or, more likely, changed his mind, for two years after he wrote this letter he took out a privilege from the Venetian Senate to print “messe, mottettj, madrigali, basse, contraponti, lamentation et qualunq[ue] delle composition sue.” This privilege and an unsigned edition of Festa’s Madrigale ... Libro primo dated 1538 have led James Haar to conclude

2. Motetta super plano canto cum quinque vocibus et in festis solennibus decananda. Liber primus (Venice, 1546); see Catalogue no. 57.

3. “vengono accompagnati da set altri della misura a breve, donativi dal cortesissimo Messer Hieronimo Scotto, che con quelli desidera habbiate memoria di lui.” Madrigali a quattro voci di Messer Claudio Veggio. . . (Venice, 1540); see Catalogue no. 12.

4. See Febvre and Martin, Coming of the Book, 159-61; Voet, Golden Compasses, 2: 283-85; and J. Hoyoux, “Les Moyens d’existence d’Erasme,” Bibliotheque d’Humanisme et Renaissance 6 (1944): 7-59. 5. J. M. Osborn, ed., Autobiography of Thomas Whythorne (London, 1962), 207; cited in Tim Carter, review of Lewis, Antonio Gardano, in Journal of Musicological Research \2 (1992): 119. 6. M. Dowling, “The Printing of John Dowland’s Second Booke of Ayres,” The Library, 4th ser., 12 (1932): 365-80.

232-35. .

7. Richard J. Agee, “Filippo Strozzi and the Early Madrigal,” JAMS 38 (1985): 227-37 at

140

Composers, Patrons, and the Venetian Music Press

that Festa went into the publishing business as an editore, that 1s, underwriting the entire edition, hiring a printer on a fee-basis to do the presswork, and profiting from the sales of the book.® If this indeed were the case, then Festa did not make

use of his privilege to publish further volumes of his music. This would also explain the lacuna in music editions devoted to Festa’s music, while whole series of books substantially devoted to the music of Festa’s contemporaries Verdelot and Arcadelt emerged from Venetian presses.?

Festa’s foray into the publishing world occurred in the same year that the single-impression method of music printing was first used in Venice. The composer’s belief that he could make a quick profit from this new process might in fact have turned into a disastrous loss, for even with contacts and marketing experience, an underwriter could not be assured of selling the entire pressrun. Yet Festa was undoubtedly a visionary among musicians in recognizing the economic possibilities of the music-printing trade, for payment of a flat fee for a composer’s works was presumably not nearly as lucrative as the earnings one could acquire from the marketing of one’s own books.!? Though a printing contract between a music publisher and a composer in Cinquecento Venice has yet to be unearthed, extant agreements of this sort originating in other cities might also apply to Venice as well. Composers apparently entered into temporary partnerships with printers and other third parties for a share of the profits made from the sales of their works. Often they were obliged or chose to put up part or all of the production capital. The amount of money the composer was required to pay and the terms of the contract depended upon the circumstances as well as the relationship between composer and printer.!! Sometimes composers assumed the entire expense of the pressrun, as did Tomas Luts de Victoria in the

8. “The ‘Libro Primo’ of Costanzo Festa,” Acta musicologica 52 (1980): 47-55. The same device of two lions facing each other and holding a laurel wreath with the initials “C. F.,”” appearing on the title page of this edition, occurs in a Cappella Sistina manuscript devoted to sacred works by

Festa and copied by Johannes Parvus around 1535. See Mitchell P. N. Brauner, “The Parvus Manuscripts: A Study of Vatican Polyphony (c. 1535-1580)” (Ph.D. diss., Brandeis University, 1985), 123~26.

9. Fenlon and Haar, /talian Madrigal, 73. There is also the possibility that Festa had other volumes of his music printed either in Venice or Rome, but they do not survive. 10. The court case concerning the publishing of John Dowland’s Second Booke of Songs in 1600 reveals that the fee of £20 given to Dowland’s wife for the manuscript was negligible in comparison with the profit the publisher could make in selling the entire pressrun of 1,000 copies at two shillings per copy. See Dowling, “The Printing of John Dowland’s Second Booke,” 365-80.

11. The difference in stature among composers and printing firms apparently influenced the terms of agreement. A composer of prominence who initiated and financed a printing venture with an inexperienced printer could dictate very strict terms, as in the anomalous case of the contract for Frescobaldi’s First Book of Toccatas (See A. Morelli, “Nuovi documenti frescobaldiani: i contratti per l’edizione del primo libro di Toccate,” Studi musicali 17 (1988): 255-63, which should be read in conjunction with the critical report by Etienne Darbellay, ed., Le Toccate e i Capricci di Girolamo Frescobaldi: genesi delle edizioni e apparato critico (Monumenti musicali italiani 2-4, supplement; Milan, 1988), 37-39. The large Venetian publishing firms, on the other hand, were in a better position to dictate what they wanted to print, as is seen in the case of Angelo Gardano, who, miffed by a remark made by Guglielmo Gonzaga, informed the duke of Mantua that he did not have the time to print his Magnificats. See Richard Sherr, ‘““The Publications of Guglielmo Gonzaga,” JAMS 31 (1978): 118-25 at 123. 141

Historical Study printing of his Missae, Magnificat, motecta, psalmi of 1600.!2 At other times they paid a share of the cost of production. Morales, for example, financed about half of the printing expenses for Missarum Liber Primus,'> as did Matteo Bosca for the now lost Libro primo de musica de la salamandra,'4 and Philippe de Monte was obliged to advance a portion of the production costs to Plantin for the publication of his Liber I. Missarum of 1587.!5 In return they received all or part of the pressrun. The profits they reaped came from the copies they sold to patrons, to friends, and on the open market. In agreements where parties shared in the expenses, certain sales restrictions could apply. Morales, in his contract with the Roman printer Valerio Dorico, and the two editori, Antonio de Salamanca and Giovanni della Gatta, was allowed to sell as many of the 275 copies he received in Spain, but only fifty on the Italian peninsula, so long as the transaction did not involve any merchant or bookstore.!6

It appears that certain composers did very well on the sales of their music. Victoria, for example, turned out to be quite a businessman, sending his publications to various churches, institutions, and noblemen as far afield as Graz, Urbino, and Bogota, Colombia. He even recruited relatives in Spain to sell his publications during the years he worked in Rome. His Missae, Magnificat, motecta, psalmi of 1600 apparently realized a profit equivalent to the annual income he earned from all his Spanish benefices.!7 Several composers evidently sought to profit from the printing not only of their own works but also of those by their more illustrious colleagues. Hermann Mathias Werrecore, the choir master of the Duomo of Milan, sent “a treasury of songs of greatest value from Italy,” including works by Josquin des Prez, to the Strasbourg music printer Peter Schoeffer, who issued them in his Cantiones quinque

vocum selectissimae of 1539.'8 In 1548 Perissone Cambio and Paolo Vergelli

12. Albeit a Spanish contract dating from the end of the century, the agreement signed between

Victoria and the Madrid printer Julio Junti de Modesti, conforms to the few contracts we have encountered in mid-sixteenth-century Italy. In it, Victoria commissioned Modesti to print 200 copies of a collection of polychoral Masses, Magnificat settings, motets, and psalms in ten partbooks. The printer received a set fee of 2,500 reales paid in three installments. While the contract was signed on ! October 1598, the edition did not appear until 1600. For more information, see Victoria, Opera omnia, 8: p. \xxxv. Financial terms of other sixteenth-century Spanish music book contracts also agree with the Victoria one; see Griffiths and Hultberg, “Santa Maria,’ 347-60. 13. Cusick, Valerio Dorico, 95. 14. See Blackburn, “The Printing Contract,” 353. 15. A summary of the correspondence between Plantin and Monte concerning this particular edition appears in Forney, “Tielman Susato,” 216-17. Transcriptions of the full letters are found in M. Rooses and J. Denucé, eds., Correspondance de Christophe Plantin (Antwerp, 1833-1918), 8: 1185, 1211, 1302. 16. Cusick, Valerio Dorico, 95. 17. See Robert Stevenson, Spanish Cathedral Music in the Golden Age (Berkeley and Los Angeles, 1961), 368. The Spanish composer evidently began this practice early in his career with his first publication of motets (1572), of which he sent (and sold) a copy to San Giacomo degli Spagnoli in

Rome. His uncle was less fortunate in obtaining payment for another copy of the print from the Cathedral in Avila. Ibid., 355, 465 n. 6. 18. Taken from Schoeffer’s dedication to his edition (RISM 15398). See Bonnie J. Blackburn, “Josquin’s Chansons: Ignored and Lost Sources,” JAMS 29 (1976): 30-76 at 62.

142

Composers, Patrons, and the Venetian Music Press

presumably underwrote two separate editions of Rore’s Terzo libro di madrigali a cinque voce (see Catalogue no. 73).!9 Francesco dalla Viola, with the help and influence of Prince Alfonso of Ferrara, commissioned the printing of Willaert’s Musica nova.2°

One of the most successful of these musician-underwriters was the relatively unknown composer Giulio Bonagiunta. A singer at St. Mark’s in Venice, Bonagiunta composed Italian madrigals and canzoni alla napolitana. From 1565 to 1568, he chose to supplement his income by sponsoring some seventeen editions, all but two of which were printed by Girolamo Scotto. Although it has been generally thought that Bonagiunta acted merely as an in-house music editor and proofreader for Scotto, the publications state consistently that Bonagiunta underwrote the editions.*! They also intimate that the financing of the Bonagiunta series was more complicated than the usual contractual agreement between composer and printer, for all but three editions contain printers’ marks not associated with the Scotto firm. Thus, Bonagiunta provided, edited, and proofread the music (and possibly put up some of the money), Scotto printed it, and a different publisher financed the edition. Significantly, not one but several printers’ marks unrelated to those of the House of Scotto appear in the Bonagiunta prints. The title page of the first edition of Alessandro Striggio’s /1 cicalamento delle donne al bucato of 1567 cites Girolamo Scotto as the printer, but the device, an elaborate woodcut depicting Minerva holding a lance atop a lion and containing the initials “Z M B V,’ turns out to be that of the Venetian printer Giovanni (i.e. Zuan) Maria Bonelli il Vecchio (see above, fig. 3.15).22 Another printer’s mark, illustrating an eagle atop a globe with the motto “Nobiliora altiora petunt” and the initials “A V” surmounted by a patriarchal cross, appears on the title pages of Bonagiunta’s three-volume madrigal series, Il Desiderio. This woodcut can be identified with the bobokman Giacomo Anielli Sanvito (see above, fig. 3.14).23 The title pages of Bonagiunta’s edition of Gio-

19, For more information on the Rore editions see Alvin H. Johnson, “The 1548 Editions of

Cipriano de Rore’s Third Book of Madrigals,” in Studies in Musicology in Honor of Otto E. Albrecht, ed. John W. Hill (Kassel, 1980), 110-124, and Mary Lewis, “Rore’s Setting of Petrarch’s ‘Vergine Bella’: A History of its Composition and Early Transmission,” Journal of Musicology 4 (1985-86): 365-409.

| 20. A compilation of the documents appears in Jessie Ann Owens and Richard J. Agee, “La stampa della ‘Musica nova’ di Willaert,” Rivista italiana di musicologia 24 (1989): 219-305. See chap. 9 for further discussion.

21. “Di novo posti in luce per Giulio Bonagionta da San Genesi.” For more information on Bonagiunta see Giulio Ongaro, “Venetian Printed Anthologies of Music in the 1560s and the Role of the Editor,” in The Dissemination of Music: Studies in the History of Publishing, ed. Hans Lenneberg (Lausanne, [1994]), 43-69 at 47-51.

22. Apparently, Scotto and Bonelli collaborated on other non-musical publications; see Pastorello, Tipografi, editori, librai, 14, 79. For a reproduction of this printer’s mark, see Zappella, Le marche dei tipografie, no. 845. 23. Zappella, Le marche, no. 113. According to Bridges, ‘Publishing of Arcadelt’s First Book,” 157, Sanvito underwrote at least one non-musical book printed by Scotto: Lombardus, Synopsis

eorum, quae de balneis aliisque miraculus puteolanis scripta sunt... (Venice, 1566). The British Library copy of this edition does not identify Scotto as the printer on the title page nor does it contain a colophon. The printer’s device of a small griffin as well as the woodcut initials and other typographical features clearly link it to the Scotto press; on Scotto’s printer’s marks, see chap. 3.

143

Historical Study vanni Ferretti’s Canzone alla napolitana a cinque voci of 1567 and his anthology // Gaudio. Primo libro de madrigali de diversi eccellen. musici a tre voci of 156624 contain yet a third woodcut, a rooster with the motto “Excubo ac vigilo,’ which is associated with the printer Pietro da Fino.?5

PATRONAGE AND PRINTING

Patrons also saw the potentials of the printing press as a means of public recognition. Dedications abound with metaphors extolling the culture, erudition, and generosity of the benefactor. In some cases, public recognition of the patron went beyond the dedication page. Music or poetry written by the dedicatee or another

| member of the honored family would appear in the publication, such as three madrigals by Scipione Gonzaga in Clerico’s Secondo libro de madrigali a 5 of 1562, a madrigal by Guglielmo Gonzaga in Oratio Faa’s 1569 Libro primo de madrigali a 5, or a canzone by Ferdinando de’ Medici set to music by Rossetto in his Lamento di Olimpia of 1567.

Some ardent patrons went even further in promoting themselves and the music

they loved through the print medium. The most remarkable case was Prince Alfonso d’Este, later duke of Ferrara, who went to great lengths to publish Willaert’s Musica nova.*® During the 1580s and 90s Alfonso even had his own ducal printer Vittorio Baldini issue beautifully executed music publications by composers who were either connected to the Ferrarese court or who paid homage to its various members.?7

The printing press had a profound effect upon traditional patronage by democratizing the system to include benefactors from classes other than royalty and the highest of nobility. People with more modest incomes, who could not afford to maintain the services of musicians in their household, could now commission or simply pay for the publication costs of a music book. Indeed, for a relatively moderate sum, a patron could achieve some measure of fame as a worthy benefactor.

24. This anthology appears neither in RISM-B nor in Vogel—Einstein. A unique copy of the tenor partbook is located in the Torrefranca collection of the Conservatorio di Musica Benedetto Marcello, Venice. See Catalogue no. 297.

25. This device occurs on the title page of the first edition of G. Zarlino, Le istitutione harmoniche (Venice, 1558). The same rooster, but with a different motto, “Tota Nocte Excubo,” appears as the colophon to both Scotto prints. It is also used on the title page of Dante con l’espositione di M.

Bernardino Daniello da Luca, sopra la sua Comedia, printed by Pietro da Fino in 1568. This printer’s mark is reproduced in Zappella, Le marche, no. 579. 26. For more information on the Musica nova, Alfonso, and the concept of fame, see chap. 9.

27. Adriano Cavicchi, “Baldini, Vittorio,” in Music Printing and Publishing, 158-59; see also Anthony Newcomb, The Madrigal at Ferrara, 1579-1597 (Princeton, 1980), 1: 28. '

144

Composers, Patrons, and the Venetian Music Press DEDICATIONS

Most of our information regarding this new kind of patronage may be gleaned from dedicatory pages. Though one or two dedications appeared in music publications of the incunabular period, they did not emerge in Italy in great numbers until around 1538-40. Significantly, the dedication page began to flourish at precisely the same time that the notorious writer Pietro Aretino introduced a new literary form into the Italian language, the libro di lettere or book of letters. The development of both genres at the same time was not a mere concidence, for the dedication was directly related to the art of letter writing.

To whom were these dedications addressed and what kind of tnformation do they provide? The list of dedicatees of over 400 Italian music editions dating from 1536 to 1572 in appendix B reveals a wide assortment of both dedicators and dedicatees. As we might expect, many were addressed to monarchs and ruling nobility. Royalty outside of Italy include King Philip II of Spain; Emperor Maximilian II; Archdukes Ferdinand and Charles of Austria; and Dukes Albrecht and Wilhelm of Bavaria, to name a few. Within Italy, music patronage by the Gonzagas and the Estense have been well documented.28 The names of other signorial

families, in particular the Farnese in Parma, the Medici in Florence, and to a lesser extent the della Rovere in Urbino, appear as dedicatees, as do members of the ruling families of Sicily and Naples, the Santa Pau, Moncada, and heirs of the House of Aragon. Yet these signorial patrons account for only a quarter of the dedicatees. The remaining 75 percent of dedications were not addressed to famous rulers but to lesser-known nobility, members of the Church, academies, wealthy merchants, literati, and even to other composers. Minor nobility, too numerous to name, from cities and towns all over the Italian peninsula appear once or twice as dedicatees. In a few instances, their patronage extended beyond the occasional publication by a local composer. The name of Giovanni Ferro, count of Macerata, occurs in five different publications dating from the late 1560s, and Count Mario Bevilacqua of Verona, later in the century, was the dedicatee of no fewer than twelve publications.?? Dedications also honor members of the Church. Support for music publications came from entire ecclesiastical institutions such as the canons of the cathedrals of

Brescia, Padua, and Fanestri, as well as St. Peter’s Basilica. Specific cardinals, archbishops, bishops, abbots, deacons, and other churchmen also sponsored publications. One of the most prominent was Cardinal Cristoforo Madruzzo, bishop of Trent and Bressanone, who played an important role during the early years of the

28. Lewis Lockwood, Music in Renaissance Ferrara 1400-1505 (Cambridge, Mass., 1984); Newcomb, Madrigal at Ferrara; William Prizer, Courtly Pastimes: The Frottole of Marchetto Cara (Ann Arbor, Mich., 1980); and Fenlon, Music and Patronage. 29. Paganuzzi et al., eds., La musica a Verona, 179-89.

145

Historical Study Tridentine Reform.39 Other important names include Cardinal Otto Truchsess von Waldburg, bishop of Augsburg, a friend of Madruzzo and also an ardent music lover; Cardinal Ercole Gonzaga,?! and the reformers Domenico Bollano, bishop of

Brescia, Cardinal Carlo Borromeo, and Cardinal Giovanni Morone, bishop of Novara, who, briefly in 1537 and 1538 while bishop of Modena, took the extreme position of abolishing all sacred polyphony in the cathedral of Modena.32 In addition to the Church, Italian academies also sponsored music publications. Several of these secular institutions, which sprang up in many cities, were mentioned in dedications, either as dedicatees or in passing. The musical activities of the Accademia Filarmonica in Verona are well known.?> No fewer than ten music publications contain dedications to the membership of this venerable society.*4 But there were many other academies in Italy that maintained an interest in music. Giovanni Contino addressed the dedication of his Primo libro de’ madrigali a cinque voci (1560) to Barbara Callina, an important figure of the Accademia degli Occulti of Brescia; Gasparo Fiorino honored the Accademia of Rossano with a three-voice villanella from his La Nobilta di Roma; Nasco and Portinaro both dedicated their 1557 editions to the Academy in Vicenza;?> Antonfrancesco Doni described a

: circle of dilettanti devoted to the study of poetry and music in Piacenza in his Dialogo of 1544, while Portinaro dedicated his Quarto libro de madrigali a cinque voci (Gardano, 1560) to the Accademia degli Elevati in Padua. Dedications by musicians living in areas of the Veneto suggest that there was a greater degree of independence in the patronage system of the Venetian Republic than in other Italian city-states. In addition to members of the patriciate and clergy, we find government officials, foreign ambassadors, merchants, intellectuals, university professors, and even composers listed among the dedicatees. Giovanni da Legge, procurator and treasurer of St. Mark’s, was chosen at least twice as a dedicatee.3© The name of Georg Uttinger, a German whose father was consul of the Fondaco det Tedeschi, the colony of German merchants in Venice, appeared in the dedications of three Gardano editions.3/ Other prominent foreigners in Venice,

30. Romano Vettori, “Note storiche sul patronato musicale di Cristoforo Madruzzo cardinale di Trento (1512-1578),” Rivista ttaliana di musicologia 20 (1985): 3-43, and Renato Lunelli, “Contributi trentini alle relazioni fra l’Italia e la Germania nel Rinascimento,” Acta musicologica 21 (1948): 41-70. 31. Fenlon, Music and Patronage, 47~78. 32. Lockwood, The Counter-Reformation and the Masses of Vincenzo Ruffo (Vienna, 1970), 78-79. 33. Turrini, L’Accademia Filarmonica. 34. Most of them appear in Paganuzzi, La musica a Verona. 35. Nasco, Il segondo libro d’i madrigali a cinque voci (Venice, Gardano, 1557) (RISM N84),

and Portinaro, // terzo libro di madregali a cinque & a sei voci (Venice, Gardano, 1557) (RISM P5226).

36. Boyleau, Motetta quatuor vocum (G. Scotto, 1544) (Catalogue no. 38) and Padovano, /I primo libro de ricercari a quattro voci (Gardano, 1556) (RISM A1250).

37. Rore,... Motectorum... liber primus quinque vocum (1544); Buus, Recercari ... libro primo a quatro voci (1547); and Buus, I! secondo libro di recercari... a quatro voci (1549); see Lewis, Antonio Gardano, |: nos. 56, 102, 129.

146

Composers, Patrons, and the Venetian Music Press Garcia Fernando, secretary of King Philip of Spain, and Vito Dorimbergo, Imperial Ambassador to the Venetian Republic, were also honored as dedicatees. The Paduan lutenist Melchiore de Barberiis chose Marcantonio Passero da Genova, a distinguished scholar who taught philosophy at the University of Padua, as the dedicatee of his fifth book of lute tablatures (1546). Giulio Bonagiunta dedicated his Canzone napolitane a tre voci secondo libro (1566) to three patrons, one of whom, Marco Milano, was a merchant of precious stones.?8 Dedications to writers and intellectuals also appeared in a few publications. Perissone Cambio paid tribute to the renowned poet Gaspara Stampa in his Primo libro di madrigali a quatro voci (1547), while he dedicated his edition of Rore’s Third Book of Madrigals (1548) to the writer Giovanni della Casa.3? The literary figure Girolamo Fenarolo is commemorated in a dedication by Antonio Barges .4° Then there is the unusual case of two dedications addressed to the composer Maddalena Casulana—one by the playwright, actor, and composer Antonio Molino, and the other by the Venetian printer Angelo Gardano.4! Besides identification of patrons, what else does the dedication page tell us? A

perusal of dedications reveals that the vast majority are written in an artificial, almost formulaic style. They tend to contain the same imagery and turns of phrases found in published literary letters. Composers refer to their music works as fruits to be enjoyed by the dedicatee, who, in turn, is endowed with the divine qualities of virtue, kindness, and courtesy (/a virtu, la gentilezza, & la cortesia). Allusions to antiquity and nature often round out what turns out to be a carefully crafted yet contrived text. One must be cautious in taking the contents of these dedications too literally, for, as Lorenzo Bianconi has noted, sixteenth- and early seventeethcentury dedications belonged to the particular literary genre or topos of epistles. Secretaries and other literary figures published dedicatory letters in their libri di

lettere; these letters were intended to serve as models for others to imitate.42 Indeed, in many cases, composers and printers commissioned men of letters to write or revise their own dedications.43

There are several examples cited in the literature. One of the earliest 1s Antonio Gardano’s dedication of his Canzone francese a due voci (1539), which was writ-

ten by his friend Nicolé Franco, who issued a paraphrased version of the text the same year in his Pistole vulgari.“4 The most striking documentation concerning

this practice is a series of letters written by Giovanni de Macque, in which his

38. Ongaro, “The Chapel of St. Mark’s at the Time of Adrian Willaert (1527-1562): A Documentary Study” (Ph.D. diss., University of North Carolina at Chapel Hill, 1986), 207. 39. Lewis, Antonio Gardano, |: nos. 103, 123. 40. Il primo libro de Villotte a quatro voci (Gardano, 1550) (RISM B922=1550'8), 41. Molino’s /! dilettevoli madrigali a quattro voci (Merulo, 1568) (RISM M2947), and Monte’s Il primo libro de madrigali a tre voci (Gardano, 1582). 42. “I! Cinquecento e il Seicento,” in Letteratura italiana, ed. Alberto Asor Rosa (Turin, 1986), 6: 319-63 at 320. 43. See Amedeo Quondam, Le “carte messagiere’’, 120. 44, Bridges, “Publishing of Arcadelt’s First Book,” 1: 99-100.

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Historical Study

original dedication of Ricercate et Canzoni francese a quattro voci (1586) appears along with the revised version he requested from the humanist Giovanni Francesco

Peranda.*> Other examples include Luzzaschi’s dedication of Madrigali per cantare e sonare (1600), found in Alessandro Guarini’s Prose (1611);4° and Filippo Paruta’s dedication of Antonio II Verso’s Twelfth Book of Five- Voice Madrigals.47 Despite literary conventions, dedications sometimes provide important informa-

tion concerning relationships among composer, patron, and printer. In rare instances, a composer might explain how he arrived at dedicating his book to a particular patron, as in the case of Baldassare Donato, who in his Secondo libro de madrigali a quattro voci (1568) explains that his friend Giulio Bonagiunta pro-

posed that he dedicate his book to the patron since he was the most worthy to receive this gift.48 Dedications can also document connections between composers and printers, such as Marc’ Antonio Mazzone, who explains in the Corona delle

napolitane of 1570 that Scotto gave him the music of several composers (all friends of Mazzone) to emend and publish.??

TYPES OF PATRONAGE

Why would a composer choose a particular person as a dedicatee? The most obvious answer was for financial gain. Patrons selected for this reason fall into three distinct categories. The first and most traditional relationship concerns a composer in the service of a particular patron who would pay either part or all of the printing expenses for the edition. Archival documents confirm that patrons awarded payments to composers for the specific purpose of having their music printed. Cardinal Pietro Aldobrandini granted a bonus of 100 scudi to Ruggiero Giovanelli two weeks before the publication of the composer’s Terzo libro de madrigali a cinque voci (RISM 1598!3).5° The deputati of I! Santo in Padua bestowed rewards upon composers in order to pay for the printing of music, and, in turn, were named as dedicatees.5! Composers might also dedicate an edition to their patron for gratitude

45. See Friedrich Lippmann, “Giovanni de Macque fra Roma e Napoli: nuovi documenti,” Riv-

ista italiana di musicologica, 13 (1978): 245-79; the complete letters are transcribed in the appendix | to Ruth DeFord, “Ruggiero Giovanelli and the Madrigal in Rome 1572-1599” (Ph.D. diss., Harvard University, 1975). 46. Luzzasco Luzzaschi, Madrigali per cantare e sonare, a uno, due e tre soprani (1601), ed. Adnano Cavicchi (Monumenti di musica italiana, ser. 2: Polifonia, 2; Brescia and Kassel, 1965), 12. 47. Antonio II Verso, Madrigali a tre e a cinque voci (libro XV, opera XXXVI, 1619), ed. Lorenzo

Bianconi (Musiche rinascimentali siciliane 8; Florence, 1978), p. xxv. | 48. See Catalogue no. 304. 49. See Catalogue no. 360.

50. Claudio Annibaldi, “I! mecenate ‘politico’: ancora sul patronato musicale del cardinale Pietro Aldobrandini (1571-1621),” pt. 1, Studi musicali 16 (1987): 33-93 at 65; p. 81, app. 1, 1598, no. 14; p. 92, app. 2, no. 10. 51. Owens, “La cappella musicale della Basilica del Santo: alcune forme di mecenatismo,” in La cappella musicale nell’ Italia della controriforma: Atti del Convegno internazionale di studi nel iv Centenario di fondazione della Cappella Musicale di S. Biagio di Cento, 13~15 ottobre 1989, ed.

Oscar Mischiati and Paolo Russo (Florence, 1993), 251-63. | 148

Composers, Patrons, and the Venetian Music Press

in procuring a position or for extra remuneration. Vincenzo Ruffo, only a year after his appointment as maestro di cappella at the cathedral of Pistoia, received such a reward.52

Composers might dedicate a book to a potential patron with whom they sought employment. In 1563 Biagio Pesciolini, while maestro di cappella at the cathedral in Volterra, dedicated his first book of madrigals to the provost of the provostry in Prato, where nine years later the composer became canon and maestro di cappella. In the same year Michele Varoto dedicated his book of Masses to the bishop of Novara; one year later he was appointed maestro di cappella at the cathedral. The third kind of patronage moved beyond the traditional realm of patronage into the market system, whereby the musician composed something “ready-made” and then sought out an individual patron.°? In these cases, the composer was neither employed by nor sought a position with the dedicatee, but only hoped for a substantial subvention to pay for the publication. Lasso obviously sought a substantial reward from Duke Alfonso d’ Este, to whom he dedicated and presented his Libro quarto de’ madrigali a cinque voci during his trip to Italy in 1567.54 In 1572 Palestrina dedicated his Second Book of Motets to Duke Guglielmo Gonzaga in hopes of placing his eldest son, Rodolfo (a contributor to the volume) at the Mantuan court. For his effort Palestrina received the generous sum of 25 scudi from the duke, and an appointment for his son.>> Composers would sometimes solicit financial support from potential donors before the publication their works. Marc’ Antonio Mazzone requested permission through the Mantuan ambassador to dedicate his 1591 book of Canzoni to Duke Vincenzo Gonzaga and in return received 28 scudi.°® Orazio Angelini was not so fortunate; the funding he requested for “tre mute di madrigali a sei voci” from the grand duke of Tuscany in his Canzone of 1577 apparently did not materialize.>/ The concept of patronage expanded when music printing became a successful commercial venture; the industry offered new financial incentives for composers. A composer could earn additional money by presenting copies of his publication to nobility and churches other than the dedicatee of his book. This was evidently a common practice, as seen with Vincenzo Galilei, who, in 1581, presented to the duke of Mantua a copy of his Fronimo Dialogo, which was originally dedicated in 52. An archival document dated 5 February 1574 states that Ruffo presented “a printed edition of four Masses addressed and dedicated to the Chapter . . . the Chapter recognized the said Vincentio with twelve bushels of grain and twelve barrels of wine each year so long as he remains in the service of the Chapter in Pistoia. The wine and grain shall be given him over

Reformation, 64. ;

and above his regular salary as a token of recognition for his gift.’ Lockwood, The Counter53. Peter Burke, Culture and Society in Renaissance Italy, 1420-1540 (London, 1972), 88. 54. Wolfgang Boetticher, Orlando di Lasso und seine Zeit (Kassel, 1958), 164. 55. Alberto Cametti, Palestrina (Milan, 1925), 158. See also Catalogue no. 393. 56. See David Bryant, “Alcuni osservazioni preliminari sulle notizie musicali nelle relazioni degli ambasciatori stranieri a Venezia,” in Andrea Gabrieli e il suo tempo. Atti del convegno internazionale (Venezia, 16-18 settembre 1985), ed. Francesco Degrada (Florence, 1990), 181-92 at 183-84; also Marc’ Antonio Mazzone, // primo libro delle canzoni a quattro voci, ed. Maria Antonietta Cancellaro (Musiche del Rinascimento italiano 2; Florence, 1990), 8. 57. Bianconi, “Il Cinquecento e il Seicento,” 343 n. 23.

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Historical Study 1568 to Duke Wilhelm of Bavaria.°8 In 1602 the Spanish composer Tomas Luis de Victoria sent to the duke of Urbino a copy of his Masses, Magnificats, Motets, and Psalms of 1600 (Missae, Magnificat, motecta, psalmi), which he had dedicated to King Philip II. A year later, having received no reply from the duke, Victoria sent from Madrid the following letter: Most Serene Lord,

Last year I sent your highness ten little music books with a thousand things [in

them] and among others there was a Battle Mass that gave my Lord the King much pleasure and since your highness has not had me advised of the receipt I have determined to send more to your highness and to beg that you will receive them together with my service. And may your highness condescend to give me some largesse to help with the printing, and for whatever will be given I shall be thankful all my life.5?

While composers expected substantial remuneration from nobility and the Church, they anticipated different kinds of rewards from middle-class dedicatees. Merchants, writers, and friends appear to have had more complicated connections with composers, as seen with Don Pellegrino Stellini, the dedicatee of Claudio

Merulo’s edition of Verdelot’s First and Second Books of Madrigals (1566). Stellini had been one of Merulo’s original partners in their music-printing firm. He apparently relinquished his share of the business to Merulo when the partnership broke up.©° The composer’s primary motive for honoring poets and literary figures was not direct reward, but, as in the case of Perissone Cambio’s dedication to Gaspara Stampa, entrance into the inner circle of Venetian academies, which included among their membership wealthy patrician dilettantes.®!

SUPERVISION OF THE PRINTING PROCESS

Composers even made the move from underwriter of their own publications to music printer. As we have observed, Claudio Merulo da Correggio, the famous organist and composer, from 1566 to 1570 in partnership and later alone, issued some thirty-four music books. The printing venture was mainly a financial one, but

, Merulo might have set up his own print shop so that he could have complete control over the printing of his own music. Indeed, a number of documents reveal that composers were greatly concerned with the accurate transmission of their music. We learn from Francesco Corteccia in the dedication of his Libro primo de madriali [sic] a quattro voci of 1544 (RISM C4157) that he was forced to have his music

38. Antonino Bertolotti, Musici alla corte dei Gonzaga dal secolo XV al XVIII (Milan, [1890]), 60-61, and Fenlon, Music and Patronage, 88. 39. English translation taken from Piero Weiss, Letters of Composers through Six Centuries (Philadelphia, 1967), 31. 60. Edwards, “Claudio Merulo,” 176-77. See also above, chap. 4. 61. Perissone Cambio, Madrigali a cinque voci (Venice, 1545), ed. Martha Feldman (SixteenthCentury Madrigal 2; New York and London, 1990), pp. xili-xiv. See also Catalogue no. 49.

150

Composers, Patrons, and the Venetian Music Press printed as a result of misattributions of his works to other composers in earlier editions. Furthermore, Corteccia continued, “to these reasons one might add that my works, as well as the others, were full of the ugliest mistakes and of the gravest errors, both in words and music.’©2 Jacquet Berchem voiced the same complaint in his Madrigali a cinque voci of 1546.®

We have evidence of other composers whose possible concern for errors prompted them to reprint their works with a different printer immediately after the publication of the first edition. The French composer Guillaume Boni, for example, was granted a special privilege by the French King Henri III “to assign the printer of his choice to print faithfully and correctly . . . his own music books . . . in order to correct the printing heretofore made by another and not yet issued.”®

Concern for accurate transmission of their works (and possibly contractual obligations) led to the supervising and proofreading by composers of their music publications. There are several cases of composers given permission from their employers to travel to Venice or Rome for the printing of their music. Alessandro Striggio made such a request in a letter to his patron Cosimo de’ Medici dated 25 February 1560 in order to oversee the printing of his two books of five- and sixvoice madrigals in Venice.© The Spanish composer Francisco Guerrero also traveled to Venice in 1589 for the publication of his Second Book of Motets and his Canciones y villanescas espirituales.®§ If a composer could not be present, then he would appoint a surrogate. Ludovico Balbi, a student of Costanzo Porta, supervised the printing of Porta’s book of motets in 1579,°7 and Benedetto Pallavicino acted as the proofreader for Guglielmo Gonzaga’s 1586 edition of Magnificats.8 Even the renowned Orlando di Lasso was concerned with the accurate transmission of his music. For Lasso, this led to his presence during the printing of several

of his publications. He was apparently in Antwerp in 1555, where he acted as proofreader for Susato’s first editions of the so-called “Opus 1.9 During his stay

62. Francesco Corteccia, The First Book of Madrigals for Five and Six Voices, ed. Frank A. D’ Accone (CMM 32, vol. 10; AIM, 1981). See also Catalogue no. 39. 63. The dedication appears in Lewis, Antonio Gardano, 1: 509.

64. “Par privilege du Roy, donné a Paris, le quinziéme jour de Septembre, l’an mil cing cens soixante & seise, il est permis 4 Guillaume Bony, Musicien, de commettre tel Imprimeur qu’ il voudra choisir, pour fidellement & correctement imprimer, ou faire’ imprimer les livres de musicque de son invention: tant de celle qu’il a puis naguere revetie pour en corriger !’impression cy devant faicte qu’ autre non encor par luy mise en lumiére.” The first printer here was Nicolas Du Chemin, who published Boni’s Sonets de P. de Ronsard early in the year 1576. A new edition came out later that same year by Boni’s chosen printer, Le Roy and Ballard. 65. David Butchart, “The First Published Compositions of Alessandro Striggio,” Studi musicali 12 (1983): 17-33 at 26. 66. Stevenson, Spanish Cathedral Music, 169. 67. See a letter from Balbi to Porta in Antonio Garbelotto, /! Padre Costanzo Porta da Cremona, O.F-M. Conv., grande polifonista del ’500 (Rome, 1955), 50. My thanks to Jessie Ann Owens for drawing thts document to my attention. 68. Sherr, “Publications of Guglielmo Gonzaga,” 124-25.

69. Forney, “Orlando di Lasso’s Opus |: The Making and Marketing of a Renaissance Music Book,” Revue belge de musicologie 39-40 (1985-86): 33-60 at 33-35, and Donna Cardamone and David L. Jackson, “Production with Multiple Formes in Susato’s First Editton of Lasso’s ‘Opus 1’,” Music Library Association Notes 46 (1989): 7-24 at 8. 151

Historical Study in Paris in 1571, he not only received a printing privilege from the French king but also oversaw Le Roy and Ballard’s publication of his Livre de chansons nouvelles

, a cine parties and Moduli quinis vocibus nunquam hactenus editi Monachit Boioariae compositi.’ He might also have witnessed the printing of his music in

Venice, for in May 1567, Nicolo Stoppio, a bookdealer and agent for Duke Albrecht in Venice, wrote to Hans Jakob Fugger that “Orlando is here [in Venice] and is well .. . in eight days he wishes to leave for Ferrara with a book of madrigals which he has had printed and dedicated to the duke.”’! The publication to which Stoppio referred is the Libro quarto de madrigali a cinque voci... (RISM L813), issued by Gardano in 1567 and containing Lasso’s dedication to Alfonso. Thus, Lasso must have supervised the printing of the book in Venice. In many instances, Lasso could not be present during the printing of his first editions, especially if there were several being printed at the same time in different cities. The famous composer’s concern for accuracy in the transmission of his works led him to another means of control. In an extraordinary letter of 1581 to the Emperor Rudolph II, Lasso requested a privilege granting him the sole rights to all his works printed in German territories. He insisted that his works be published as correctly as possible. He also maintained that his music must be presented to the public exactly as he wrote it and urged that his directions be respected for the first edition of all his music works. In order to put an end to all the errors, he requested that all privileges related to his compositions be accorded to himself, so that he could make the final judgment as to which firm he would entrust his pieces.72 The privilege that Lasso received went much further than contemporary Venetian privileges in that it did not specify any limit of time; it also applied to the whole of his compositions, whether they were published or not. Furthermore, Lasso regained the rights to all of his works that were printed in German territories since 1562 and was assured of retaining the rights to each of his works published in the future. Lasso’s supplication to Rudolph II, then, documents an economic phenomenon that ts of crucial importance to our study: a privilege granting a composer a complete monopoly on the printing of his works for an indefinite time period by any printer in any city of the German territory. Lasso’s intended monopoly on the publications of his music, however, appears to have gone even further afield than his native domain. Some ten years before his request to Rudolph II, Lasso received from the French King Charles IX a privilege bestowing upon him a monopoly similar to the German privilege (though with a limitation of time). When combined with the German privilege, the French /ettres patentes established an important precedence, for not only could Lasso be counted

70. Horst Leuchtmann, Orlando di Lasso: Sein Leben (Wiesbaden, 1976), 51, 155—58. 71. “Orlando e qui et sta bene . . . partia fra 8 [giorni] di [qui] per ferrara con una muta de madri-

gali, che I’ha fatto stampare e dedicato a quel duca.. .” Quoted in Boetticher, Orlando di Lasso, 164; see also Leuchtmann, Orlando di Lasso, 138-39. 72. Henri Vanhulst, “Lassus et ses éditeurs: remarques 4 propos de deux lettres peu connues,” Revue belge de musicologie 39-40 (1985-86): 80-100.

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Composers, Patrons, and the Venetian Music Press

among the few sixteenth-century composers who sought a foreign privilege,’ but now he distinguished himself by becoming the first composer to acquire what might be considered an international copyright for the publication of all his music. On the whole, the advent of music printing did not drastically alter the connection between composer and patron, but offered new avenues to make the composer’s voice heard and the patron’s name known. Composers played a more integral role in the printing process. They paid for the privilege of having their works printed, and in so doing became partners in the printing venture. Venetian music printers, furthermore, did not always assume a dominant role in the creation of music editions, but in many cases acted merely as agents and middlemen for composers, patrons, and other interested parties who sought fame or financial gain through this new industry.

73. Ibid., 85.

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Seven

SCOTTO AND GARDANO Marketing a Musical Repertory

Sore desd) s the towering figures of the Venetian music-printing trade, Garice? zy) dano and Scotto had a tremendous influence on the dissemination

ee. WY, of music throughout Renaissance Europe. For over three decades, (Ls Way they printed almost every musical idiom offered by Italian and Giehat ean Oltremontane composers. The musical repertory they published and the effect it had upon their relationship remain central to any study devoted to sixteenth-century music printing. The final part of the historical study concentrates on the marketing of this musical repertory. As we look at the music publications from an economic perspective, a new view of the relationship between Gardano and Scotto will emerge. We will observe their business practices and marketing strategies through an examination of specific music editions. But first, we begin with an overview of the genres issued by the two presses. The musical repertory printed by Scotto and Gardano not only expressed the

catholic taste of cosmopolitan Venice, it also reflected the interests of a wideranging international audience. The Italian madrigal, as might be expected, dominated the output of both printers. Figure 7.1 illustrates this point: almost half of Scotto’s and nearly 60 percent of Gardano’s extant editions are comprised of madrigals. Tastes within the Italian peninsula, the main marketplace for both bookmen, dictated the proliferation of this vernacular genre. Lighter Italian secular forms, the canzone alla napolitane, villote, moresche, and mascherate, were also an important part of the trade. Both Venetian printers published a substantial number of collections in this genre, with Scotto producing nearly double that of Gardano. Editions of instrumental music took up a small but significant part of the output of the two printers. They brought out an equal number 155

Historical Study

S cotto Gardano

Other 23 Other 22 Se. eae 22 Bo ee * 22 Bre GaLute st Wi: Lute

tees, sate

_ Liturgical 19 | Liturgical 21 eee: Massye 18 erm SoamyBD heeMass 12

tJ, ~ ; Wp

Sy S) Motet ~~ hoe Madrigal ; 90° Madrigal Villanesca 34 Villanesca 68 250

Total editions: Scotto=409 Gardano=431

FIGURE 7.1 Figure 7.1 Scotto and Gardano editions by genre

of lute intabulations, but only Gardano tried his hand at printing the more complex keyboard intabulations as well as ricercars for ensembles. Latin as the Jingua franca for all of Europe made sacred music more exportable than the vernacular genres. Sacred publications claimed a good share of the Venetian printers’ opere, taking up nearly 25 percent of the total surviving music books of both presses. Motet publications made up the bulk of this group. Editions of polyphonic liturgical settings, including responsories, introits, hymns, psalms, and Lamentations, also were printed in encouraging numbers. In addition, the Scotto press issued missals containing plainchant—a printing interest of the firm since its inception. Mass settings complete the picture, with Scotto producing almost doubie the number of publications brought out by Gardano.

COOPERATION OR COMPETITION?

Like their respective repertories, Gardano and Scotto appear, on the surface, to have paralleled each other in their publishing careers: they were almost exact contemporaries; both lived in Venice; and both produced an impressive output of over 400 music publications. Yet despite these obvious similarities, many differences set these two great music publishers apart from each other. Scotto and Gardano came from completely different backgrounds. Girolamo Scotto, as we have seen, was born into one of the distinguished Venetian publishing dynasties of the Renaissance. He inherited an international business that maintained a large network of booksellers and agents throughout Europe. By comparison, almost nothing 156

Scotto and Gardano is known about Antonio Gardano’s background before his arrival in Venice sometime before 1538. A Frenchman by birth, he married the daughter of a successful Venetian printer-bookseller, Agostino Bindoni.! Unlike Scotto, Gardano had to set up his own firm. In a highly competitive business that required vast sums of money, Gardano, like most Venetian bookmen, limited the subject matter he printed. With the exception of three literary editions produced during the first years of his press, music was to be his only publishing interest. Much has been made of the rivalry between the two printers, with attention paid most notably to the extensive reprinting of each other’s editions. On occasion, one or the other has been accused of piracy. Scholars have theorized about connections, competition, and contention between Scotto and Gardano, particularly during the early stages of their publishing careers. Eitner was presumably the first to portray Scotto and Gardano as rivals who did not observe each other’s privileges. He stated that when one issued a successful edition, the other would print a pirated edition, often in the same year. Einstein went one step further by declaring that Girolamo Scotto “was essentially a pirate, even though many musicians came to him with

their original works.”3 He probably based his opinion on the caustic remarks Gardano made in the dedications and title pages of his early editions, where he accused other printers of plagiarism.* The charge of piracy Einstein leveled against Scotto became established as fact in the secondary literature. Claudio Sartori, in particular, declared that Scotto frequently stole editions from Gardano.° Daniel Heartz was the first to express a different viewpoint. By examining the typeface used by Scotto and Gardano in their early editions, he recognized that it was manufactured from the same punches and matrices. He suspected collusion rather than competition between the two printers. Heartz furthermore named Gardano as the originator of the typeface, who possibly created it himself or commissioned it from “craftsmen [brought] with him to Venice.”® As noted in chapter 3, at least four different printers employed the same music typeface. Of the four, only Girolamo Scotto made consistent use of the typeface for over twenty years, sug-

gesting that he must have bought the punches, and possibly sold or rented the matrices to Gardano and the other printers.’ More recently, several other scholars have argued in favor of cooperative enterprise. Agee used privileges as evidence for collusion, noting that “the two printers seem to have respected each other’s privileges in most cases.” He further speculated that in the few instances where Gardano and Scotto republished each other’s

1. On Gardano’s biography, see Lewis, Antonio Gardano, |. 17-34; also Bridges, ‘‘Publishing of Arcadelt’s First Book,” 1: 96~99, 2. Quellen-Lexikon, 4: 149.

3. The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton, 1949; repr. 1971), I: 166. 4. See chap. 8. 5. Articles on “Gardane” and “Scotto” in MGG, 4: 1376-77; 12: 435. 6. Pierre Attaingnant, 159-60. 7, See chap. 3.

157

Historical Study privileged edition, they could have obtained permission from the original holder of the privilege.®

Bridges noted that Gardano’s 1541 edition of Jhan Gero’s Primo libro di madrigalt italiani et canzoni francese a due voci contained a dedication signed by Girolamo Scotto. He pointed to this as evidence that Scotto commissioned Gardano to print the book. He also turned the idea of pirated editions on its head by proposing that their frequent reprinting of each other’s editions, “without incident, suggests at least an informal agreement to tolerate such reprinting.”? Lewis also examined some of these reprinted editions with a view to discovering the relationship between the two printers. By comparing specific pairs of editions, she discovered that the printers did not always directly copy from each other, but in some cases revised earlier editions, and in other instances used different sources for their exemplars. She concluded that “Gardano and Scotto seem neither to have colluded, nor to have been fiercely competitive, but rather to have coexisted.” !9 All of these recent scholars have made convincing arguments in favor of cooperative enterprise. By examining privileges, dedications, and related editions, they have taken the first steps in determining the relationship between the music printers. But there is another way to consider this issue, one that goes beyond the specialty of music. I propose that an examination of marketing strategies by the printing industry in general and how Scotto and Gardano’s music publications reflect those procedures will shed further light on their association. As we have seen in chapter 1, the Venetian printing industry acted as an organic unit. In order for the trade to survive, competition among its membership had to be kept to a minimum. Thus Venetian bookmen followed the basic laws of supply and demand in that only the optimal number of printers specialized in any given field. Secular vernacular literature, scientific texts, and canonical works sustained a bevy of printers, while subjects requiring special typography, such as music, could sup-

port only one or two presses. Archival documents reveal that mercatori in any given field remained on friendly terms—forming partnerships, commissioning books, even sharing typographical supplies and equipment.!! The music editions listed in appendix A give us a good idea as to the quantity and variety of music titles brought out by the Venetian presses. While it appears that Scotto and Gardano issued the same musical repertories, a closer look at their

output reveals a more complicated picture. The two bookmen were driven by 8. Richard J. Agee, “The Venetian Privilege and Music-Printing in the Sixteenth Century,” Early Music History 3 (1983): 1-42 at 19-21. 9. Bridges, “Publishing of Arcadelt’s First Book,” 1: 131-32. For more on the Gero edition see chap. 4. 10. “Twins, Cousins, and Heirs: Relationships among Editions of Music Printed in SixteenthCentury Venice,” in Critica Musica: Essays in Honor of Paul Brainard, ed. John Knowles (Amsterdam, [1996]), 193-224 at 216. 11. Cooperation existed, for example, between Aldus Manutius and Zacharias Callierge, the two printers of Greek texts; see Lowry, World of Aldus Manutius, 126. The same holds true for the Scotto press, which formed partnerships and remained on friendly terms with Giovanni Griffio, Damiano Zenaro, and Giovanni Maria Bonelli—the only other printers who specialized in the sub-field of Latin translations of commentaries dealing with Aristotle’s “scientific” texts. See chap. 1.

158

Scotto and Gardano

300 250

Scotto: First and Reprinted Editions Gardano: First and Reprinted Editions

250 eee eee nee ee eee eee eens we eee

200 Pr ee .

200 we eee eee eee eee eee wees . 150 we eee eee eens ecewensees ween eee

100 eee eaeee --

0_0

50 -- aeees eens --

1539-53 1554-72 Total 1538-53 1554—69 Total

FIGURE 7.2 First and reprinted editions of music publications issued by Scotto and Gardano

commercial concerns, which, in turn, determined what music they printed. They spread their net wide by publishing a variety of musical genres, At the same time, they issued distinctly separate repertories, often from different geographical areas, thereby avoiding direct competition with each other. When they discovered a title that sold, however, they eagerly reprinted each other’s editions, following a practice common to the rest of the printing industry at that time. The reprinting of successive editions of the same work became a lucrative enterprise for the Venetian bookmen. Gardano tended to rely more heavily on

reprinted publications than Scotto (see fig. 7.2); his publication list contains a higher proportion of reprints than Scotto’s—48 percent as opposed to 35 percent

for Scotto. Indeed, even though about twenty more music editions printed by Gardano than by Scotto survive, Scotto published more first editions than Gardano did—264 for Scotto as opposed to 224 for Gardano. This trend prevailed throughout their publishing careers, but is particularly noticeable during the earlier period. With an eye always toward profitability, the Venetian printers maintained a careful balance in their production between commissioned works and reprinted editions. Two-thirds of Scotto’s and over half of Gardano’s extant publications were first editions, and the vast majority of these first editions were single-composer publications paid for by musicians and other third parties on a fixed-fee basis (see

fig. 7.2). Commissions provided financial opportunities with little or no risks. They offered new music to the presses, which, in turn, might become best-selling 159

Historical Study

reprinted editions. Partnerships also proved beneficial by spreading the financial risks among a group of printers and other interested parties. Both types of publications offset speculations the printers made on independently financed anthologies and reprinted editions. Gardano and Scotto enhanced their financial stability by keeping competition between themselves to a minimum. To this end they established their own separate clientele. Composers and other third parties often favored one or the other for their printing needs.!2 The music printers furthered this spirit of cooperative enterprise by obtaining music from different geographical locations,!3 and, to some extent, maintaining a division in genres they printed. They also resorted to a number of special marketing strategies in the presentation of their publications to the public. Forever searching for a way to provide the public with something novel, the music printers would make a variety of changes to editions that they reprinted. They often merged editions into multi-volume series, and when a composer became popular, they would sometimes transform anthologies into single-composer editions. Reprinted editions, commissioned publications, avoidance of competition, and the other marketing strategies were all business policies carefully practiced by the Venetian music presses. But precisely how were these procedures followed? What

impact did they have on the type of repertory disseminated by Scotto and Gardano? More importantly, how did they define the relationship between the Venetian music presses? By examining selections from the repertory brought out by the two Vene-

tian presses, I hope to provide some answers to these questions. The next two chapters serve a dual purpose: first, by presenting the music editions in their chronological order, they provide a historical overview of music printing in midCinquecento Venice; secondly, by focusing on economic issues, they help clarify the marketing tactics used by the two Venetian music presses.!4 Acting as case studies, the publications discussed below will not only help define different business procedures and marketing strategies, they will also elucidate the relationship between the two Venetian music-printing firms as it took place over a thirty-year period. Furthermore, placed in their historical context, these editions will throw some light on the wider issues of change and continuity that occurred in the musical world of Cinquecento Venice.

12. Though not exclusively, first editions of works by Willaert, Gombert, Jacquet of Mantua, and later Monte, Contino, Striggio, and Vinci were brought out by the Scotto press, while publications by Arcadelt, Andrea Gabrieli, Kerle, and Lasso tended to be issued first by Gardano’s firm. 13. Gardano looked first to Florence and Ferrara, then Rome and Transalpine centers for some of his musical publications. Scotto turned westward to his native Lombardy, Mantua, and Trent. He

also acquired music from Naples, Sicily, and even Spain.!4. I have divided chapters 8 and 9 into two periods labeled “early (1538-53)” and “late (1554-72).” This division has been chosen for two reasons: first, 1553-54 marks the halfway point in Antonio Gardano’s publishing career; and secondly, the year 1554 saw the beginning of new repertories published by the Scotto press.

14. I have divided chapters 8 and 9 into two periods labeled “early (1538-—53)” and “late (1554-72).” This division has been chosen for two reasons: first, 1553-54 marks the halfway point in Antonio Gardano’s publishing career; and secondly, the year 1554 saw the beginning of new

repertories published by the Scotto press. , 160

Eight

THE EARLY YEARS (1538-1553)

an a! vane! Sid Stns. , ;; ,;. ;,

aaa) Ne 1540s must have been a heady time for the two Venetian Sy) 9) Ca music presses. Practically overnight the single-impression

hk Ny Sd Se a . . . . . .

¥ aN Kwa method of music typography transformed the Venetian musicsee Aen) printing industry into an international enterprise. The size and ale eel) type of repertory issued by Scotto and Gardano increased dramatically as the decade progressed. During their first years of operation, the two firms turned out about twenty music editions per year, representing about four times the total output of the Venetian printers from the preceding decade, and nearly ten times the number of editions Petrucci issued at the beginning of the century. In order to keep up production, Scotto and Gardano had to implement a variety of schemes in the marketing of their music books.

SOMETHING OLD, SOMETHING NEW: REPRINTED EDITIONS

The two printers began to reprint each other’s as well as their own music publications as early as 1540. Though they often duplicated certain features, rarely did Gardano and Scotto copy each other’s publications exactly.! They frequently added works or replaced old pieces with new ones, as seen with Gardano’s 1540 edition 1. This is not to say that no first editions were used as exemplars for reprinted publications. Among the earlier publications, Gardano’s 1542 edition of Gombert’s Second Book of Motets a 4

clearly used the Scotto 1541 edition as the printer’s copy. The 1546 unsigned Scotto edition of Arcadelt’s Primo libro copied verbatim the 1545 Gardano publication. See also Lewis, “Twins, Cousins, and Heirs.”

161

Historical Study of Jacquet of Mantua’s First Book of Motets a 5.2 In a few instances, they used different sources for their volumes, as observed tn the “parallel” editions of Rore’s Third Book of Madrigals issued by both printers in 1548.3

, Gardano, in some cases, created “new” publications by redefining previously printed editions. By slightly altering the phrase i madrigali da diversi perfettissimi musici to i madrigali di Verdelot on the title page of his 1541 edition of Le Dotte et eccellente compositioni, he transformed Scotto’s 1540 anthology into a singlecomposer edition. Gardano thus singled out Verdelot as the star composer, even though only a quarter of the madrigals in the volume were by him. He evidently realized that two books were better than one, when, in 1544, the French émigré recast two previous Scotto editions of Rore’s First Book of Five- Voice Madrigals into a first and second book. Needless to say, Gardano’s edition of the second book

contained only a small proportion of Rore madrigals—eight out of a total of twenty-seven pieces.4

While Gardano created additional books of madrigals by single composers, Scotto did just the opposite in his reprinted publications. He favored the condensation of editions, by merging two or more publications into one volume. The previously mentioned 1540 edition of Verdelot’s Tutti li madrigali del primo et secondo libro a 4 was an amalgamation of two books brought out by his brother Ottaviano in 1533 and 1534. Likewise, Scotto’s 1541 edition of Nola’s Canzone villanesche

... libro primo et secondo a 3 might have originally appeared in two separate editions.°

Scotto also chose to reduce the number of pages in his reprinted editions. By rearranging the order of pieces found in earlier publications, he was able to retain the complete contents of the previous edition. For example, he eliminated a full gathering (eight pages) from his 1544 edition of Arcadelt’s Primo libro a 4 by squeezing three madrigals onto two-page openings for ten pages.® Gardano modified some of his reprinted editions in yet another way. He would rearrange the contents of a preexistent edition to follow an ordering by clef, signature, and tonal type.’ He carefully reconfigured Willaert’s two books of four-voice motets to reflect such a plan. The organization of the contents of his 1545 editions of the two books differs drastically from the first editions of 1539 brought out by

2. Lewis, Antonio Gardano, 1: 250. 3. Lewis, “Rore’s Setting of Petrarch’s ‘Vergine Bella’ ,’ 382-83. 4. Lewis, Antonio Gardano, 1: 435-40.

5. The format of two books in one volume of the Nola edition suggests that two separate editions may have been printed earlier, possibly issued in Naples. See Catalogue no. 24. 6. Elimination of pages occurs in the 1544 edition of Arcadelt’s Primo Libro (Catalogue no. 37), and the 1561 edition of Wert’s Madrigali del Fiore a cinque voci, libro secondo (Catalogue no. 201).

Scotto combines two or more previous editions into one volume in his 1540 edition of Verdelot’s Tutti li madrigali del primo et secondo libro a 4 (Catalogue no. 14) and the 1562 collection, Li guattro libri delle villotte alla napolitana (Catalogue no. 226). 7, There are several examples. Among the earliest are the 1541 reprinted editions of Gombert’s First Book of Motets a 4 (Lewis, Antonio Gardano, 1: no. 23) and Verdelot’s Primo e secondo libri a

4 (ibid., no. 27) as first noted by Chapman, “Andrea Antico,” 339. } 162

The Early Years (1538-1553)

Girolamo Scotto and his second cousins, Brandino and Ottaviano di Amadio Scotto. Gardano deleted several motets found in both books, replacing them with other works. He even interchanged pieces between the two books in order to accommodate his organization.®

Why did Gardano and Scotto make these changes in their reprinted editions? It may be speculated that, in the case of Gardano, by rearranging the contents according to cleffing, signature, and tonal type, he sought to improve the haphazard arrangement of earlier editions to conform to higher theoretical principles of modal order.? But perhaps the reason for his reorganization had more to do with business practices than with abstract ideals. The changes made by both printers provided a way of getting around proffering a duplicate copy. By adding new pieces, omitting old ones, or simply changing the order of the contents, Gardano and Scotto could claim their reprints to be new and therefore better publications. The Venetian patrician Dandolo declared with reference to Willaert’s Musica nova, that “it was common practice among printers . . . to insert previously printed material into their collections.”!° But it was also a good selling strategy to alter popular publications and then offer them as something novel, something “improved,” to the public.

THE SERIES AND SINGLE-COMPOSER EDITIONS

Though it may appear that the two firms arbitrarily published whatever music they could get their hands on, Gardano and Scotto actually conceived their publications with great care. From the very beginning, they presented many of their editions in multi-volume units as sets of single-composer editions or as a series of anthologies. They also realized the selling potential of single-composer editions. Grouping together single editions to form multi-volume series was not a novel idea when Girolamo Scotto and Antonio Gardano started printing music. The concept of a series of music anthologies had been used by printers as a selling device ever since Petrucci produced his first publications of polyphonic music. Sets of volumes devoted to a single composer, however, did not emerge until the 1530s, when Ottaviano Scotto and Andrea Antico brought out the madrigal publications of Philippe Verdelot.

8. Both Chapman, “Andrea Antico,’ 396-405 and Adrian Willaert, Opera omnia, ed. Hermann Zenck (CMM 3; AIM, 1950- ), 1: 9 present a comparative study of the two editions. Lewis also mentions them in “Antonio Gardane’s Early Connections with the Willaert Circle,” in Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed, lain Fenlon (Cambridge, 1981), 209-26 at 224. 9. Gardano, however, was not always consistent in altering the contents of his reprinted editions to follow modal ordering. In his 1544 reprint of Rore’s First Book of Five-Voice Madrigals (Lewis, Antonio Gardano, |: no. 57), he rearranged the pieces from the strict modal series of the 1542 Scotto edition (Catalogue no. 28) to a random ordering.

10. Anthony Newcomb, “Editions of Willaert’s Musica Nova: New Evidence, New Speculations,” JAMS 26 (1973): 132-45 at 137-38, and Jessie Ann Owens and Richard J. Agee, “La stampa della ‘Musica nova’,” 272, doc. 43. See discussion of the Musica nova in chap. 9.

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Both Antonio Gardano and Girolamo Scotto continued this trend tn their earliest publications. As seen in appendix A, Gardano brought out five books of Arcadelt madrigals from 1539 to 1544.!! At the same time, he organized motet and madrigal anthologies into three different series. The Fior de Motetti, which was a rearrangement of Moderne’s earlier Motetti del Fiore series, and the Motetti del Frutto were comprised of two and three books, respectively. The note nere madrigal editions would eventually include four volumes.!* Scotto moved in a different direction by bringing out single-composer editions of sacred music in pairs. The vogue for single-composer publications and sets of editions encouraged the two printers to group other editions together. In addition to his motet and Mass

publications, Scotto created a “set” of two Verdelot madrigal books in 1540 by reprinting Books One and Two of Verdelot’s Four- Voice Madrigals in a single volume and the lute intabulations of selected Verdelot madrigals in another. The

following year he brought out two books of Nola’s three-voice canzone in one volume and three books of his own madrigals, each for two, three, and four voices. That the two music printers viewed the series and single-composer editions as effective selling devices may be seen in Gardano’s 1541 reprints of previous Scotto editions. The editions in question were Verdelot’s Tutti li madrigali del primo et secondo libro a 4 and Le Dotte et eccellente compositioni de i madrigali da diversi perfettissimi musici a 5. We have already noted how Gardano reworded the title of Le Dotte to create the allusion that his reprint was a single-composer edition of five-voice madrigals by Verdelot. Gardano also promoted Le Dotte as a compan-

ion volume to Verdelot’s First and Second Books of Four-Voice Madrigals. Furthermore, he added another publication to create a set of three editions contain- | ing four-, five-, and six-voice madrigals each. He entitled the six-voice edition Verdelot la piu divina et piu bella musica... madrigali a sei voci even though the publication was actually an anthology. Like Le Dotte, Verdelot’s name took pride of place on the title page, and like Le Dotte, only a small number of the pieces (six out of the thirty-one) were attributed to the composer. !3

Such wheeler-dealing on the part of Gardano supports the view that singlecomposer editions and series were useful marketing tools, especially in the selling

of reprinted editions. Both Venetian printers used them to attract not only new customers but old clients. The binder’s volumes listed in appendix C testify

to the interest collectors and bibliophiles had in acquiring complete sets of editions, rather than single publications. The 1609 inventory of books in the Arundel collection now housed in the British Library, for example, lists all five books

!1. Anthologies published by Gardano also reflect the “series” concept. In addition to his two motet collections, Gardano also issued in 1542—43 a group of three madrigal anthologies, two of which consisted of pieces in the new note nere style (Lewis, Antonio Gardano, |: nos. 35, 36, 47). 12. On the note nere anthologies see Don Harran, ed. The Anthologies of Black-Note Madrigals (CMM 73; AIM, 1978-81), 1/1: pp. xi-xxx and Haar, “The Note nere Madrigal.” 13. On the Verdelot six-voice madrigals see Alexandra Amati-Camperi, “An Italian Genre in the Hands of a Frenchman: Philippe Verdelot as Madrigalist, with Special Emphasis on the Six-Voice Pieces” (Ph.D. diss., Harvard University, 1994).

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The Early Years (1538-1553)

of Arcadelt’s four-voice madrigals together under a single entry.!4 The 1596 list of music editions offered by the Scotto firm also confirms this marketing strategy. Often one item will list several books by a single composer as a unit for a single price, rather than separately as individual editions (see above, fig. 5.2).

SEPARATE GEOGRAPHICAL SOURCES

Scotto and Gardano could not continue to run their music presses on reprinted edi-

tions alone. They had to seek new editions and commissions from a variety of sources. It is clear that from the very beginning of their printing careers, the two printers deliberately avoided direct competition by acquiring their music from completely different places. Girolamo inaugurated his career as director of the Scotto press with three sets of four- and five-voice motet books each containing the music of a major composer of the time: Adrian Willaert, maestro di cappella of St. Mark’s, Nicolas Gombert, chapel master for Emperor Charles V, and Jacquet of Mantua, maestro di cappella for Cardinal Ercole Gonzaga. These editions were among the first sacred publications dedicated to the works of a single composer. The next year he launched a new series of Mass publications featuring the works of the Spanish composer Cristdébal de Morales. Except for the Gombert motets, Scotto’s motet repertory was dominated by the

music of Italian-based composers with ties mainly to Venice and Mantua. The close proximity of composers like Willaert and Jacquet should have made acquisi-

tion of their music relatively easy. The sudden appearance of several editions devoted to the music of Gombert, however, is more difficult to account for, since the Netherlandish composer was not known to have been in northern Italy around this time. Where then did Scotto obtain the Gombert motets?

Scotto must have turned to his native Lombardy for this new supply of music. As we have seen, Girolamo had strong family ties to Milan, where he posted one of his nephews as his agent. The most important Milanese patron of the Scotto press during the early 1540s was Alfonso d’ Avalos, marquis of Vasto and governorgeneral of Milan under Charles V. Girolamo dedicated his 1539 edition of Gombert’s First Book of Four-Voice Motets to d’ Avalos, who, with his strong links to the Imperial court, might have been the source for Gombert’s music. Alfonso was married to Marta d’ Aragona, one of the most celebrated and cultivated women of the Neapolitan court. Their own court in Milan, which flourished from 1538 until 1546, became a haven for poets, /iterati, and musicians. Alfonso d’Avalos exemplified the life of a cultivated courtier with a strong bent toward

14. “Madrigali d’Archadelt a quatre, 5 libris et volum. Venetiis 1541,” in Sears Jayne and F. R. Johnson, eds., The Lumley Library: The Catalogue of 1609 (London, 1956), no. 2577. See below, app. C.

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orthodox Catholicism; he was equally well versed in military affairs as in the arts and letters. He is credited with the authorship of two famous madrigal poems, // bianco e dolce cigno and Anchor che col partire. Tutored as a child by the composer Costanzo Festa, Alfonso evidently kept up his interest in music throughout his life. His proclivity toward religiosity might account for the sacred music publications dedicated to him, which, in addition to the Gombert motets, include two other Milanese motet publications. One of them was devoted to the motets of Vincenzo Ruffo, who served at the d’Avalos court possibly from as early as 1538 until 1542.15 Ruffo’s connection with Alfonso might explain the presence of several motets and a Mass setting by the composer in collections brought out by Scotto at this time.!© Dedications in two other important non-music editions published by the Scotto press also affirm a close connection between the Venetian firm and the Milanese court. The distinguished scholar Agostino Nifo honored, on the title page

| of his 1540 Aristotelian commentary, De verissimis temporum signis Commentariolus, Maria d’Aragona. Even more significant, Girolamo’s brother, Ottaviano, addressed a dedicatory letter to Alfonso d’ Avalos and Maria d’ Aragona in Alessandro Piccolomini’s De la institutione di tutta la vita de ’- homo nato nobile (1542).*7

Scotto also had connections in Piacenza, in particular with the short-lived Accademia Ortolana.!8 The works of some of the musicians belonging to this liter-

ary circle appeared among Scotto’s early publications. In 1540, Claudio Veggio | commissioned Scotto to print a book of his four-voice madrigals. The same year |

three pieces by Paolo Giacomo Palazzo turned up in Scotto’s edition of Verdelot’s Tutti li madrigali del primo et secondo libro a 4. Another member of the Piacentine academy, the writer Antonfrancesco Doni, made the most important contribution

to Scotto’s production when in 1544 he had Scotto print the first collection of his Lettere and an unusual musico-literary work, the Dialogo della musica, With the creation of the dukedom of Parma and Piacenza by Pope Paul III in 1545, political unrest caused the demise of the Accademia Ortolana and Scotto’s link with

Piacenza. |

In the early years, Gardano, a foreigner relatively new to Venice, printed a limited number of first editions. His main source for new music came from Ferrara. Early commissioned editions such as Alvise Castellino’s Primo libro delle villote a 4 (1541) and Jacques Buus’s Primo libro di canzoni francese a 6 (1543) contain dedications to Duke Ercole If d’Este and his wife, Renée de France, respectively. Gardano might have even acquired the music for his Motetti del Frutto series from

15. On the d’ Avalos court with particular reference to Ruffo, see Lewis Lockwood, CounterReformation, 19-26. 16. Five Ruffo motets appear anonymously in Scotto’s 1541 edition of Gombert’s First Book of Five-Voice Motets (Catalogue no. 19); Ruffo’s Missa Alma redemptoris occurs in the Missae cum quatuor vocibus paribus decantandae, Morales Hispani, ac aliorum of 1542 (Catalogue no. 26). 17. Scotto had links with other Milanese nobility. One emerges in the dedication found in the 1541 Gardano edition of the Gero Duos, with which Scotto honors a member of the Visconti family. See Gero, /l primo libro, ed. Bernstein and Haar. 18. Grendler, Critics of the Italian World, 50-54.

| 166

The Early Years (1538-1553) a Ferrarese source, as implied by the well-known quarrel between Gardano and the printer, Johannes de Buglhat of Ferrara, which was made public on the title pages and prefaces of their motet publications of 1538-39.!9 The printing of different repertories from separate geographical sources was clearly an important business practice if not for both printers at least for Gardano. This was made clear in the case of the largest batch of new music the French émigré published at this time: the madrigals of Jacques Arcadelt.

THE ARCADELT SERIES: A CONFLICT OVER REPERTORY

The most frequently named composer on the title pages of Gardano’s early publications was Jacques Arcadelt, the famed northerner who spent the 1520s and 30s in Florence. Gardano published six different books of madrigals under his name, and it is no exaggeration to say that Arcadelt editions—the Primo libro in particular— sustained Gardano’s press during its early stages. Gardano might have acquired the music for the Arcadelt editions from Florentine sources, in particular expatriates such as Ruberto Strozzi or his cousin Neri Capponi, who were living in Venice at the time,2° or he might have gained possession of the music through his literary friend Nicolé Franco, who, in a published letter, requested Camillo Giordano to give the writer some Arcadelt madrigals in his possession.*! In issuing the Arcadelt repertory, Gardano decided to capitalize on the marketing concept of the single-composer, multi-volume series described above. He brought out the first edition of the Primo libro a 4 (now lost) sometime between May and September of 1538.22 Arcadelt’s Primo libro a 4 was Gardano’s second publication, but the first to contain music never before printed.23 Many of the fifty madrigals had already gained wide circulation tn manuscript sources mainly of Florentine provenance. Thus, Gardano (or his patron) chose carefully the most

19. The fight was presumably over competition for the same repertory—a repertory which might have emanated from Ferrarese sources. Details of the entire affair appear in several sources, such as: Lewis, Antonio Gardano, |: 31-32; Fenlon and Haar, The Italian Madrigal, 70; and Bridges, “Publishing of Arcadelt’s First Book,” 1: 90-91.

20. Gardano’s connection with the Florentine court is documented by his 1539 edition of Musiche fatte nelle nozze del... Duca di Firenze (Lewis, Antonio Gardano, |: no. 14), a work presumably commissioned by the Medici for the wedding of Cosimo de’ Medici to Eleanor of Toledo. Stanley Boorman, “What Bibliography Can Do: Music Printing and the Early Madrigal,” Music & Letters 72 (1991): 236-58 at 238-41, further speculates on a strong involvement by the Strozzi family in the patronage and financial backing of early Venetian madrigal publications, particularly by Scotto and Antico. The Orsini connection is suggested by Bridges, “Publishing of Arcadelt’s First Book,” 1: 69-70. On Florentine patronage in Venice see Feldman, City Culture, 24—46. 21. Le Pistole Vulgari di M. Nicolo Franco (Venice: Gardano, 1539), letter 8. The letter, dated 6 April 1538, is quoted in Bridges, “Publishing of Arcadelt’s First Book,’ 1: 103-04. 22. Bridges, "Publishing of Arcadelt’s First Book,” 1: 70. 23. Gardano’s first publication, Venticingue canzoni francese, was devoted to French chansons, the vast majority of which had previously appeared in anthologies printed in Paris by Pierre Attaingnant; see Lewis, Antonio Gardano, 1: 178.

167

Historical Study popular madrigals for the first edition.24 Arcadelt’s Primo libro, in fact, became the

best known and most often reprinted music edition of the sixteenth century. It must have been an immediate success, for in the same year a Milanese printer brought out a pirated version, which is also lost. We learn this from the dedication to the extant 1539 edition, where Gardano remarks sarcastically that “those printers who have reprinted the pieces in Milan, . . . have failed to notice some errors that were in the first edition (owing to the carelessness of my compositors rather than my own).”25

For the next few years, several books of Arcadelt madrigals rolled off the Venetian presses. Their quick succession (three different books in two years) suggests that Gardano had acquired enough Arcadelt madrigals to fill several publications. But before he could release a second volume, the Scotto press in collaboration with Andrea Antico brought out their Secondo libro sometime in January 1539. The Scotto—Antico book contained twenty-five madrigals; as with Gardano’s edition of the Primo libro, all the pieces lacked attributions. Production of the Secondo libro most likely began in the fall of 1538, if not sooner, since, as with previous Scotto music publications, Antico’s more time-consuming woodcut process was used to prepare the music typography. We will never know which of the Scotto brothers was responsible for publishing the Secondo libro. It has been generally assumed that this was the last music edition published by Ottaviano, but Girolamo Scotto could also have been in charge of the press by this time. In either case the point 1s moot, since, as we have seen, the two brothers maintained joint ownership of the

firm until Ottaviano’s death in the late 1560s, and by 1538 presumably shared equal financial responsibility of the press. Gardano was obviously incensed by this usurpation of his repertory, for only

one month after the Scotto publication appeared, he issued another edition of Arcadelt’s Second Book, but with completely different contents. He entitled his edition // vero secondo libro to distinguish it from the Scotto—Antico publication. In the accompanying dedication honoring Nicold Alberto, Gardano railed against the printers of the earlier Secondo libro for falsely issuing madrigals by other composers under Arcadelt’s name, while declaring the works in his edition “the true offspring of their father [i.e., Arcadelt].” Gardano’s claim was apparently misleading, since only eight of the madrigals in the Scotto edition occur with conflicting attributions in other sources, and eleven other pieces reappeared in later Gardano editions under Arcadelt’s name.2© Gardano, in fact, was just as guilty of misattributing pieces to Arcadelt as was Scotto, for five madrigals in // vero secondo libro were credited in later editions to other composers.27

24. Fenlon and Haar, Italian Madrigal, 240. 25. English translation taken from Bridges, “Publishing of Arcadelt’s First Book,” !: 68. The complete dedication appears in several secondary sources, including ibid., 2: app. D, plate 3b; Lewis, Antonio Gardano, 1: 183, and Fenlon and Haar, Italian Madrigal, 241. 26. Bridges, ‘Publishing of Arcadelt’s First Book,” 1: 87; Chapman, “Andrea Antico,” 352-54; Lewis, Antonio Gardano, \: 209-10; Fenlon and Haar, Italian Madrigal, 249.

27, Bridges, “Publishing of Arcadelt’s First Book,” 1: 87. 168

The Early Years (1538-1553)

Gardano promised his patron Leone Orsini a third book of Arcadelt madrigals in the dedication of his 1539 edition of the Primo libro. But again the Scotto firm beat him to the punch by bringing out the Terzo libro sometime between May and September of 1539. Gardano did not discredit Scotto’s Terzo libro as he had with the Secondo libro; instead he recognized the edition, and issued his next edition, the Quarto libro, in September of 1539.28 One wonders why Gardano was overly disturbed by Scotto’s Secondo libro, particularly in light of his relatively mild protest against the reprinting of his Primo libro by Milanese printers. Surely pirating the exact same contents of a privileged edition was a greater transgression than issuing a new edition with new madrigals. Moreover, if Gardano was so angry at Scotto for the Secondo libro, why did he not get upset about Scotto’s publication of the Terzo libro?#? A review of Gardano’s

earliest editions and his relationship to other printers offers an explanation, I believe, for the extravagant tone of his dedications. A tense atmosphere must have prevailed at the Gardano press during its first two years of operation. The several dedications signed by Gardano in his early editions suggest that, as a newcomer without extensive connections in the book trade, the French émigré had to rely on patronage and his own resources for the publica-

tion of his editions. He also had to compete with other music printers already established in Venice and in other northern Italian centers. He apparently had difficulty in acquiring music for his own publications, for only two of his earliest editions, the Arcadelt madrigals and the Motetti del Frutto collection, contained new repertory. Even with these two series, Gardano felt threatened by other printers, believing that they were pilfering music works that rightfully belonged to him. The

Arcadelt editions were not the only publications in which Gardano vented his anger at other printers. As dramatic as his accusations of piracy and fraud in his

28. Bridges, “Publishing of Arcadelt’s First Book,” 1: 94-96 and Fenlon and Haar, /talian Madrigal, 257 speculate that the Quarto libro could have been Gardano’s third book. Jacobus Arcadelt, Opera omnia, ed. Albert Seay (CMM 31; AIM, 1965-70), 2: xvi and Lewis, Antonio Gardano, 1: 213, no. 6 claim that in the interim Gardano came out with a third book which is now lost. 29. Fenlon and Haar, Italian Madrigal, 245-46, 250 n. 6, also wonder about Gardano’s anger in his dedication. They propose a chronology in the printing of the series whereby // vero secondo libro appears as the fifth book (after his publication of book four); thereby suggesting that Gardano, who had planned a second book, was taken by surprise by Scotto’s Secondo libro and needed time to assemble his own independent volume. Lewis, Antonio Gardano, 1: 75-77, has, through bibliographical evidence, finally laid to rest the issue of dating of the Vero secondo libro. She and Boorman, “What Bibliography Can Do,” 253 n. 51, agree with Bridges, “Publishing of Arcadelt’s First Book,” 1: 88, that the edition was printed early in the year 1539, and the date February 1539 that appears in the edition should not be read more veneto, as suggested by Chapman, “Andrea Antico,” 167, 174, Ester Pastorello, Tipografi, editori, librai, pp. vii-ix, and Fenlon and Haar, Italian Madrigal, 249 n. 1. The order of the editions then appears as follows: Libro primo (Gardano, 1538? lost); Libro secondo (Scotto/Antico, January 1539); Il vero secondo libro (Gardano, February 1539); Libro primo (Gardano, May 1539); Libro terzo (Girolamo Scotto, 1539); Libro quarto (Gardano, September 1539). This chronology follows Bridges, but differs from Haar and Fenlon, 250 n. 6 in the placement of I] vero secondo libro, and from Lewis, 1: 213 in the omission of a “lost” edition of Libro terzo by Gardano in 1539.

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Arcadelt editions may seem, they pale in comparison with the quarrel that he had with the Ferrarese printers Buglhat, Campis, and Hucher over the repertory found in the Motetti del Frutto collection. Clearly, Gardano was trying to break into the Venetian printing business, and in

order to succeed, he had to take an aggressive stance. The exaggerated style of the dedicatory letters, written, as Thomas Bridges suggests, by Gardano’s friend Nicold Franco,*° impart a belligerent, almost desperate tone. From Gardano’s point of view, he was fighting not only for musical repertories, but also for the very existence of his press.

Though Gardano blasted the Scotto press in the lengthy dedication of /l vero secondo libro, his public contentiousness apparently waned after 1539. The reason for the cessation of the vitriolic rhetoric might have to do with an incident involving Nicolo Franco, which led to the writer’s involuntary departure from Venice before June of 1540.3! Gardano must have been affected by the scandal because a hiatus occurred in his publications from April 1540 until 1541. A more serious conse-

quence for Gardano, however, might have been the loss of Bishop-elect Leone Orsini as his patron, since no new dedications to Orsini appeared in Gardano editions dating after May 1539. Orsini clearly lost interest in the music-printing business, for in June 1540 he became the first principe of the newly formed

Accademia degli Infiammati in Padua, the same academy of which Pietro Aretino was a member.32 Even more significantly, Aretino and other members of the academy, such as Alessandro Piccolomini, had important associations with Ottaviano Scotto and the Scotto press.33 A resolution to the dispute over the Arcadelt repertory must have occurred between the two Venetian presses very soon after the

printing of the Terzo libro. Scotto chose not to issue any more Arcadelt books (except the lucrative Primo libro), and Gardano ceased writing inflammatory remarks against printers in his dedications. The Arcadelt madrigal books offer a clear-cut example of territorial issues con-

cerning a musical repertory that no longer had a connection with the composer. They also raise a thorny matter concerning the involvement of well-known musicians in the publication of their music—an issue that ts particularly intriguing in the case of two of the most important mid-century composers, Adrian Willaert and Cipriano de Rore.

academy.

30. “Publishing of Arcadelt’s First Book,” 1: 99. 31. For the complete story see ibid., 1: 105, and above, chap. 4. 32. Samuels, “Benedetto Varchi,” 604—06; both Bridges, “Publishing of Arcadelt’s First Book,” 1: 106, and Lewis, Antonio Gardano, 1: 23 mention that Aretino was among the first members of the

33. See chap. 2.

170

The Early Years (1538~—1553) COMMISSIONED EDITIONS? WILLAERT AND RORE

Among the composers who figure prominently in Venetian editions, the names of Willaert and Rore stand out not only because their music marked a turning point in the Italian madrigal style, but also because of the obscure circumstances that surround the publication of their music. They held the distinction of being the two composers whose publications carried the greatest number of Venetian privileges issued for a single composer’s works.34 Yet with one exception, none of these privileges was taken out by either one of the two composers.35 Editions of their music, moreover, display very little evidence concerning the composers’ personal involvement with their publication. This is particularly true of Adrian Willaert, the most celebrated musician in Cinquecento Venice. The inclusion of Willaert’s music in Venetian editions extended back to the early 1520s, when a number of his motets and chansons appeared in anthologies printed by Petrucci and Antico. In the 1530s Ottaviano Scotto and Antico issued a smattering of Willaert’s madrigals in their Verdelot anthologies,>© and in 1536 brought out a volume of transcriptions of Verdelot madrigals for lute and voice, which, according to the title page, was arranged by “Messer Adriano.”3? In the same year several three-voice chansons by Willaert appeared in La courone et fleur published by Antonio dell’ Abbate, a possible business associate of the Scottos. The first edition devoted exclusively to Willaert’s music was the Liber quinque missarum of 1536, issued some nine years after the eminent composer assumed the post of maestro di cappella at St. Mark’s. Francesco Marcolini da Forli, the wellknown printer of vernacular literature, published the edition “cum privilegio,’ with a dedication to Alessandro de’ Medici, duke of Florence. Though he apparently brought out only the one book of Masses during his brief stint as a music printer, Marcolini did express his intention in his earlier edition of Francesco da Milano lute intabulations to publish a series of editions, including a volume of Masses, one of motets, and one of madrigals “created by the most celebrated genius of the marvelous Adriano, to whose knowledge the most learned yield.”38 It appears from all this fanfare that by the late 1530s Willaert had become a “star” composer for the Venetian press.

34. Agee, “The Privilege and Venetian Music Printing,’ 340. 35. The privilege in question was taken out by Rore in 1544 for his first motet book. See ibid.,

6 On Willaert’s anthologized madrigals see Feldman, City Culture, 200-23. 37. Girolamo Scotto reprinted the edition in 1540. The straightforward, unembellished versions have led to controversy among scholars concerning Willaert’s authorship of the transcriptions. See Fenlon and Haar, /talian Madrigal, 57; Howard M. Brown, “Bossinensis, Willaert and Verdelot: Pitch and the Conventions of Transcribing Music for Lute and Voice in Italy in the Early Sixteenth Century,” Revue de musicologie 75 (1989), 25-46 at 29 n. 14; Boorman, “What Bibliography Can Do,” 241 n. 19; and Philippe Verdelot, Intavolatura de li madrigali di Verdelotto da cantare et sonare nel lauto, 1536, ed. Bernard Thomas (Renaissance Music Prints 3; London, 1980), 2. 38. “... fabricati dal celebratissimo ingegno de lo stupendo Adriano, al cui sapere cedano 1 piu saputi.”

171

Historical Study The Scotto press carried out the Willaert series begun by Marcolini, becoming the principal printer of the Netherlander’s music during the 1540s and early 50s. In

, 1539 the firm brought out the motets in a pair of books, one each for four and five voices. A second volume of Willaert’s four-voice motets was printed in the same year by Girolamo’s second cousins, Brandino and Ottaviano di Amadio Scotto, at the request (“ad instantiam’”) of Andrea Antico, who prepared the woodcuts for the edition. Since Marcolini presumably still held the privilege on Willaert’s works, he might have acted as an underwriter of the editions, contracting the Scottos to print at least the first two, if not all three books for him.?? The absence of a dedication in

the books as well as the omission of the printer’s name in the first book of fourvoice motets point to the possibility of a collaboration between the Scotto family and a silent publisher-underwriter. During the 1540s and early 50s, several collections containing Willaert’s music emerged from the presses of both Scotto and Gardano. These editions differed, for the most part, from the earlier motet and Mass editions, in that almost all included music by other composers. Gardano completed the Willaert “motet series” with his

1542 book of six-voice motets. Although it featured Willaert’s name on the title page, this edition was actually an anthology of twenty-seven motets by different composers, of which nineteen are ascribed to Willaert. In the same year Scotto issued the Hymnorum musica... Adriani Wilart ac aliorum authorum, the first Venetian publication of polyphonic liturgical music. Again, as noted on the title page, hymn settings by other composers appear in the book. The same thing occurred in the 1550 Vesper psalms published by Gardano, which featured settings by Willaert, Jacquet of Mantua, Phinot, and an anonymous composer. Only a scant number of Willaert’s secular works appeared in Venetian music editions of the 1540s. A total of nineteen madrigals were tucked into several different collections bearing the name of Verdelot, Scotto, or Rore on their title pages. Even in 1544, when Scotto brought out a volume of four-voice canzone villanesche alla napolitana by Willaert, he needed to fill out the publication with pieces by the

Florentine composer Francesco Corteccia. He did the same in his edition of Tiburtino’s Fantasie, et recerchari a tre voci of 1549, where he appended seven

ricercars, a chanson, and a madrigal by Willaert.*? , Did Willaert play a role in any of these publications? The lack of dedications in

all the Scotto editions informs us that the eminent composer probably did not finance these publications. This is also true of the Mass and six-voice motet editions, which include dedications signed by the printers. Furthermore, the insertion of his works—especially his secular music—in collections containing pieces by other composers also suggest that the printers rather than the composer were responsible for the publications.*!

39. The second book of four-voice motets contains a statement of privilege on the title page. 40. Gardano extracted the Willaert pieces and added works by Willaert’s pupils for his own edition (RISM 1551!6); he also reprinted the Canzone a 4 (RISM 15532).

41. Willaert’s relatively meager output of secular works corroborates the evidence we have

172

The Early Years (1538-1553)

That the publication pattern of Willaert’s music overwhelmingly favored sacred music should not come as a surprise, since as maestro di cappella at St. Mark’s the Netherlander was the only member of the chapel responsible for the composition of sacred polyphonic music.4? In light of his activities as head of one of the most famous sacred musical establishments in Europe, Willaert apparently had neither the time nor the proclivity to get involved in the financing and publication of his music. The publications of Cipriano Rore present another equivocal example concerning the composer’s role in the publication of his music. Evidence for Rore’s partic-

ipation still remains elusive, though more discernible than Willaert’s. As with Willaert’s editions, not a single publication of Rore’s music contains a dedication signed by the composer. The ordering of the music in some of the printed sources, however, leads us to suspect a link between Rore and some of his editions. Scotto was the first of the two Venetian printers to publish Rore’s music, when, in 1542, he printed the composer’s inaugural volume of five-voice madrigals.43 The plainness of typography (see above, fig. 3.19) and the lack of dedication belie the notion that the composer probably had a hand in the edition. The unadorned title page—without a printer’s mark or the flowery wording associated with a commercial publication—intimates that this was a contracted edition paid for by the composer. But the contents and their carefully planned arrangement present the clinching evidence concerning Rore’s involvement. Rore’s Madrigali a 5 was the first edition to contain two-part sonnets. As Martha Feldman has shown, the sixteen two-part Petrarchan sonnets were laid out contiguously as numbers two to seventeen.44 Furthermore, the first seventeen madrigals of the edition were deliberately arranged according to the eight modes.4> Though the concept of modal ordering

concerning his slow rate of productivity as a composer. The well-known anecdote in Zarlino’s Sopplimenti musicali (1588) concerning a conversation between Willaert’s disciple Parabosco and a little-known musician reveals that Willaert composed his music slowly and with great care before releasing it to the public. The story is quoted in Francesco Caffi, Storia della musica sacra nella gid cappella ducale di San Marco in Venezia dal 1318 al 1797 (Venice, 1854), 1: 90-91; Giulio Ongaro, “The Chapel of St. Mark’s,” 88-89, and Feldman, City Culture, 203 n. 13. A document dated 1547, recently discovered by Ongaro, “The Chapel of St. Mark’s,” 89, from the Procuratori of St. Mark’s requesting that Baldissero Donato “keep maestro Adriano occupied in composing . . . and as soon as maestro Adriano will hand him some new compositions, he must write them down . . . and notify the Most Jilustrious Procuratori,” also supports this supposition. Moreover, Ruberto Strozzi’s retort, “I will do everything I can, but will not promise you for certain, because it 1s a great trial of one’s patience to get him [Willaert] to do anything,” to Benedetto Varchi’s request for an epigram set to music by Willaert suggests a further disinterest on the part of the Netherlander to compose madrigals. See Agee, “Ruberto Strozzi and the Early Madrigal,” JAMS 36 (1983): 1-17 at 1-2. 42. On this point see Ongaro, “The Chapel at St. Mark’s,” 90-91. 43. A discussion of the madrigals appears in Feldman, “Rore’s ‘selva selvaggia’: The Primo libro of 1542,” JAMS 42 (1989): 547-603.

44. See Feldman, City Culture, 263. |

45. As noted in Cipriano de Rore, Opera omnia, ed. Bemmhard Meier (CMM 14, AIM, 1959-77), 2: p. iii; Harold S. Powers, “Tonal Types and Modal Categories in Renaissance Polyphony,” JAMS 34 (1981): 428-70 at 443-44; and Jessie Ann Owens, “Mode in the Madrigals of Cipriano de Rore,”

in Altro Polo: Essays in Italian Music in the Cinquecento, ed. Richard Charteris (Sydney, 1990), 1-15 at 3-5. 173

Historical Study

was not new, the Rore edition is one of the earliest Venetian publications to be organized in such a systematic fashion. The precise grouping of the sonnets and the complex theoretical plan of this edition suggest that Rore himself was probably responsible for the edition. In 1544 Gardano published a book of five-voice motets carrying Rore’s name and privilege on the title page. Despite the wording on the title page, this edition was actually an anthology of motets by several composers. Of the twenty-four motets in the volume, only seven are by Rore. Gardano issued another edition of the five-voice motets in the following year, but this time only works by Rore appeared in the volume. The 1545 edition differed strikingly from the one Gardano printed the previous year, suggesting that Rore was responsible for the edition. For one thing, its contents were practically new, with only four of the seven Rore motets from the 1544 edition appearing in the book. Mary Lewis has commented on the careful text placement, use of ligatures, and revisions in the four concordant pieces in the 1545 edition. She further notes that Rore himself was granted a privilege for the book by the Venetian Senate in November 1544.46 Two other important aspects of the 1545 edition also point to Rore’s participation. The first pertains to the ordering of the motets, which, as it happens, follows the same modal grouping as the madrigals in the 1542 edition.47 The second concerns the dedication of the edition. Surviving copies reveal that the edition exists in two separate states—one with a dedication and one without. Curiously, the dedica-

tion to Baldassar Feria, ambassador of Portugal, was signed not by Rore but by Gardano. Lewis has suggested that some of the copies were intended for Feria, who may have partially financed the edition, while other copies were part of Gardano’s commercial supply.*8 If this is the case, then why did Gardano and not Rore sign the dedication to Feria? Lewis is correct in her supposition that various parts of the edition’s pressrun were intended for different destinations. It would appear more likely, however, that the copies with the dedication page were financed by the printer, who sought the aid of Feria, while those without the dedication were commissioned by the composer, thus supporting the notion that Rore played a role in the publication of the 1545 motet book.

None of the remaining Venettan first editions of Rore’s music can be linked to the composer. The two independent editions of Terzo libro di madrigali a 5, printed in 1548 first by Scotto and then by Gardano, contain different dedications signed by the Venetian musicians Paolo Vergelli and Perissone Cambio, respectively. The incomplete nature of Rore’s Vergine cycle and the inclusion of music by other

46. “Antonio Gardane and his Publication of Sacred Music, 1538-55” (Ph.D. diss., Brandeis University, 1979), 1: 225-38. 47, Powers, “Monteverdi’s Model for a Multimodal Madrigal,” in Jn Cantu et in Sermone: For

Nino Pirrotta on his 80th Birthday. Italian Medieval and Renaissance Studies, ed. Fabrizio Della Seta and Franco Piperno (Florence, 1989), {85-219 at 193. 48. Antonio Gardano, 1: 483 n. Lt.

174

The Early Years (1538-1553)

composers in these two editions do not suggest participation by the composer.*? The fourth and posthumous fifth books of five-voice madrigals printed by Gardano

in 1557 and 1566 are also anthologies, implying compilation by the printer. Finally, Scotto’s posthumous Le vive fiamme of 1565 was clearly edited by Giulio Bonagiunta, a singer at St. Mark’s, who financed the edition.>° Only one other first edition of Rore’s music can be linked with the composer, and this publication was brought out not in Venice but in Ferrara. Rore’s Primo libro de madrigali a 4 was first issued in 1550 by the Ferrarese firm of Buglhat and Hucher. Again no dedication appears in the publication, but the title page does state that it was a privileged edition. The fact that Rore was at that time maestro di cappella in Ferrara does not necessarily signify his involvement with the publication, but another aspect of the edition does betray Rore’s connection with its printing. The same modal ordering of the contents encountered in Rore’s 1542 madrigal edition and 1545 motet edition occurs in this edition too.>!

The Willaert and Rore editions illustrate the subtleties involved in determining the role composers played in the printing and marketing process. They present complex cases of two different types of publications—editions commissioned by the composer and intended for a private audience, as seen with Rore’s Primo libro of 1542, and those financed by the printer aimed at the public at large, as observed in the anthologized editions containing Willaert’s music. The commercialization of music in the 1540s encouraged yet another type of publication initiated not by the composer or printer, but by a third party, who acted as a compiler and/or editor of other musicians’ works. The foremost aim of the compiler was to create collections that would appeal to and entertain the widest possible audience. Rore’s Terzo libro and Le vive fiamme provide examples of editions sponsored by musicians getting involved as third parties. Another edition presents an even more novel approach by a writer and dilettante musician eager to capitalize on the business of music printing.

DIALOGO DELLA MUSICA: AN EDITION FOR PUBLIC CONSUMPTION

One of the most unusual publications to emerge from the music presses of Cinquecento Venice was the Dialogo della musica (1544) of Antonfrancesco Doni, a liter-

49. But see Lewis, “Rore’s Setting of Petrarch’s ‘Vergine Bella’.”

50. The dedication is dated 8 November 1565, two months after Rore’s death. See Catalogue no, 264. 51. Owens, “Mode in the Madrigals of Cipriano de Rore,” 3—5; also Powers, ‘““Monteverdi’s

Model,” 194-95. I am grateful to Jessie Ann Owens for pointing out to me the modal ordering of these three Rore first editions.

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Historical Study

ary adventurer who made a precarious living off the Venetian presses.°* Doni’s principal vocation was that of a writer of popular literature, but he also considered himself a competent musician, and for a brief period set himself up as a printer in Florence. Before arriving in Venice, he spent a year in Piacenza, where he joined the Accademia Ortolana, a group of literati and noblemen. The members of the academy included several important Piacentine men of letters and musicians, in particular the three writers Ludovico Domenichi, Bartolomeo Gottifredi, and Giuseppe Betussi, the poet Luigi Cassola, and the three composers, Claudio Veggio, Girolamo Parabosco, and Paolo Giacomo Palazzo. Doni drew most of the material for the first part of his Dialogo from the musical and literary activities of this group.

The Dialogo della musica was issued by Girolamo Scotto at the end of April 1544, only a short time after Doni arrived in Venice. In his application for a license

to print the book, Doni described his Dialogo as a witty and ingenious musical work.°3 He knew that with the Dialogo he had created a new mode of expression, remarking in his dedication to Giovanni Battista Asinelli, “per essere una inventione non molto usata.”>4

The ascendancy of the vernacular press during the early 1540s generated an explosion of literary genres. Letters, dedications, poems, and other prose writings took the form of a literary interaction known as the dialogue.°> Writers, using the dialogic mode, produced fictionalized accounts of exchanges among writers, musicians, and artists that took place at salons and informal academies that met at the private homes of the aristocracy.°® In his Dialogo Doni bridged the gap between the worlds of vernacular discourse and music. Here he mixed two genres to create a hybrid musico-literary work, where he described, in dialogue format, two musical events, partly fanciful, partly based on his own experiences in Piacenza and Venice.’ In contrast to the nonchalant nature of the dialogue, the edition itself is carefully planned. As Haar notes, it divides into two separate sections that correspond to the two musical serate. The first part takes place in Piacenza, while the second part, though not set at an actual gathering, uses Venice as a backdrop 52. More detailed discussion of the Dialogo appears in Alfred Einstein, “The ‘Dialogo della musica’ of Messer Antonio Francesco Doni,” Music & Letters 15 (1934): 244-53; Haar, “Notes on the ‘Dialogo della Musica’ of Antonfrancesco Doni,’ Music & Letters 47 (1966): 198-224; Doni,

L’opera musicale, ed. Monterosso Vacchelli; and Feldman, City Culture, 18-21. A summary of Doni’s life appears in Grendler, Critics of the Italian World, 49-65. 53. “opera Arguta, et ingeniosa.” The license is dated 21 April 1544; for the complete privilege see Agee, “The Privilege and Venetian Music Printing,” 212. 54. The dedication appears in the altus partbook; see Catalogue no. 40. 55. The dialogue as a sixteenth-century literary form is the subject of Virginia Cox, The Renaissance Dialogue: Literary Dialogue in its Social and Political Contexts, Castiglione to Galileo (Cam-

bridge, 1992). Feldman coins the term “dialogic genres,” a concept she explores in City Culture, 47-82. The dialogic mode was also used in didactic publications, particularly musical theory and performance treatises issued throughout the sixteenth century; on this point see Doni, L’opera musicale, 45-46. Doni’s Dialogo should not be confused with instructional books. Instead it must be regarded as an imaginative literary genre, as Doni himself remarks: “our intention is to have a good time, not to hold school.” (“L’animo nostro e di darci piacere, e non di tener scuola.”’), fol. 15; Doni, L’opera musicale, 114. 56. Feldman, City Culture, 48.

| 176

57. Haar, “Notes on the ‘Dialogo della Musica’ ,” 198-224.

The Early Years (1538-1553)

for an imaginary ridotto. The musical works that alternate with the dialogues also conform to this division. The first half contains thirteen four-voice madrigals by Veggio, Parabosco, Paolo Giacomo Palazzo, Tomaso Bargonio, and other musiClans associated with Piacenza; the second part has fifteen musical works for four or more voices mostly by composers based in Venice, including Perissone Cambio, Berchem, Willaert, and Buus. As a music book, the Dialogo includes several unusual features, many of which were “firsts” for an Italian music publication. Besides including a literary presentation, the edition is the earliest Italian book of polyphonic music issued in upright quarto, a format most commonly employed for liturgical books or special editions of vernacular literature.> It is the only music edition to have four dedications, one for each partbook. Music publications, with their multiple partbooks, gave Doni the clever idea to dedicate his edition not to one prospective patron but to four, thus bettering his chances of attracting patronage. The musical contents of the Dialogo also reveal some innovative features. It was the earliest music edition to contain a

complete sestina: Jacquet Berchem’s setting of Petrarch’s Alla dolc’ombra de le belle fronde. It was the first Italian collection comprised of pieces for different numbers of voices ranging from four to eight voices, and it was unique among Italian anthologies in including a mixture of three genres—madrigal, motet, and chanson—a formula popular with German and Netherlandish music printers. Haar has remarked that the motets and chanson at the end of the collection have “very much the look of the author’s having grabbed at anything available.”>? This might be true, but an examination of the edition reveals careful planning on the part of Doni (or Scotto?). Doni organized the pieces according to the number of voices. He placed all four-voice works in the first part; in the second part, the order of the works follows a progression from four- to eight-voice pieces. The arrangement of the motets and chanson—all for six or eight voices—at the end of the book was not haphazard, but follows the organizational scheme. That Doni had devised this plan in advance can also be seen in the placement of composers within the collection. He deliberately chose for his first section four-voice pieces by musicians

connected to or known in Piacenza.© The six-voice works by these same com- : posers (i.e., Parabosco, Veggio, and Arcadelt) did not fit in with his plan, so he positioned them at the end of the second part. Furthermore, he probably placed these more complicated, contrapuntal six- and eight-voice pieces at the end of his Venetian ridotto so as to eclipse the simpler madrigals of his Piacentine gathering. In his attempt to appeal to as wide a public audience as possible, Doni consciously

58. On book formats see chap. 3. 59. Haar, “Notes on the ‘Dialogo della Musica’,” 209. 60. We know of no connection that Ruffo had with Piacenza, though up until 1542 he was in neighboring Milan. It is possible that Doni did not possess the Ruffo madrigal, Ma di che debbo lamentarm’hai lassa,-found in the first part of his edition, but was given it by Scotto who had previously printed individual motets and masses by Ruffo in 1541 and 1542 (see above, n. 16). Furthermore, thts same madrigal appears in the 1545 unsigned edition of Ruffo madrigals, which Scotto underwrote (see Catalogue no. 53).

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Historical Study

chose a mélange of musical genres “that are well known, some beautiful, some ugly, from the church and from the marketplace.”®! One curious feature of the Dialogo’s musical organization concerns the order-

ing of clefs. As we have seen in the case of Rore and Gardano, the contents of some music editions are arranged according to clefs, and occasionally by tonal type.°2 The most common procedure was to separate pieces in the high and low clefs. Doni perversely did the opposite in his edition by alternating (at least in the four-voice pieces) madrigals written in low and high clefs. That he did this deliber-

ately is confirmed by a discussion that takes place in the Dialogo between the per- . formance of the second and third madrigals. One of the speakers protests that “this madrigal changes clef, something that happens more often than I care to say. One

can search the world without finding a pair of music books whose pieces are ordered all in the same mode and same clef arrangement. A curse on these [changes of] clefs and these incredible brains [i.e. the editors]. The Dialogo della musica is a fascinating anomaly of a commissioned anthology compiled by a literary figure connected with the Venetian press, who strove for both patronage and financial success in the publishing business. The extraordinarily large number of seventeen extant copies housed in fourteen different locations suggests that the edition had a large pressrun. Unfortunately, Doni realized neither the financial gain nor the patronage he so ardently sought. Never reprinted, the Dialogo della musica remained a novel experiment. Sustained financial success in the publication of music anthologies by a third party, as we shall see, had to wait another twenty years when a singer from St. Mark’s named Giulio Bonagiunta underwrote a series of editions principally at the Scotto press.

PUBLICATION BY SYNDICATION: UNSIGNED EDITIONS OF 1545-1547

A year after Scotto printed Doni’s Dialogo della musica, a curious lacuna occurred in the production of music editions by the Scotto press. From 1545 to 1547 neither Girolamo Scotto’s name nor one of his usual printer’s marks appeared on any publication of polyphonic music. Meanwhile, Gardano’s business increased dramatically, averaging fifteen to twenty-two music books per year. He began to acquire more composers as clients, such as Berchem, Parabosco, Buus, and du Pont. The Florentine Francesco Corteccia, apparently dissatisfied with Scotto, moved his “account” to the French émigré. Rore also had his motets printed by Gardano.

61. “che molte volte cantano, et belle, et brutte, di chiesa, et dA mercato . . .” See Doni’s dedication to Giovanni Battista Asinelli in the altus partbook of the Dialogo (Catalogue no. 40). 62. See the discussion of modal ordering of printed editions above. 63. “Questo canto muta chiave, che venga poco ch’ijo non vo’ dire. Puo fare il mondo che non si trovi una volta un paio de libri, che sien tutti d’un tuono e d’una chiave medesima; che sia maladetta

la chiave e questi cervelli fantastichi’”; fol. 6v. 178

The Early Years (1538-1553)

During this period, a group of twenty-two music books appeared without a printer’s name or a printer’s mark commonly associated with any sixteenth-century music publisher. An examination of all the unsigned music books reveals that a consortium of Venetian bookmen headed by the House of Scotto published eighteen of them, while Jacopo Fabriano and Bernardo Bindoni in Padua printed the remaining four.64 Girolamo Scotto did not do the actual presswork; instead, he jobbed out the books in mensural notation to Ottaviano Scotto, son of his cousin Amadio Scotto. The lute publications, for which Girolamo took out a privilege, were probably sub-contracted to one or two other bookmen, since they did not need the expertise of a music compositor. These music publications prove significant for our discussion not only because they provide us with first or unique editions by such composers as Vicentino, Perissone Cambio, Ruffo, Ghibel, and Nola, but also because they were published in partnership by a syndicate. The typography of several of the unsigned editions suggests that they were issued by a printer who did not specialize in music. All the title pages have a plain, almost crude appearance. Only one to three sizes of upper-case roman type are used, as opposed to the three to four sizes and one italic lower-case size that occurs in earlier Scotto music editions. No decorated initials are used on music pages and on most dedication pages, even though space has been allocated for them. The large woodcut initials have, instead, been replaced with small, ill-fitting roman capitals. Some of the unusual symbols are also lacking from the music type font, in particular ligatures, notes requiring extra ledger lines, and triple-meter signatures. All of this confirms that the printer borrowed or rented only the bare essential set of music type, having to make do with a limited supply of type fonts. Inaccuracies in the mensural notation of some of the unsigned publications also suggest that the printer in charge was not as skilled as Scotto or Gardano. The compositor made several minor rhythmic errors in Perissone Cambio’s Madrigali a cinque voci (1545), and in one case omitted an entire musical phrase (four measures) of the bassus part. The edition of Ghibel’s Motetta super plano cantu cum quinque vocibus fared even worse. It contained several major mistakes, such as the omission of the cantus part for an entire motet (Asperges me) and so many rhythmic errors in the tenor parts carrying the plainchant as to make those motets unsingable. Ghibel, who was clearly not in Venice to correct the proofs, was forced to reprint the edition two years later. In the dedication of the second edition, he complained that his music was printed in a hurry and “so badly treated and so confusedly woven [i.e., put together] that it did not resemble its original form.”®®

64. For more details on the unsigned editions see J. Bernstein, “Burning Salamander.” 65. See Catalogue no. 49 and discussion in chap. 3; also Cambio, Madrigali a cinque voci, ed. Feldman, p. xiv. 66. “si mal trattati, e si disordinatamente tessuti, che muna sembianza della prima forma nten-

nero.” See Catalogue no. 69; also Heliseo Ghibel, Helysei Gibelli musici eccellentissimi motetta super plano cantu cum quinque vocibus et in festis solennibus decanenda liber primus (Venice: s.n., 1546), ed. Richard Sherr (Sixteenth-Century Motet 21; New York and London, 1993).

179

Historical Study INSTRUMENTAL BOOKS: OBSERVING A PRIVILEGE

At about the same time that the unsigned editions appeared, several instrumental publications also emerged from the Venetian music presses. Among the unsigned publications was a set of six books of lute intabulations dating from the year 1546. That Girolamo Scotto sponsored the publication of the lute tablatures cannot be doubted, since he received a privilege on 28 August 1546 from the Venetian Senate to print, among other things, two lute books by Antonio Rotta.®? Although he published only one of Rotta’s lute books, Scotto applied the privilege to four of the remaining five unsigned lute tablatures. The six unsigned books, in fact, belonged to a larger series of ten lute collections, the last four of which Scotto signed and

dated 1548~—49.58 At the same time, Gardano followed suit by issuing eight books , of lute intabulation, some of which were first editions by Abondante, Bianchin1, Pifaro, and Vindella, while others were reprinted. Why did the two Venetian printers wait ten years to begin printing lute tablature? One reason might have to do with the time and expense involved in the process. Another concerned the legal issues dealing with a patent of printing tablature using metal type. In 1536 Francesco Marcolini received a privilege for ten years to “print or have printed both music and tablature with characters of tin or of other mixture” (italics mine). Scotto, in 1540, did reprint the Willaert lute intabulations of Verdelot madrigals first published by his firm in 1536, but he used the woodcut method of printing. Since this method of printing was not cost-effective, Scotto must have decided not to issue any more lute books, waiting instead until Marcolini’s privilege ran out. Indeed, on 28 August 1546—barely two months after Marcolini’s privilege had expired—the Venetian Senate granted Scotto a privilege to print two books of lute intabulations by the Paduan Antonio Rotta. Though Rotta’s first lute book was the inaugural edition of Scotto’s series, the major contributor (and probable financial backer) of the volumes was Rotta’s compatriot Melchiore de Barberiis. A priest and amateur lutenist, Barberiis produced five books of lute intabulations containing what might be considered a dilettante’s

repertory of ricercars, fantasias, canzonas, and dances.®? None of his works appeared in later editions. In contrast, the books containing works by Francesco da Milano, Giovanni Maria da Crema, and Rotta all received immediate reprinted editions either by Gardano or the Netherlandish printer Pierre Phalése. Whereas both Venetian printers issued books in lute tablature, only Gardano

ventured into the specialized area of keyboard music, when, in 1549, he produced his first keyboard edition, Jacques Buus’s /ntabolatura d’organo di recercari... Libro primo. The format of Gardano’s edition, known as intavolatura, is similar to

67. Agee, “The Privilege and Venetian Music Printing,” 220.

68. Lawrence Moe was the first to recognize the lute series in ‘Dance Music in Printed Italian Lute Tablatures from 1507 to 1611” (Ph.D. diss., Harvard University, 1956), 7~9. 69. Arthur Ness, “Barberiis, Melchior,’ New Grove 2: 136.

180

The Early Years (1538-1553)

modern mensural keyboard notation. It employs two staves, the upper containing five lines, the lower six lines. The notation denotes hand-division between upper and lower staves; it includes bar-lines and relatively good vertical alignment of the notes.’° This edition was not only the first keyboard intavolatura issued by Gardano, but also the first keyboard publication in Italy to use the technique of singleimpression movable type, as Gardano proudly proclaimed on his title page: “novamente stampata con carateri di stagno” (newly printed with tin type).7! Buus presumably commissioned the edition. He dedicated the book to Paolo di Hanna, who was a member of a notable Flemish family with Venetian citizenship. Another relative (his father?), Giovanni da Hana, was a close friend of Titian. He commissioned three paintings from the artist, one of which, an Ecce Homo, was owned by Paolo.’2 Buus refers to Paolo as a youth (“Giovane”’), which points to the instructional purpose of the edition.’ The format of keyboard intavolatura, compared with partbooks and open score, was easier to play from, and thus was aimed at those who “are inexperienced and do not possess the art of Music.”?4 Both lute tablature and keyboard editions must have been very expensive to produce. Only three keyboard editions survive from the period of Antonio Gardano’s tenure at the press,’> and neither Girolamo Scotto nor his heirs appears to have issued any editions using keyboard intavolatura.

70. A reproduction of a music page from Cavazzoni's /! primo libro de intabolatura d’organo appears in Lewis, Antonio Gardano, 1: pl. 41.

71. Lewis, Antonio Gardano, |: 629.

72. Logan, Culture and Society, 312. ; 73. See Robert F. Judd, “The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c. 1500-1700” (D.Phil. thesis, Oxford University, 1988), 2: 7-9.

74. Preface to Giovanni Piccioni, Concerti ecclesiastici (Venice: Vincenti, 1610), quoted by Judd, “The Use of Notational Formats,” 1: 94.

75. In addition to the Buus edition, Gardano printed an anthology, Intabolatura nove di varie sorte de balli (RISM 15512!), and an undated reprinted edition of Girolamo Cavazzoni’s Libro secondo under the title // primo libro de intabolatura d’organo dove si contiene tre messe from about 1555 (RISM C1573) (see Lewis, Antonio Gardano, 2: nos. 163 and 200). 181

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Nine

THE LATE YEARS (1554-1572)

a in) Ie Zor ,

wanes) he late 1550s and 1560s was a period of unprecedented wealth

Wi D) Boe for Venice and her merchants. For the book trade the economic

s 22 ON boom meant an increase in the number of printing establish-

ests ments. At its peak toward the end of the 1560s, the industry RAS 24] embraced some fifty-six presses employing 500 to 600 persons. ! Venetian publishers, printers, and booksellers alike felt the prosperity. The larger dynastic houses of Giunti, Manuzio, Giolito, and Scotto, as well as the more modest firms of Valgrisi, Tramezzino, Guerra, Ziletti, and Bevilacqua, expanded their output. Smaller presses also became more active, averaging three or four titles per year.

The favorable economic climate encouraged newcomers to try their hand at music printing. Pietro Pietrasanta dabbled in the field in the 1550s, while for a brief time in the 1560s, the two music presses of Claudio Merulo and Francesco Rampazetto flourished alongside the larger houses of Scotto and Gardano. The two dominant music firms also prospered during this period. Their publications grew in number, with Scotto’s music titles more than doubling, and Gardano’s increasing by one-third over the previous period.”

The case studies presented here continue to illustrate business practices observed by the Venetian music presses during their earlier period of operation. Commissioned and reprinted editions still played an important role, as we shall see with Vincenzo Ruffo publications as well as the deluxe editions of Willaert’s

1. Grendler, Roman Inquisition, 3 n. 3. 2. See above, fig. 7.2.

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Historical Study

Musica nova and Zantani’s La eletta. The two Venetian printers continued to acquire their music from separate geographical areas. Gardano maintained his strong association with Ferrara. He further established musical links with Rome and with German-speaking centers across the Alps. Scotto solidified his connection with the Mantua—Trent—Imperial axis; at the same time, he benefited from his printing network to the south in Naples and Sicily. Scotto and Gardano also sub-specialized in the genres they printed during this period. The single-composer edition of madrigals or motets remained a major Staple of the Gardano press. Scotto, in contrast, produced several liturgical editions of polyphonic music, and, in the 1560s, made something of a speciality of the lighter villote alla napolitane as well as a new type of musico-literary anthology, the edizione collettiva.

VINCENZO RUFFO: A VARIETY OF FINANCIAL ARRANGEMENTS

One of the most marketable composers living outside of Venice during this period was Vincenzo Ruffo. Both Venetian printers brought out his music, with Gardano issuing more of Ruffo’s editions than Scotto. Like most composers of the period,

Ruffo probably paid for the printing of many of his first editions. But some of Ruffo’s first editions were sponsored by a third party, and the reprinted editions of several of his madrigal books were clearly financed by the Venetian printers, who profited from the popularity of the Veronese composer’s secular works.

Though Ruffo made his publishing debut in early Scotto editions dating from | 1539-45,> it was not until 1553, two years after his return to his native Verona, that

publications devoted to his music were printed in great profusion. During the course of the decade, the two Venetian printers published nine first editions of his music, including seven books of madrigals, some of which went through several editions. In light of the popularity of Ruffo’s madrigals, it is strange to find an eight-year hiatus between the publication of his first book of four-voice madrigals (1545) and his later editions. A summary of what is known about his whereabouts during this period might help to clarify this lacuna. Ruffo left Milan and the service of Alfonso d’ Avalos, marquis of Vasto, in 1542 to take up the position of maestro di cappella in Savona. In 1545, the same year as the publication of his first madrigal book, he moved to Genoa, where he served as maestro di cappella in the household of Andrea Doria.* Two years later, Ruffo

returned to his native city of Verona, where, sometime in 1550-51, he became master of music at the Accademia Filarmonica. He was also appointed maestro di

3. See the discussion of Alfonso d’ Avalos in chap. 8.

4. See Maurizio Tarrini, “Contributo alla biografia di Vincenzo Ruffo: !’attivita a Savonae a

Genova (1542-46),” Note d’archivio per la storia musicale, n.s., 4 (1986): 105-18. 184

The Late Years (1554-1572)

cappella of the cathedral. Apparently his duties in both posts proved too burdensome, forcing him to resign his position at the Academy in 1552. It was not until 1553, the year after he left his post at the Accademia Filarmonica, that single-composer editions of Ruffo’s music reemerged from the Venetian presses. Two reasons might account for the long interruption: Ruffo could not afford the expense of publishing his own music without the aid of a patron during the 1540s. When he finally became master of music at the Accademia Filarmonica, the terms of his employment stipulated that all his compositions were the property of the academy. He was not permitted to compose or give copies of his music to any non-member without permission of the academy, and therefore he could not publish his music.° Similar restrictions might also have applied to his position in Genoa, as suggested in the dedication to the Accademia Filarmonica found in his Madrigali a sei a sette et a otto voci (Scotto, 1554). The dedicator, Agostino de Negro Groppalo, a Genoese nobleman who presumably knew Ruffo from Genoa, declares: “. . . I have after a long labor liberated the present compositions of my elected father, M[esser] Vincenzo Ruffo, from the bondage where they belonged to certain individuals . . .”6 This suggests that Ruffo had previously given (or sold) individual madrigals to several Genoese noblemen, which Groppalo managed with great difficulty to acquire for this publication.’ The pieces to which Groppalo referred were the single-stanza madrigals—not the multi-stanza canzone, which, as the title page states, were additions to the 1554 publication. The four cyclic madrigals must have stemmed from Ruffo’s recent appointment with the Accademia. Their unusually high number suggests that multi-stanza madrigals were considered an erudite genre especially prized in academic circles. Indeed, editions by Giovanni Nasco, Ruffo’s predecessor at the Accademia Filarmonica, and Francesco Portinaro, who was connected with intellectual circles in Padua, also include an inordinately large number of multi-stanza canzone.®

While Ruffo’s cyclic madrigals found favor among the elite, his single-stanza madrigals gained success throughout the decade with the general public. Ruffo’s

5. “Item non possi detto Maestro Componer cosa alcuna di Musica 4 rechiesta de alcuno che non

sia della Accademia nostra ne composta darne copia Senza espressa licentia deli Sei Regienti”; quoted in Turrini, L’Accademia Filarmonica, 53-54. 6. “Onde havend’io doppo una longa fatica liberati e presenti componimenti, d’il mio Eletto in padre M. Vincentio Ruffo, dalla serviti, ove erano di certi particolari . . ”” See Catalogue no. 131. 7. Buja’s inference that these madrigals belonged to the members of the Accademia Filamonica in Verona does not make sense, considering that Groppalo (not Ruffo) dedicated the edition to the Accademia; see Vincenzo Ruffo, Madrigali a sei a sette et a otto voce (Venice, 1554), ed. Maureen E. Buja (Sixteenth-Century Madrigal 26; New York and London, 1987), p. xiii.

8. Alfred Einstein, Italian Madrigal, 1: 432. Nasco’s Madrigali a cinque voci of 1548 (RISM N77), issued by Gardano and dedicated to the members of the Accademia Filarmonica, includes two multi-stanza poems by Petrarch: a sestina and a canzone. For a bibliographical description of the edi-

tion see Lewis, Antonio Gardano, 1: no. 120. Nasco’s Le Canzon et Madrigali a sei voci of 1557 (RISM N82), dedicated to the Accademia Costanti of Vicenza, contains five canzone, while Portinaro’s 1550 edition, Primo libro de madrigali a cinque voci (RISM P5224), dedicated to Pietro Bembo’s natural son, Torquato, includes one sestina.

185

Historical Study First Book of Four-Voice Madrigals went through at least five reprintings. His First

Book of Five-Voice Madrigals reappeared at least twice. Scotto, Gardano, and Merulo printed the Armonia celeste (his Fourth Book of Five-Voice Madrigals) three more times (see app. A). Clearly, they viewed the Veronese musician as their new star composer. Utilizing the same marketing tactics that they had employed the previous decade with their editions of Arcadelt, Verdelot, and Rore, the Venetian printers launched a series of five-voice madrigal publications with Ruffo as the principal composer. Scotto began in 1554 with a slim “scielta seconda” consisting of only fourteen madrigals by Ruffo and four additional pieces by Roussel, Pionnier, and Andrea Gabrieli. The edition contained no formal dedication, but the title page named “signor Lucha Grimaldi” as the dedicatee. Grimaldi was a Genoese nobleman with

. connections to Venice. The Venetian printer Andrea Arrivabene dedicated an anthology of poetry to him in 1550.9? Agostino di Negro Groppalo, whom we encountered as the sponsor of Ruffo’s Madrigali a sei (1555), also honored Grimaldi in his dedication of Ruffo’s Motetti a sei voci of 1555. Even though Groppalo’s name does not appear in the Scielta seconda, it is conceivable that he was responsible for the edition and presumably submitted the fourteen Ruffo madrigals to Scotto for publication. Since this number was not enough to fill up the three gatherings of the edition, four madrigals by other composers were added, possibly by Scotto. Around the same time that Scotto’s Scielta seconda appeared, Gardano marketed a Secondo libro and a Terzo libro of Ruffo’s five-voice madrigals. As he had done earlier with Arcadelt and Rore editions, Gardano added madrigals by other composers to fill in what Ruffo pieces he had on hand. He appended eight madrigals by Nasco, Perissone Cambio, and Contino to the fifteen Ruffo madrigals in the Secondo libro. The Terzo libro turns out to be a reprint of Scotto’s Scielta seconda. [t contains all but one of the madrigals from the Scotto edition with eight more madrigals to fill out the standard four-gathering edition. Neither of these two editions contains a publication date nor a dedication. Mary Lewis has shown through typographical evidence that they date from 1554.!9 With both editions, Gardano

sought to profit from the new marketability of Ruffo’s music by devising two “new” editions. He achieved this by “headlining” the composer’s name on the title pages even though both publications were actually anthologies and not single-composer editions. The Ruffo editions, then, present a wide array of publication sponsorship. Dedications found in the three books of four-voice madrigals and books one and four of the five-voice madrigals indicate that Ruffo commissioned these publications. Dedications signed by Agostino Negro di Groppalo in the six-voice motets and madri-

gals for six, seven, and eight voices imply that the Genoese nobleman was the

9. Veronica Gambara, Le rime, ed. Alan Bullock (Italian Medieval and Renaissance Studies 6; Florence and Perth, 1995), 5. 10. Lewis, Antonio Gardano, 2: 121-22.

| 186

The Late Years (1554-1572)

underwriter of the two books. Finally, the first editions of books two and three as well as all the reprinted editions suggest financial backing by the printers.

MUSICA NOVA, LA ELETTA, AND THE CONSTRUCTION OF FAME

The opportunity to realize financial profits motivated musicians and others to sponsor the publication of music books. But monetary gain was not the only incentive behind the creation of a music edition. A third party might sponsor a music edition for the sole purpose of achieving fame and public recognition. No more is this seen than with the extreme case of Willaert’s Music nova and the anthology La eletta di tutta la musica intitolata corona diversi, where the fashioning of fame through the print medium brought about a notorious dispute. As the main parties responsible for the commission, Prince Alfonso d’Este of Ferrara and the Venetian patrician Antonio Zantani sought to create lavishly crafted music editions with dedications commemorating their beneficence. The part they

played in their respective editions reached obsessive proportions. They went beyond the traditionally passive role of dedicatee and became passionately and actively involved in the printing and publishing process. Prince Alfonso spent a great deal of time and money purchasing Willaert’s music and then acquiring privileges for the publication of the Musica nova. Antonio Zantani collected and assembled the music for La eletta himself and probably had a hand in the actual printing of the book.

Musica nova and La eletta deserve special attention not only because of the self-aggrandizement of their patrons, but also because of their association and striking similarities. Their interrelated history provides a window into the complex process that led up to the publication of a music book. It also presents a rare if not unique example of how a patron of one publication attempted and succeeded in expurgating specific pieces from another previously privileged edition. The complex and controversial story surrounding the publication of the Musica

nova and its association with La eletta has been recounted by several music histori- , ans. In brief, Prince Alfonso d’Este acquired the manuscript of Willaert’s music from the singer Polissena Pecorina, who was closely associated with Willaert in the 1530s and 40s. He then requested Willaert to revise it for publication. Alfonso went to great lengths to obtain privileges from Rome, Florence, Milan, and Venice, so that his court composer Francesco dalla Viola would have the publishing rights to the volume for a period of ten years. Alfonso and his court composer discovered after Gardano had printed the Musica nova that the Venetian patrician Antonio Zantani held a privilege to print four of the Willaert madrigals intended for the Musica nova in La eletta. After a bitter confrontation with Zantani over the four madrigals, the Musica nova was finally released by Gardano in 1559.!!

11. See Owens and Agee, “La stampa della ‘Musica nova’.”

187

Historical Study

The Musica nova is perhaps the best-known and most discussed music edition of the sixteenth century. Most of the vast secondary literature concerning the edition has focused on the events that led up to its publication. Scholars have naturally centered on the Willaert edition and its patron, Prince Alfonso, paying little attention to Zantani and La eletta itself. (Only Feldman has discussed Zantani as a patron of the arts in detail.!*) By marginalizing La eletta and its patron, they have presented a biased account of the story. Furthermore, certain misreadings of partic-

ular archival documents have compounded the problem. In order to achieve a more | accurate picture, we will focus first on La eletta and then take a closer look at the

printing history of the two editions and their association. | On 19 January 1557, Zuan Iacomo de Zorzi and company received a privilege from the Venetian Senate to issue ‘“‘a music book for voices collected by him.. . for

the span of ten years.”!3 Zorzi described the book in great detail in his supplication. He stated that he had created “an anthology from all music and madrigals, motets, canzone, sonetti, sestine, and ballate with such beauty that they will be worthy to be seen, not just sung, by every prince, with all the names of the com-

posers of the said music; this work I have entitled ‘Corona de diversi’ with the emblem of the dog, which will appear in several volumes.”!4 Though Zorzi applied for the privilege, the actual creator and underwriter of the edition was Antonio Zantani.!> Zantani, as Zorzi noted in his dedication, was a patron of “musicians, literati, sculptors, [and] painters .. .” He was also an antiquarian and collector who dabbled in printing and publishing. Zantani’s activities as a patron of music included entertainments at his home, as reported by Orazio Toscanella in I nomi antichi e moderni. These ridotti involved an impressive array of Venetian musicians that included several singers and organists of the chapel at St. Mark’s (Girolamo Parabosco, Annibale Padovano, Claudio Merulo, Baldassare Donato, Perissone Cambio, and Francesco Londariti), two companies of instrumentalists (Compania de’ Fabretti and de’ Fruttaruoli), and the Iutenist Giulio Abondante. !6

As befitting Zorzi’s description, great care was lavished on the appearance of the edition; Zantani spared no expense for the printing materials. La eletta was a deluxe edition containing several exceptional features in format, typography, and organization.!’ A beautiful new music type font with rounded note-heads, unlike 12. Feldman, City Culture, 63-81. 13. Owens and Agee, “La stampa,’ 247, doc. 8. 14. “una elletta de tutta la musica et madrigali, Mottetti, Canzon, Sonetti, Sestine, e Ballatte, con tal bellezza che serano degni da ogni Principe esser veduti, non che cantati, con tutti li nomi de loro

compositori de ditta musica, le qual opere le ho intitulate Corrona de diversi con la Insegna del Cagnollo, le qual serano in pid volumi.” See ibid., 246-47, doc. 7. 15. Most of the information on Zantani’s musical connection 1s taken from Feldman, City Cul-

ture, 63-81. 16. The part of Toscanella’s dedication mentioning Zantani’s musical patronage first appeared in Einstein, /talian Madrigal, 1: 446-47. It is also quoted in Feldman, City Culture, 67. The entire dedicatory letter appears in Feldman, app. E, 433-34. 17. Only one copy of La eletta survives. Housed in the Bavarian State Library in Munich with

the shelfmark Mus. pr. 4°/3, it was once part of the Herwart collection where, ironically, it was shelved unbound with a copy of Willaert’s Musica nova. See Slim, “Music Library,” catalogue nos. 255-56.

188

The Late Years (1554-1572)

any other found in Venetian music editions, was used. Several of the documents pertaining to La eletta pointedly refer to “the new kind of music type and staves” created especially for the edition.!8 Zantani chose the larger more expensive paper size of mezane, instead of rezute, the standard size for music books at this time. He also changed the orientation of the format from oblong to upright quarto. While upright quarto format had appeared in some of Scotto’s 1544 music editions, it was not in common use by any Venetian music printer at this time.!9 Two elaborate woodcut illustrations containing Zantani’s emblem of a dog appeared on the title page and colophon of the edition.”9 La eletta contained fifty madrigals, printed on thirty-two leaves (see table 9.1). It was an inordinately large edition for secular music at this time. Over half the contents (some twenty-eight out of fifty madrigals) had previously appeared in print. Considering the time and expense bestowed upon the edition, it is surprising that it contained so many reprinted works. Zantani was aware of the number, alluding to it in his letter to Girolamo Faleti, the Ferrarese ambassador to Venice, where he declared that he created an anthology taken “from all the madrigals both printed and not printed.”*! Perhaps Zantani could not gain access to that many unpublished pieces. More likely, however, these madrigals held a special significance for Zantani. Many if not all of the musical settings selected for La eletta were presumably performed in Zantani’s home. Zantani, then, intended the anthology to commemorate himself and his musical gatherings.2 Works by Donato and Perissone Cambio, who frequented Zantani’s ridotti, as well as those by Jacquet Berchem and Giovanni Contino, appeared for the first time.23 Madrigals by Nasco, Rore, Francesco dalla Viola, Ferrabosco, and Schaffen had been issued only recently in other publications, while a few pieces by Ivo Barry, Domenico Ferrabosco, and Willaert date back to the beginning of the previous decade. The crowning feature of the collection, however, were four previously unpublished madrigals by Willaert—madrigals that Prince Alfonso d’ Este of Ferrara had also planned for inclusion in the Musica nova, a collection he considered to be his exclusive property. As seen in table 9.1, Zantani had carefully planned the arrangement of the contents of La eletta. He grouped the madrigals by composer, starting the collection

18. As the main producer of the edition, Zantani may have helped in devising the new music type font. Owens and Agee, “La stampa,” 229 and Feldman, City Culture, 73 have all interpreted the phrase “con i! nuovo modo di carattere et righe per lui ritrovate” to mean that Zorzi had invented a new technique for printing music. I believe that this phrase refers to the fashioning of a new largesize music type font used in conjunction with the uncommon format of upright quarto for a music book. 19. An exception ts Scotto’s 1556 edition of Spanish villancicos, which is arranged in choirbook format. See Catalogue no. 153. 20. Reproductions of the title page and dedication appear in Feldman, City Culture, 69-70. The woodcut illustration that appears with the colophon was previously employed by Zantani in his 1548 book of medals entitled Le imagini con tutti i riversi trovati; see ibid., 73-79. On Zantani’s device and motto, see ibid., 74. 21. Owens and Agee, “La stampa,” 274, doc. 45. 22. Feldman, City Culture, 68.

23. The Contino madrigals might have appeared in one of the two lost books of four-voice madrigals issued by the composer sometime around 1560-61.

189

TABLE 9.1 Contents of La eletta di tutta la musica intitolata corona de diversi novamente stampata

SigEarltest printed nature Page Title Composer concordance libro primo (Venice, 1569)

{a] Title page

[av] Dedication

ail A. Gia mi godea felic’ogni mio bene Adriano Willaert 154020, p. XLVI B. Chi volesse saper che cos’e amore Adriano Wiilaert 1542!7, p. VI

[aiii] C. Quante volte diss’io Adriano Willaert 154219 £€, 19vb D. Qual piu divers’ & novacosa fu mai Adriano Willaert 154219 f, 17¥6

faiv} E. Cosi vincet’in terra Adriano Willaert 154029, p. LV? F_—_—_ Lasso ch’jo ardo et altri non me Adriano Willaert Musica nova, #4 l crede

A G. II. Quest’ arder mio di che vi cal si poco

H. JIoamai sempre et amo forte anchora Adriano Willaert Musica nova, #1

Ait I, II. Ma chi pens’d veder mai tutti insiemo

1. Quest’ anima gentil che si diparte Adriano Willaert Musica nova, #3 [Aiit] II. Se si posasse sotto al quarto nido 2. Amor fortunaelamia mente schiva Adriano Willaert Musica nova, #2 [Aiv} 3. IE. Ne spero i dolci di tornino indietro 4. Oime ’1] bel viso oime ’] soave sguardo Adriano Willaert 154029, p. LVU; attrib. to Barré

B 5. Odolce serviti dolce tormento Baldissera Donato Lib. 2 a 4 (1568), p. 1S°

6. Anchor ch’io possa dire Baldissera Donato Lib. 2 a 4 (1568), p. 18° Bil 7. Se quel dolor che va’innanz’al morire Baldissera Donato Lib. 2 a 4 (1568), p. 20° 8. S’io veggio in altra donna una beltade Baldissera Donato Lib. 2 a 4 (1568), p. 16° (Biii] 9. Fuggi se sai fuggir che fuggir tanto Baldissera Donato Lib. 2 a 4 (1568), p. 21°

10. Labella nett’ignudae biancamano Cipriano Rore 15488, p. MII? [Biv] 11. Com’havran finladolorosetempre Cipriano Rore 15488, p. VIII4 12. locredea che ’! morire fuss’il maggior Cipriano Rore Lib. 1 a 4 (1550), p. 9

C 13. Anchor che col partire Cipriano Rore 1547!4, p. XXVIII 14. Signor mio caro ogni pensier mi tira Cipriano Rore Lib. 1 a 4 (1550), p. 5 Cii 15. Il. Charita di Signore amor di donna

16. Jo canterei d’amor si novamente Cipriano Rore Lib. 1 a4 (1550), p. 6 (Ciii] 17. Basciami vita mia baciam’anchora Ferabosco 155428, p. 10 18. fo mi son giovinetta & volontieri Ferabosco 154217, p. XXVIII (Domenico)

[Civ] 19. Deh ferm’amor costui ch’e cosi sciolto Ferabosco 155428, p. 22 20. Poi che nostro servir ha per mercede Francesco della Viola 15488, p. XX V4

D 21. Lasso s’io tremo & vo co ‘I cor gelato Francesco della Viola 15488, p, X4

22. Felice chi dispensa Francesco della Viola 15488, p. XIIII¢ 190

TABLE 9.1 (continued)

Dii 23. Chinonconosc'amore.~~~-‘* Francesco della Viola__15488,p. Xv 24, —Altro che lagrimar gli occhi non Francesco della Viola 15488, p. VII¢ ponno

[Diii] 25. Dehhor foss’io col vago dellalunga © Giovan Nasco Bk. 1 a 4 (1554), p. 5 26. Un sol alzar de begli occhi lucenti Giovan Nasco Bk. 1 a 4 (1554), p. 21 [Div] 27. II. Se tra le perle corai talhor ’ho udita

28. Vita della mia vita Giovan Nasco Bk. 1 a4 (1554), p.19 E 29. II. Oime dov’e ’] mio ben dov’e "| mio core

30. L’aquila che dal mond’hoggi si parte Giovan Nasco Bk. 1 a 4 (1554), p.14 Ei 31. If. L’aquila tocca di ragion a Giove 32. In bianco lett’all’apparir del giorno Giovan Nasco Bk. 1 a4 (1554), p.22

[Eiii] 33. Damille gravi affanni Giovan Contino 34. Quando fia mai quel giorno Giovan Contino

[Eiv} 35. Se voi sete cuor mio Giovan Contino 36. Sarras’io resto vivo Giovan Contino F 37. Dolce son le catene il fuoc’el d’ardo Giovan Contino 38. Chi brama di veder belta divina Giovan Contino

Fii 39. Non mi duol di morire Giovan Contino 40. _‘Vivete lieti & se viver volete Giovan Contino

[Fiii] 41. II. Gioire vita vera , 42. Che giova saettar un che si more Giachet Berchem 1542!7, p. XXV; attrib. to N. Ubert.

[Fiv] 43. Unica speme mia unico bene Henrich Scaffen Lib. 1 a 4 (1549), p. VI; 15493}, p. 14¢

44, Pace non trovoe non ho da far guerra De Ivo 153924, p. XXXVIII G 45. In quel ben nato aventuroso giorno Perisson Cambio

46. Dehdolce anima mia Perisson Cambio Gii 47. Bella guerriera mia perche si spesso — Perisson Cambio 155428, p. 27 48. Se’ sol si scosta e lasciai giorni Perisson Cambio brevi

[Gili] 49. Vorrei pur dir amore Sperindio 50. If. Dillo tu dunque homai

[Giv] Tavola [Givv] Colophon with date MDLXIX alla insegna del cagniolo ? See Catalogue no. 14. 5 See Catalogue no. 29. “ See Catalogue no. 304. 4 See Catalogue no. 72. € See Catalogue no. 82.

19]

Historical Study

with ten pieces by Willaert. One might have expected that he would have highlighted the four unpublished Willaert madrigals by placing them at the very beginning of the edition. Instead, they are buried in the middle of the Willaert set, appearing after five previously published madrigals. In light of the significance of these madrigals, it is mystifying why Zantani would do this. Several unusual typographical characteristics found in the first two gatherings explain the incongruity, for they reveal that a change in the contents of the edition took place during the printing process. The first irregularity occurs in the pagination of the opening nine pieces, where each page is designated by a roman letter instead of the customary arabic numerals. The second anomaly concerns the printer’s signatures. Normally, gatherings of books are signed with roman letters: the letter A for the first gathering, letter B for the second gathering, and so on. In La eletta, a lower-case a appears as the signature for gathering | followed by an upper-case A for gathering 2. Gathering 3 is then signed with a B, gathering 4 with a C, and so on. Both the signatures and the use of roman letters for the pagination strongly suggest that La eletta originally began with the second gathering and that during the printing process an additional gathering was tacked onto the beginning of the book.?4 The odd arrangement of the madrigals as well as the idiosyncratic numbering for the pagination and signatures in the present edition imply that Zantani at first possessed only two of the Musica nova madrigals, which he intended to feature as the inaugural works in his edition. He apparently acquired the other two after the printing process commenced. Even though the book was in press, Zantani decided to add the two new madrigals, which required him to insert another gathering to the opening of the edition and complete it with five more reprinted madrigals by Willaert. These events must have taken place before Zorzi began the procedure of obtaining a license and privilege from the Venetian government in November of 1556. The first step in securing a license required Zorzi to submit copies of all the texts included in his edition to the readers appointed by the Riformatori who had to make sure they contained nothing against religion, morality, or the State.25 Zorzi, then, had to know the contents of the book, including the added pieces. Furthermore, in his supplication to the Venetian Senate, as we have already noted, Zorzi described in unusually precise detail the appearance of the edition—its singular

) beauty, the headings naming composers for each madrigal, the exact title, and woodcut depicting the emblem of the dog. Thus, Zantani and/or Zorzi had already printed the edition (or almost all of the edition) before they began the process of petitioning for a license. All of this took place nearly two years before the Venetian Senate received a request for a privilege to print the Musica nova.

24. The original edition thus commenced with three pages of front matter (title page, blank page, dedication), followed by Quest’anima gentil (Musica nova, madrigal no. 3) and Amor fortuna (Musica nova, madrigal no. 2). Their pagination of arabic numerals | and 2 supports this plan.

Music Printing,” 7. )

25. On procedures for obtaining a printing privilege see Agee, “The Privilege and Venetian

192

The Late Years (1554-1572)

Although Francesco dalla Viola took out the privilege and paid for the Musica nova, Prince Alfonso, as we have seen, was the driving force behind the publication. Alfonso, like Zantani, wished to be immortalized through his musical patronage. But he went even further than Zantani. By making public Willaert’s music, Alfonso sought to cast himself as a Maecenas, who saved a great master’s works for all time. Dalla Viola captured this allusion in his dedicatory letter where he declares that “the world ran the risk of losing the Musica nova had it not been for Alfonso... .” Alfonso’s name then became inextricably linked with an important publication as well as a renowned composer. A publication as important as the Musica nova had to be extravagantly pro-

duced. Interestingly, many of the luxurious typographical features found in the | Musica nova had already been used in La eletta. Gardano had a large music type font especially created for the book.2® He also introduced a new series of historiated initials.2” As Zantani and Zorzi did before him, Gardano used larger mezane paper instead of standard rezute, and, for the first time in his printing career, he employed the upright quarto format for a music publication.2® An elaborate woodcut compartment depicting mermaids and a ship with a small version of Gardano’s lion-and-bear device on the bottom was newly commissioned for the title page. A woodcut portrait of Willaert appeared on the verso side of the title page, along with the statement of privilege, printer’s imprint, and date. Though the Venetian printer lavished great care on this deluxe publication, archival documents and what we know about standard sixteenth-century printing practices demonstrate that he did not assume any of the printing expenses. The Musica nova was a commissioned work financed by an outside party, in this case Alfonso’s musician Francesco dalla Viola.2? Dalla Viola contracted Gardano to print the Musica nova on a fee-for-job basis. He paid Gardano a set amount cover-

ing all of the printing costs, either in advance or while the edition was being printed. The expense must have been enormous, since he surely had to compensate Gardano for all of the custom-made typographical materials. Gardano had little need of the new music type font and set of decorated initials. Both were too large

for his routine editions in oblong quarto format. The Venetian printer, in fact, employed the new type font and decorated initials only one more time in his career, some ten years later for Giovanelli’s Novus Thesaurus.

26. Lewis, Antonio Gardano, |: 61. The matrices are referred to as “un Canto figurato ditto della Pegorina con le sue madre ponzoni et forme” in an inventory drawn up by Gardano's heirs. See Sartori, “Una dinastia di editori musicali,” 182 and Lewis, Antonio Gardano, 1: 67. 27. Lewis, Antonio Gardano, |: 48 and pl. 13, series X. 28. Ibid., 35, 39. 29. During their conflict with Zantani, the Ferrarese delegation expressed concern that Dalla Viola might incur “a very heavy loss and be half ruined.” (“Viola, il quale perci6 viene a restare con

grandissima perdita del suo et mezo ruinato.”) Transcription of the entire document appears in Owens and Agee, “La stampa,” 279, doc. 51. I wish to thank Jessie Ann Owens for her assistance tn interpreting this document and others from this article referred to in subsequent footnotes.

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Historical Study

The Musica nova was unusual among Italian music editions in that it included both motets and madrigals in one publication.29 The edition contained twentyseven motets and twenty-five madrigals ranging from four to seven voices, with the majority scored for five and six voices. Like La eletta, the contents of the Musica nova was Carefully planned. The edition was divided into two main sections with the motets appearing first, followed by the madrigals. The pieces within each main

section were arranged according to the number of voices, from four to seven voices. As Feldman has shown, the bipartite presentation of motets and madrigals

mirrored the internal construction of the works themselves. Each motet, as might | be expected, divided into two parts typical of the Netherlandish motet at the time. Twenty-one of the madrigals in the edition also displayed this plan. They followed the two-part structure of the Petrarchan sonnet. Feldman has further suggested that Willaert (and not the printer) probably had a hand in arranging the contents, since the “tonal materials” and cleffing of the four-voice and the seven-voice motets and madrigals also mirror each other.>! This hypothesis would certainly be in keeping with Gardano’s role merely as printer of the work. Though the title suggests that the music was newly composed, all of the pieces dated back to the 1530s and 40s. Just as Zantani’s La eletta was a predominantly conservative collection, the Musica nova by 1559 had become old-fashioned if not totally out of date. To a buying public only interested in what was new, popular, or easy to perform, the Musica nova surely must have had little appeal. The large format and special typography, furthermore, made the edition more expensive (and therefore less attractive) for a general audience. Written in a serious, high-minded

style, the repertory of the Musica nova was destined for consumption by an elite | aristocracy. It was not until Gardano had printed most, if not all, of the Musica nova sometime before early December of 1558, that Dalla Viola and Prince Alfonso discov-

ered that Zantani held a privilege to print four of the madrigals planned for their publication. From a series of letters exchanged between Venice and Ferrara, we learn that the Ferrarese wanted the four madrigals removed from La eletta. From their point of view, all of the pieces in the Musica nova had to be newly printed. The Venetians, on the other hand, showed no concern about reprinting madrigals in later editions. Gardano had told the Ferrarese ambassador, in person, that the four madrigals in question were of little consequence, and they would not jeopardize the publishing of the Musica nova.32 When Girolamo Faleti went to the Senate to gain support for the removal of the madrigals, the Venetian nobleman Dandolo, in

the Ferrarese’s defense, declared to the Senate that “it was common practice : among printers .. . to insert previously printed material into their collections from

time to time, for my greater satisfaction one would cause that the said four

30. On two or more musical genres presented in one edition see the discussion of Doni’s Dialogo in chap. 8. 31. City Culture, 224-26.

32. Owens and Agee, “La stampa,” 271-73, doc. 43. | 194

The Late Years (1554-1572)

madrigals be cancelled.”33 Only three days later, however, Faleti wrote that the Doge had ruled in favor of Zantani, allowing him to keep the four madrigals in his edition.34 Faleti also included a letter from an irate Zantani, who stated that he had held a privilege to print the madrigals since 1556 and that he would not be made a servant to Faleti and to “Francesco dalla Viola and other mercenary people.”3> Zantani’s distress over the elimination of the four madrigals was very real; he stood to lose a great deal of money, for, as we have seen, he had already printed the entire edition. Furthermore, the suppression the four madrigals meant the demise of La eletta and Zantani’s self-fashioned tribute.36 The Venetian nobleman was apparently contemplating a lawsuit over the incident. Alfonso’s secretary, Giovanni Battista Pigna, informed Faleti that the Prince was furious about this matter, and he should explain to Zantani that he was not dealing with Dalla Viola, but with Prince Alfonso himself. After all, Zantani should “value more the friendship of such a great prince than four madrigals by Adriano.”3’ The dispute had esca-

lated, as Feldman has commented, into one between the Republican virtues of Venice and the courtly practices of Ferrara.*8 It is clear from these documents that by the beginning of January, Zantani chose to ignore the threats made by the Ferrarese delegation and released his edition with

the four Willaert madrigals. In the meantime, Gardano decided that he could no longer honor his original agreement with Dalla Viola.*? The Ferrarese delegation had undoubtedly angered the Venetians. They had gone too far and Gardano wanted out of all this intrigue. Here we see that Gardano had no vested interest in the edition nor did he have any concern for the preservation of Willaert’s music;*° for him the Musica nova was strictly a business proposition, a piece of merchandise printed for a set fee. Possible pressure from Venetians supporting Zantani convinced Gardano not to issue the Musica nova with the four madrigals. He had given Dalla Viola a few copies before the new year, but presumably had not released the press run for general distribution. Now Dalla Viola faced a large financial loss, since in accordance with typical printing contracts, he had already paid Gardano most if not all of the printing costs.

33. Ibid. and Newcomb, “Editions of Willaert’s Musica Nova,” 137~38. 34. “...Al Cavalier Centanni questo ser[enissimo] Doge ha fatto inhibere ch’ei habbi a scancellare nella sua musica tutto quello che a me spiacera che non vi resti incluso . . .”; Owens and Agee, “La stampa,’ 273, doc. 44. Newcomb, “Editions of Willaert’s Musica Nova,” 138, mistranslates this

letter to read the contrary: “the Doge has ordered Cavalier Centanni that he remove from his all [material] that would give displeasure . . .”

35. Owens and Agee, “La stampa,” 274, doc. 45.

36. Faleti relates in a letter to Duke Ercole of 25 December 1558 that Zantani would lose a “great deal of money that he has spent in printing his work.” Ibid., 276, doc. 48, as quoted in Feldman, City Culture, 73.

37. Owens and Agee, “La stampa,” 275, doc. 47. :

38. Feldman, City Culture, 73. 39. Owens and Agee, “La stampa,” 279, doc. 51. 40. Lewis, “Antonio Gardane’s Early Connections,” 218-20 paints a different picture of Gardano’s role and involvement in earlier Willaert publications, in particular the six-voice motet edition of 1542.

195

Historical Study

The strategies of the Este court unfortunately backfired on them. They were unable to censor Zantani’s edition, and now Gardano wished to renege on his agreement. In order to salvage the situation and save Alfonso’s musician from financial ruin, Duke Ercole stepped in, requesting the Ferrarese ambassador to do what he must to get Gardano to abide by his contract with Dalla Viola. Faleti also had to obtain a promise from Zantani that the Venetian nobleman would not print any more madrigals issued in the Musica nova.*! By April 1559, the affair was over; Faleti had reached an agreement with both Zantani and Gardano.42 The Musica nova and La eletta, with their wealth of documentation, provide us with two fascinating case studies illustrating several aspects of the music-printing business. They reveal the intense involvement of patrons in music publishing that sometimes took place, as seen with Antonio Zantani and Prince Alfonso d’ Este. They clarify the legal position regarding the practice of reprinting specific works from a privileged edition, a practice commonly employed by both Gardano and Scotto. They verify the music printer’s principal role as entrepreneur rather than as artist or arbiter of musical taste. Finally, they provide us with the unusual case of an attempt by a third party at censoring a music edition holding a Venetian privilege for their own private interest. Viewed today as historical monuments, the Musica nova and La eletta still must be regarded as luxury items, commissioned works with little commercial value, whose main intent was the fashioning of fame by an important patron.

SCOTTO AND THE MANTUAN—TRIDENTINE-IMPERIAL AXIS

It was during the second half of his printing career that Girolamo Scotto cultivated his commercial interests with Mantua and Trent. One of his nephews from Milan represented the Scotto firm as an agent in Mantua.43 Composers in the service of various branches of the Gonzaga family as well as Cardinal Madruzzo in Trent uti-

lized the Scotto press for their music publications. The bulk of the editions intended for Mantua and Trent were devoted to Latin motets, Masses, and other liturgical settings. The preponderance of sacred editions issued by the Venetian 41. Owens and Agee, “La stampa,” 280-82, docs. 52-54.

42. Ibid., 283, doc. 57. The confusion over when Gardano printed and finally released the Musica nova can be laid to rest with this reading of the documents. Completion of the printing of Musica nova occurred sometime between 8~10 August 1558, when Pigna had two private copies dispatched to Prince Alfonso, and 17 October, when Dalla Viola sent another copy (presumably containing the Venetian privilege) to Duke Cosimo de’ Medici in Florence (ibid., 260-61, docs. 26-28,

270-71, docs. 40-42). In the meantime, advertising for the publication began and the Accademia Filarmnica purchased a copy sometime in November or December of 1558 (ibid., 277, doc. 49). The book was probably not in general circulation when, in December, the Ferrarese discovered the existence of Zantani's book. At that point, Gardano refused to release the pressrun of Musica nova for general distribution until the matter concerning Zantani had been worked out. Upon resolution of the

43. See chap. 2. :

incident, he issued Musica nova with a date of 1559 and the statement of privilege on the verso of the title page.

196

The Late Years (1554—1572) ! firm testifies to the reformist atmosphere that prevailed at these two centers. It also affirms the traditional allegiance Mantua and Trent had with the Imperial court. The pivotal figures in this cultural (and political) alliance were Cardinal Cristoforo

Madruzzo, prince-bishop of Trent and Bressanone, Cardinal Ercole Gonzaga, bishop of Mantua, and later, Ercole’s nephew, Duke Guglielmo Gonzaga. -Cristoforo Madruzzo had a meteoric career in the church. He became canon (1529), then dean (1535) of Trent. In 1539 he was named bishop of Trent and three years later bishop of Bressanone. Pope Paul III appointed him a cardinal in 1543. Madruzzo had an important connection with the Imperial court, for, as the bishop of Trent, he was also a prince (Tirol) of the Holy Roman Empire. In that capacity, Madruzzo acted as a procurator for Ferdinand, archduke of Austria. He also played an important role during the early years of church reform. Trent was the chosen site of the council. For Madruzzo, then, musical and artistic patronage was deeply rooted in the church. Madruzzo’s close friend Ercole Gonzaga became bishop of Mantua in 1520. He received his cardinal’s hat in 1526, and later was appointed pontifical legate to Charles V. Upon the death of his elder brother, Duke Federico, in 1540, Ercole

assumed the co-regency of the duchy with Federico’s wife Margherita and his younger brother Ferrante. His advocacy of church reform had a profound influence on the Mantuan court. For forty-seven years, Ercole and then his nephew, Duke Guglielmo, exerted their own vision of the Catholic Reformation in Mantua. They emphasized patronage of the arts in the service of the church. The building and decorating of churches became the main artistic endeavor of the mid-century Gon-

zagas. They undertook such architectural projects as the abbey church of San Benedetto Po, the renovation of the cathedral of San Pietro, and the palatine basilica of Santa Barbara, which Guglielmo constructed during the 1560s. The predilection for church reform in Trent and Mantua was also made apparent in musical patronage. Both Madruzzo and the Gonzagas tended to favor church composers who wrote little or no secular music, such as Jacquet of Mantua, Gio-

vanni Contino, and Palestrina. Thus, most of the Venetian music publications

intended for Mantua and Trent at this time were sacred, and all of them were : printed by the Scotto press. The Scotto firm’s association with Mantua can be traced as far back as 1539, the

very first year Girolamo assumed active management of the press. At that time, Scotto published a pair of books devoted to four- and five-voice motets by Cardinal Ercole’s private musician Jacquet of Mantua. Both editions contained lengthy dedications by the Venetian printer honoring the cardinal of Mantua.*4 For the next twenty-eight years, Girolamo Scotto was to remain Jacquet’s principal printer, issuing eleven further editions of the composer’s music.

44, It is clear from the dedication of the four-voice motet book, however, that Scotto did not know Ercole personally, since he mistakenly referred to him as Cardinal Ippolito Gonzaga (possibly mixing him up with Cardinal Ippolito II d’Este).

197

Historical Study

During the two-year period of 1554-55, Scotto brought out an unusually high number of editions with a link to the Mantuan—Trent-Imperial axis. They included three liturgical publications: Rore and Jacquet Psalms and reprinted editions of Jacquet’s two books of five-voice Masses. Hoste da Reggio, maestro della musica for Ferrante Gonzaga (brother of Cardinal Ercole and supreme commander of the Imperial forces), had three books of madrigals printed by Scotto in 1554. The most striking publication of this period, however, was a set of five editions with

the descriptive title of Motetti [or Madrigali] del Laberinto. The series included Girolamo Carli’s Motetti del Laberinto a cinque voci, Ciera’s Madrigali del Laberinto a quatro voci, and three books of motets mostly by Netherlandish composers. Girolamo Carli, who later dedicated a madrigal book to Count Alfonso Gonzaga of Novellara, was a local composer from Reggio Emilia. He dedicated his Motetti del Laberinto Libro primo to his patron, Battista Grossi, bishop of Reggio. Ippolito Ciera, the composer of the only madrigal edition in the Laberinto series, appears to be associated more with churchmen from the Veneto than from Mantua and Trent. A Dominican friar, Ciera was listed as a choir member of Treviso cathedral in 1546. By 1561 he became maestro di cappella at SS Giovanni et Paolo in Venice. He dedicated his Madrigali del Laberinto a quatro voci to Filippo Mocenigo, archbishop of Candia (Crete), and his Primo libro di madrigali a cinque vaci (1561) to Carlo Coloredo, dean of Udine cathedral. The volumes in the series with the closest ties to the Mantuan—Tridentine— Imperial axis were the Second, Third, and Fourth Books of the Motetti del Laberinto. These three volumes actually constituted one large anthology of forty-nine motets, practically all by Netherlanders connected with the Imperial court. They included Clemens non Papa, Thomas Crecquillon, Cornelius Canis, and Pierre Manchicourt. Many of the motets in the Motetti del Laberinto had been previously printed in collections issued by Susato and Ulhard from 1546 to 1553. Scotto, however, did not utilize the northern publications for his series, for a comparison of readings between the Laberinto editions and the earlier German and Netherlandish prints reveals significant variants. Though none of the three books in the Motetti del Laberinto collection contains a formal dedicatory page, they all have embedded in their titles a statement of dedication by Paulus Caligopoeus addressed to Cardinal Cristoforo Madruzzo. While

Madruzzo is the dedicatee of the three books, his close friend, Cardinal Ercole Gonzaga, may have been instrumental in the publication of the books, as seen in the last book of the series. Three motets by Jacquet of Mantua are placed toward the end of Motetti del Laberinto Libro quarto. Two of them are celebratory works with strong connections with Mantua. Hesperiae ultimae commemorates the visit : of Philip IT to Mantua in January 1549,45 and Dum vastos Adriae fluctus pays homage both to Josquin and to the city of Mantua.*6

45. Albert Dunning, Die Staatsmotette, 1480-1555 (Utrecht, 1970), 265-67. 46. Dunning, “Josquini antiquos, Musae, memoremus amores,” Acta musicologica 41 (1969): 108-16.

198

The Late Years (1554-1572)

The descriptive title of the Motetti del Laberinto editions as well as the woodcut of a circular labyrinth with the minotaur (see above, fig. 3.8) may also have a connection with the Mantuan court. Descriptive titles accompanied by a woodcut illustration sometimes appeared in music publications. Earlier editions by Scotto and other printers invoked (and often displayed) a variety of images from the crown, siren, cross, and monkey, to flowers, fruits, and the personification of fame.4” These

descriptive titles frequently served as metaphors for the music or had a special meaning for the printer.48 The reference to the labyrinth in the present series might have been a fanciful one, since Scotto had already used the woodcut illustration

on the title page a decade earlier in a few of his non-music books, in particular Ovid’s Heroides.*? Then again, the symbol of the labyrinth might have had a long association with the Gonzagas. One of the rooms of the Palazzo Ducale in Mantua is entitled the Sala del Laberinto. It contains a ceiling painted blue and gold depicting a maze with the motto “Forse che si, forse che no” running through it.°° In the 1560s, three other composers associated with Mantua and Trent—Giovanni Contino, Giaches de Wert, and Alessandro Striggio—had their music printed

by the Scotto press. Giovanni Contino, now known primarily as the teacher of Luca Marenzio, achieved fame in his lifetime as a church composer.>! He was in the service of Cardinal Madruzzo in Trent from as early as 1539 to 1551. The death of his father in 1551 forced Contino to return to his native Brescia, where he served as maestro di cappella at the cathedral for ten years.52 In 1561 Contino joined the service of Duke Guglielmo Gonzaga in Mantua. He went back to his post in Bres-

cia in 1565, only to return three years later to the Mantuan court, where he remained until his death in 1574.

The years 1560-61 were apparently transitional ones for the church composer.

Nearing the end of his second five-year contract at the cathedral of Brescia, 47. The crown was used in editions by several printers, including Petrucci (Motetti de la corona), Dorico (Motetti de la corona), and dell’ Abbate/Antico (La Courone et fleur des chansons). Dorico also employed the siren (Libro primo de la Serena) and the cross (Libro primo de la Croce). Flowers became a popular emblem, as seen in an early Neapolitan edition by Caneto (Fioretti di frottole barzelette capitoli .. .), Giunta (Fior de motetti e canzoni), Moderne (Motteti del fiore), and Gardano (Fior de mottetti). Fruit appeared in Gardano’s series (Motetti del frutto), and fame in a Scotto edition (Madrigali de la Fama). 48. Flowers, fruits, and crowns symbolize the music. Fame refers to one of Scotto’s printer’s marks (see chap. 3). The monkey eating fruit in the Bugihat and Hucher edition, as Mary Lewis was the first to point out, alludes to both the address of Gardano’s press on the Calle de la Scimia, and Gardano’s earlier Mottetti del frutto edition. See “Antonio Gardane’s Early Connections,” 209-26. 49. For the use of the labyrinth woodcut in Scotto’s earlier literary publications, see chap. 3. 50. A reproduction of the ceiling appears in Sergio Bertelli, Franco Cardini, and Elvira Zorzi, Le corti italiane del Rinascimento (Milan, 1985), 100. 51. For the latest summary of Contino’s life see the introductions to Giovanni Contino, Modulationum quinque vocum ... liber primus (Venice, 1560), ed. Richard Sherr (Sixteenth-Century Motet 25; New York and London, 1994), and /! primo libro de’ madrigali a cingue voci (1560), ed. Romano Vettori (Monumenti musicali italiani 13; Rome, 1987). 52. Sherr’s views on the dating of his years of service with Madruzzo and as maestro di cappella at the cathedral of Brescia differ from others’; see his introduction to Giovanni Centino, Modulationum quinque vocum ... liber primus. See Paolo Guerini, “Giovanni Contino di Brescia,” Note d’archivio | (1924): 130-42; Vettori, “Note storiche,” 18-21; and Steven Ledbetter, “Marenzio’s Early Career,’ JAMS 32 (1979): 304-18.

199

Historical Study

Contino was possibly insecure about his current position or looking around for another one. It was at this time that he had a set of at least ten editions printed in Venice. The exceptionally large number of publications suggests that the composer intended them as an opera omnia. The dedications of his editions indicate that Contino spread his net out widely. Four of them honor his patrons in Brescia. He dedicated his Introits to Domenico Bollani, bishop of Brescia, and his Hymns and Lamentations to the canons of the cathedral. He paid homage in his only surviving book of madrigals to Barbara Calina, a Brescian patron with connections to the Accademia degli Occulti.°3 The dedications of Contino’s other publications refer to his years at Trent. His Masses and First Book of Six-Voice Motets express his indebtedness to his former employer, Cardinal Madruzzo. Books one and two of five-voice motets pay respect to Cardinal Otto Truchsess von Waldburg and Duke Albrecht of Bavaria, both of whom the composer most assuredly met in Trent. Right after the printing of his opera omnia in 1561, Contino went to Mantua, where he joined Duke Gugliemo’s musical establishment. His move to the Mantuan court comes as no surprise, in light of the close relationship between the composer’s early patron Cardinal Madruzzo and Cardinal Ercole Gonzaga. While Giaches de Wert and Alessandro Striggio did not work at the Mantuan court during the 1560s, they nevertheless had strong connections with various members of the Gonzaga family. The Mantuan Gonzagas might have recommended the Scotto firm to Wert when he was ready to have his first book of madrigals printed. Wert dedicated his Primo libro de madrigali a cinque voci (1558) to Count Alfonso Gonzaga of Novellara, a member of a minor branch of the family who maintained ties with the Mantuan court. Wert’s Mantuan—Milanese connection is also revealed in // primo libro de madrigali a quatro voci (1561), which he dedicated to Fernando d’ Avalos, marquis of Pescara and Vasto and governor of Milan. Fernando was married to Isabella Gonzaga, sister of Duke Guglielmo of Mantua. As Wert revealed in his edition, the dedication came at the suggestion of Camillo Gonzaga, the eldest brother of Count Alfonso of Novellara. The Mantuan nobleman Alessandro Striggio also commissioned Scotto to print his madrigals. Though he entered the service of Cosimo I de’ Medici, duke of Florence, in 1559, Striggio continued to have strong ties with the Mantuan court. After the publication of his first two books of madrigals, he sent copies of each of his editions to Duke Guglielmo Gonzaga along with a letter dated 1 June 1560.>4 Unlike Wert, who after his second book of five-voice madrigals switched to Gardano as his main printer, Striggio remained a loyal client of the Scotto press. Other composers honored various members of the Gonzaga family with dedications of music editions printed by Scotto. Matteo Rufilo paid homage to Cesare Gonzaga, prince of Molfetta and son of Ferrante Gonzaga, duke of Guastalla in his first book of five-voice madrigals (1561). In 1562, Paolo Clerico dedicated his two

53. See Giovanni Contino, // primo libro, ed. Vettori, p. viil.

54. Butchart, “First Published Compositions of Striggio,” 27. | 200

The Late Years (1554-1572)

books of five-voice madrigals to Cardinal Ercole Gonzaga, with the second book containing two madrigals composed by Ercole’s distant cousin, Scipione Gonzaga. In his First Book of Four-Voice Madrigals (1563), the Paduan composer Francesco Portinaro praised Scipione, who was at that time a student at the University of Padua.°>

Even when the famous Roman composer Giovanni Pierluigi da Palestrina wished to have a music edition for the Mantuan court printed, he turned to the Scotto press. From 1555 until 1572, Palestrina had his first editions printed exclusively by the Roman firm of Valerio Dorico.*® The Dorico press ceased operations in 1572. With no viable music printer in Rome, Palestrina had to seek publication of his music elsewhere. The Second Book of Motets of 1572 was the first collec-

tion of sacred music by the Roman composer issued by a Venetian press. The choice of the Scotto firm comes as no surprise, considering that Palestrina dedicated the edition to Duke Guglielmo Gonzaga. The composer’s association with Guglielmo began as early as 1568 when they exchanged letters and their own musical compositions.>’ Palestrina presumably wrote the two eight-voice motets, Gaude Barbara beata and Beata Barbara, which appear in the Second Book of Five-Voice Motets, especially for Guglielmo’s palatine basilica of Santa Barbara. He also included motets by his two sons, Rodolfo and Angelo, and his brother Silla in the 1572 edition. Apparently, Palestrina hoped

to secure a position at the Mantuan court for his eldest son, Rodolfo. After Guglielmo received the edition, he rewarded the composer with 25 scudi and the promise of a post for Rodolfo as organist at the basilica of Santa Barbara.>® But tragedy struck the Palestrina family, for on 20 November, only one month after the publication received a privilege, Rodolfo died of the plague. Less than two months later, his uncle, Silla, also fell victim to the plague.

SCOTTO’S CONNECTIONS WITH NAPLES AND SICILY

Girolamo.Scotto not only capitalized on his associations with Mantua and Trent, he also benefited from his printing network to the south. We have seen that one of the main outposts for the Scotto firm was Naples, home of the popular canzone villanesca alla napolitana. Scotto’s business connections in Naples (his nephew, Gio-

vanni Maria Scotto, operated a press there from before 1548 through at least 55. On Scipione as a music patron see Fenlon, “Cardinal Scipione Gonzaga (1542-93): ‘Quel padrone confidentissimo’,” Journal of the Royal Music Association 113 (1988): 223-49. 56. For an account of the printing of Palestrina’s editions see Jane A. Bernstein, “The Publica-

tion of Palestrina’s Music in Sixteenth-Century Rome and Venice,” in Atti del convegno di studi palestriniani: 6-9 ottobre 1994 (Rome, forthcoming). 57. Transcriptions of the correspondence appear in Bertolotti, Musici alla corte dei Gonzaga,

47-52. See Fenlon, Music and Patronage, 1: 90-92 for a general description of the relationship between the composer and duke.

58. Cametti, Palestrina, 158. 201

Historical Study

1566)°° presumably helped him gain access to this new genre. As early as 1541 Scotto brought out the first Venetian edition of three-voice canzoni villanesche alla napolitana by a Neapolitan composer. The publication of Giovanni Domenico da

Nola’s first and second books of villanesche generated a flurry of four-voice arrangements of this imported genre by resident composers in Venice, and, during the 1540s, both Scotto and Gardano regularly issued editions of three- and fourvoice canzoni villanesche by Neapolitans and northerners.® The two Venetian publishers continued to print music editions with Neapolitan connections for the next thirty years, but Scotto clearly became the prime printer for the Neapolitan market, with nearly double the extant editions as Gardano.®! Neapolitan composers, whose works appeared in Scotto publications during the 1540s and 50s, included Heliseo Ghibel, Giandominico La Martoretta, Marc’ Antonio Volpe, Gioan Battista Melfio, and Stefano Lando. Musicians from the Abruzzo such as Bernardino Cammefresca (i.e., Lupacchino), Cesare Tudino, and Marc’ Antonio Mazzone of Miglionico also used the Scotto press. In the 1560s, Neapolitans who either remained in the Kingdom of Naples or left for northern Italian centers, such as Matteo Rufilo (worked for Gonzagas), Paolo Lagudio, Giovan Leonardo Primavera (lived in Venice), Giulio Ciccarelli, Michele Califano, and Massimo Troiano (lived in Treviso) sought out the Scotto firm for their publications. The Sicilian towns of Palermo and Messina were also important trading centers for the Scotto press. As with Neapolitan composers, several musicians connected with Sicilian courts had their music printed by Scotto. Girolamo’s ties with the

island apparently grew stronger during the latter part of his publishing career. , Giandominico La Martoretta and Salvatore di Cataldo sent their music to Scotto for publication. The most important and prolific composer was Pietro Vinci. Born in Nicosia, Vinci maintained important ties with Sicily, returning there after working in several parts of Italy. His chief appointment was as maestro di cappella at Santa Maria Maggiore in Bergamo from 1568 until 1580. He remained a loyal client of the Scotto firm, having nearly all of his publications printed by the press.

GARDANO’S ASSOCIATION WITH FERRARA

As we have seen, Ferrara already had a music press when Gardano began his publishing house. Buglhat, Hucher, and Campis inaugurated their music-printing

59. See chap. 2. 60. Cardamone, The Canzone villanesca, 1: 13. 61. A complete list of music editions with connections to Naples appears in Keith Larson and Angelo Pompilio, “Le edizioni musicali napolitane,” in Musica e cultura a Napoli dal XV al XIX secolo, ed. Lorenzo Bianconi and Renato Bossa (Quaderni della Rivista 9; Florence, 1983), 103-39 at 107-111. See also Larson, “The Unaccompanied Madrigal in Naples from 1536 to 1654” (Ph.D. diss., Harvard University, 1985) for more detailed information on individual Neapolitan composers,

patrons, and editions. 202

The Late Years (1554-1572)

operation in 1538 with their motet collection Liber cantus. By 1540 the partnership evidently had broken up, when Campis issued Alfonso dalla Viola’s Second Book of Madrigals by himself. Buglhat and Hucher continued to print books in Ferrara for another eighteen years, but their music editions appeared on a sporadic basis. They were evidently unable to compete with the larger Venetian publishers, in particular Gardano, who became the favored press of musicians with ties to the Ferrarese court. In the 1550s and 60s, Antonio Gardano firmly established the tentative connections he had made with Ferrara during the 1540s. The list of dedicatees in appendix B reveals that all but three of the music editions honoring members of the Este family were printed by the Gardano firm. In 1550, Francesco dalla Viola, who first worked for Cardinal Ippolito II d’Este in Rome and then became the maestro di cappella for Prince Alfonso, dedicated his First Book of Four-Voice Madrigals to Alfonso’s sister Leonora. Giulio Fiesco also paid homage to Leonora and Lucretia d’Este in his Musica nova of 1569. Cardinal Luigi d’Este received a dedication from Bertoldo Sperindio in the Second Book of Five-Voice Madrigals of 1562 as well as one from Portinaro in the Second Book of Motets of 1568. Of all the members of the Este family, Alfonso II, who became duke of Ferrara in 1559, was the most avid in his devotion to music. We have already noted his involvement in the publication of Willaert’s Musica nova. Many composers dedi-

cated their music publications to Alfonso. In 1554, Giulio Fiesco paid respect to the then prince with his First Book of Five-Voice Madrigals. A year later, Francesco Manara did the same tn his First Book of Four- Voice Madrigals. Both of these editions were printed by Gardano. After Willaert’s Musica nova, Gardano continued to hold a virtual monopoly on music publications intended for the Este court. Gardano himself signed the dedication to Duke Alfonso in Jacquet Berchem’s monumental Primo, Secondo et Terzo

Libro del Cappriccio of 1561.62 In 1567, Lasso had the Venetian firm print his Fourth Book of Five-Voice Madrigals, which he also dedicated to Duke Alfonso. Even after the death of its founder in 1569, the Gardano firm remained the music press of choice for musicians seeking patronage with the Ferrarese court. When they wished to dedicate their music edition to a member of the Este family, such composers as Girolamo Vespa, Alessandro Milleville, Luzzasco Luzzaschi, Paolo Isnardi, Luca Marenzio, and Giaches de Wert selected the Gardano press.® It was not until 1582, when Alfonso chose Vittorio Baldini as his ducal printer, that exclusive patronage of the Gardano press ceased.®4

62. On the edition see James Haar, “The Capriccio of Giachet Berchem: A Study in Modal Organization,” Musica disciplina 42 (1988): 129-56. 63. A list of madrigal editions relating to Ferrara from 1559 onwards appears in Newcomb, The Madrigal at Ferrara, 1: 251~52, app. 4. 64, On Baldini see Cavicchi, “Baldini, Vittorio.”

203

Historical Study ORLANDO DI LASSO, THE LIBRI DELLE MUSE,

AND THE ROMAN CONNECTION

In addition to Ferrara, Gardano sought out other geographical areas as potential sources for his music publications. He turned his attention to Rome, where several editions of Orlando di Lasso’s madrigals first appeared in the late 1550s. No other composer achieved more widespread fame in his own lifetime than Orlando di Lasso. His works were issued by al] the great Continental music-publishing houses of Munich, Nuremberg, Antwerp, Paris, Louvain, Rome, Milan, and Venice. Over 280 single-composer editions contained Lasso’s music and another 250 anthologies included one or more of the famed Netherlander’s works—a number that goes way beyond the publications of any other sixteenth-century composer.® Lasso’s Italian publishing career began in 1555 with his Primo libro di madrigali a cinque voci.© Though it has been generally assumed that Gardano was the first Italian printer to issue an edition dedicated to the Netherlander’s music, Lasso’s Primo libro di madrigali a cinque voci was probably printed first in Rome by the singer and composer Antonio Barré.®’ For the rest of the decade, Barré and another Roman printer, Valerio Dorico, issued first editions of madrigals by Lasso (Books 2 and 3 a 5 and Book | a 4) and several anthologies containing one or more works by the famous composer. It was natural that the Romans were among the earliest to issue Lasso’s music, since Lasso lived in Rome for about three years before his departure for the north. None of these editions had a connection with the composer, for all the dedications were signed either by the printer or a third party.©8 Though the Romans were responsible for most of the first editions of Lasso’s

early madrigal books, the Venetians were more instrumental in their widespread dissemination. The first two books of five-voice madrigals and the first book of

four-voice madrigals became extremely popular. These three editions were

65. Figures are drawn from James Erb, Orlando di Lasso: A Guide to Research (New York and London, 1990), p. xvi. 66. In the same year Dorico printed in Rome his Villanelle d’Orlando di Lassus e d’altri. . . libro secondo. None of the pieces has an attribution, but apparently only one of the dialect songs can be attributed to Lasso; see Cardamone, The Canzone villanesca, 21.

67. Haar comes to the same conclusion in “The Early Madrigals of Lassus,” Revue belge de musicologie, 39-40 (1985-86): 17-32 at 23. Though the wording of title page (“novamente stampato et datto in luce”) implies that this volume is the first edition of Lasso’s Primo libro di madrigali a 5, the possibility that it had already been printed in Rome by Antonio Barré cannot be ruled out. The clause “newly printed and brought to light’, normally signifying a first edition, also appears on Gardano’s reprinted editions of Lasso’s Second and Third Books of Five- Voice Madrigals and First Book of Four-Voice Madrigals. All of these early madrigal books, however, were first issued in Rome by Barré with dedications. Gardano was not totally dishonest in using the phrase that normally designated first editions. For Gardano, the statement ‘““Novamente stampato et dato in luce” denoted that his publication was printed in Venice for the first time. In that sense, it was a first edition for Venice. 68. In one of the editions, the sponsor of the book states that he came in possession of many madrigals in Spoleto where he held onto them for a while. Barré, in the dedication of the Third Book of Five- Voice Madrigals (RISM L777; 1563!!), reports that he has diligently searched for works by the composer, presumably after Lasso left Italy. The complete dedication appears in Maureen Buja, “Antonio Barré and Music Printing in Mid-Sixteenth-Century Rome” (Ph.D. diss., University of

North Carolina, 1996), 363. 7 204

The Late Years (1554-1572)

reprinted in Venice, mostly by the Gardano press, some fifteen times each during the course of the next three decades. The ties Venetian music printers had with Rome were not limited to Lasso editions, but also included other Roman music publications. The Libri delle Muse, a group of anthologies, reappeared as Venetian editions almost immediately after their debut in Rome. The series, first printed by Antonio Barré from 1555 to 1563, consisted of books of madrigals, villanelle, and motets divided by genre and number of voices.®? It contained a repertory hitherto unknown in northern Italy by composers chiefly working in Rome, such as Palestrina, Lasso, Monte, Animuccia, Matelart, Ferro, and Barré himself. It also presented genres not yet in vogue in Venetian circles during the 1550s, in particular the four-voice madrigale arioso.’° The Libro delle Muse series was also among the earliest collections to include a consistently large number of multi-stanza canzone or madrigal cycles.’! All of these factors had a significant influence on later Venetian publications. When Barré stopped printing music editions in the mid-60s, Gardano and other Venetian publishers continued to bring out several important first editions devoted to Lasso as well as publications containing the works of Roman-based musicians. To acquire more of Lasso’s music, Gardano turned north to the Bavarian court in Munich. In 1565 the Venetian printer issued Lasso’s Sacrae lectiones ex Propheta lob. It contained a verse dedicated to Duke Albrecht V of Bavaria by Nicolo Stoppio, the duke’s bookdealer and agent in Venice. During the following year, Gardano brought out first editions of Books Two, Three, and Four of Lasso’s motets and the first Mass by Lasso to be published.’ But the most notable publication issued by the Venetian printer during these years was the Libro quarto de madrigali a cinque voci of 1567.’3 The Libro quarto was probably the only edition printed in Italy in which the composer took an active participation. As noted above, Lasso dedicated the work to Duke Alfonso II d’Este of Ferrara. The composer presumably oversaw part of the production of the edition, since he was in Venice in May 1567. From Venice he went to Ferrara, where on 9 June 1567 he presented his newest publication to Duke Alfonso.74 69. For a list of the series with their reprints see Haar, “The ‘Madrigale Arioso’: A Mid-Century Development in the Cinquecento Madrigal,” Studi musicali 12 (1983): 203-19 at 204 n. 3. Discussion of the series also appears in Buja, “Antonio Barré,” 75-100. 70. Haar, “The ‘Madrigale Arioso’)’ 203~19. 71. Madrigal cycles did appear in earlier Venetian publications such as Doni’s Dialogo della musica (1544) and Rore’s Terzo libro delle madrigali a 5 (1548), and several Venetian publications of single-composer editions of the 1550s contained madrigal cycles, but the consistency and profusion of multi-stanza canzone in anthologies did not take hold until the Libri delle Muse series. For a discussion of the canzone during the 1550s see Lewis, Antonio Gardano, 2: 45-63. 72. The Mass appeared in the collection Liber missarum quatuor cum quinque et sex vocum.. . liber primus (RISM 1566!), which also included Mass settings by Rore and Annibale Padovano. 73. A detailed discussion of the edition appears in Haar, “Le muse in Germania: Lasso's Fourth Book of Madrigals,” in Orlandus Lassus and his Time. Colloquium Proceedings Antwerpen 24-26. 08. 1994, ed. Ignace Bossuyt, Eugeen Schreurs, and Annelies Wouters (Peer, 1995), 49-72. 74. The Venetian Senate granted Gardano a privilege for the edition on 26 June 1567, after he printed the edition and Lasso presented it to Alfonso in Ferrara (Gardano started the process on May 26). For transcriptions of the documents see Agee, “The Privilege and Venetian Music Printing,” 263-65.

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During this same period other Venetian presses also printed first editions of Lasso’s music. Girolamo Scotto came out with the Quinque et sex vocibus perornatae, sacrae cantiones nunc primum ... liber secundus in 1565. The contents of this book were completely different from the Liber secundus of motets issued by Gardano a year later. Both the title page and dedication inform us that Giulio Bonagiunta, a singer at St. Mark’s, was responsible for the publication. In his dedication, Bonagiunta mentioned receiving the motets as a gift from Lasso, “which, thanks to the composer’s courtesy, [ was to use as I pleased; I decided to put them in print and publish them.”?5 Bonagiunta underwrote other editions containing Lasso’s music, which Scotto and even Merulo printed during the late 60s. Lasso’s name figures prominently on the title pages of Bonagiunta’s two anthologies, Primo libro de gli eterni motetti and Terzo libro del Desiderio madrigali a quattro voci, printed by the Scotto press

in 1567. In 1568 Merulo printed a fifth book of Lasso motets for Bonagiunta. Merulo also issued the earliest extant edition devoted exclusively to Mass settings by Lasso. Although the title, Quingue missae suavissimis modulationibus refertae, una quinque reliquae vero quatuor vocibus . . . liber secundus, implies the existence of a first book of Masses that no longer survives, Merulo might have consid-

ered Gardano’s 1566 collection of Masses, which contains Lasso’s Missa In te , domine for six voices, as the “liber primus.”76 While all of the city’s music publishers printed and reprinted a succession of Lasso editions, Antonio Gardano remained the foremost Venetian publisher of the Netherlander’s music during this period. By reprinting anthologies first issued in Rome, Gardano and other Venetian printers helped in the dissemination of a new repertory. The Roman association proved a valuable one not only for Lasso’s madrigals, but also for the reintroduction in Venetian publications of another popular genre, the canzone villanesca alla napolitana.

CANZONI VILLANESCHE PUBLICATIONS

The 1560s witnessed a flurry of activity in the publication of this lighter secular form by Venetian music printers. Girolamo Scotto, in particular, printed and reprinted some fifty editions of this genre between 1560 and 1570—more than the output of the two previous decades combined.’ The most popular series of the decade was the Villotte alla napolitana for three voices. Containing a large reper-

75. “cum ab Orlando Lasso ... magistro cantiones aliquae, vulgo Mottetta, nuncupata mihi donata fuissent, quibus authoris liberalitate mihi pro meis uti licet, typis mandare, ac tui praeclarissimi nominis inscriptione illustrata emittere, publicareque volui. . . .’ See Catalogue no. 259 for the complete dedication. 76. Another anthology, Praestatissimorum divinae musices auctorum missae decem, quatuor, quinque & sex vocum. .. (RISM 1570!) containing three Lasso Masses was issued by Pierre Phalése in Louvain. See Vanhulst, Catalogue des éditions, 153.

77. Cardamone, The Canzone villanesca, 1: 29. | 206

The Late Years (1554-1572)

tory of anonymous Neapolitan villanesche, the collection was originally conceived as a set of four books, which by the next decade grew to six volumes. Gardano issued the first three or possibly four books in 1560./8 Though he introduced this repertory to the Venetian public, Gardano was not the first to print it. Like the Libro delle Muse anthologies and Lasso madrigal editions, Gardano owed the inspiration for the Villote series to the Roman printer Antonio Barré, whose Secondo libro delle muse a tre voci. Canzon villanesche alla napolitana of 1557 served as the source for Book Two of Gardano’s collection.’? The Villote series proved very popular and was reprinted several times throughout the decade by the Gardano firm.8°

In 1562 Scotto brought out his own edition, Li quattro libri delle villotte alla napolitana. As the title implies, Scotto consolidated the four books into one volume, thus producing a more economical version of the publication.®! The success of the Villote series encouraged Scotto to continue to promote publication of three-voice dialect songs, making them a specialty for his printing firm.

Villanesche by a new generation of Neapolitan and northern Italian composers

appeared in a variety of collections. Giovan Leonardo Primavera, Massimo Troiano, Marc’ Antonio Mazzone di Miglionico, and the shadowy figure Nicolo Roiccerandet Borgognone, who were all in Venice during the latter half of the 1560s, compiled editions containing their own villanesche as well as those by such Neapolitans as Giovanni Leonardo dell’ Arpa, Giovanni Domenico da Nola, and Rinaldo Burno. Giulio Bonagiunta also compiled two anthologies featuring villanesche by northern composers associated with Venice and/or the Bavarian court such as Claudio Merulo, Vincenzo Bellavere, Ivo de Vento, Francesco Londariti, and Gioseffo Guami. The popularity of three-voice villanesche did not wane, but continued into the next decade with the publication of works by such lesser-known composers as Pinello, Venturi, Zappasorgo, Policreto, and Bianco, all of whom restricted themselves to the writing of dialect songs. The revitalized canzone villanesca alla napolitana became one of the featured musical genres of the Scotto firm. Another specialty publication that was introduced at the Scotto press during the 1560s was a new kind of musico-literary anthology.

THE EDIZIONE COLLETTIVA: MUSICO-LITERARY ANTHOLOGIES

While the preferred music publication from the marketing point of view during the 1540s and 50s was the single-composer edition, by the 60s the concept of pub78. Since the wording of the title pages is the same for his 1562 reprints, it is possible that Gardano brought out all four books in 1560, of which only the first three survive. 79. Gardano might also have appropriated other volumes of villanesche from Barré’s Libro delle Muse series, in particular the first and possibly the third and fourth books, which are now lost. 80. See Cardamone, The Canzone villanesca, 2: app. C, pt. 3 for a table illustrating the relationships of the editions for the first five books. 81. See Catalogue no. 226.

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lishing an organic collection of works by several composers took hold as a viable alternative in attracting patronage.’ Practically none of these edizioni collettive were sponsored by the printer. Instead, an outside party—usually a musician who had access to the works of other composers—-assembled, edited, and financed the edition. The most important and most influential of these anthologizers was Giulio

Bonagiunta. He inaugurated this new type of publication, when, in 1565, he launched a series of anthologies at the Scotto press. In all, he sponsored, edited,

and underwrote some seventeen editions with the help of other bookmen and patrons.®3

The concept of an anthology publication was not new in the mid-sixteenth

century. Indeed, scribes before the age of printing organized their music manuscripts as miscellanies. Even after the shift from script to print, collections of individual works by a variety of composers continued as the main blueprint for

| music publications, as seen in the editions issued by Petrucci and other early music printers. North of the Alps, the anthology or recueil continued to remain the primary type of music publication for printers throughout the sixteenth century. When Venetian music printing entered the commercial age in the early 1540s, however, Gardano and Scotto quickly moved away from anthologies in favor of singlecomposer editions. Commercial factors played an important role in this change. Editions comprised of a miscellany of works by different composers apparently did not have enough panache to sell well on their own. Gardano and Scotto had to use different marketing ploys in order to make their anthologies more appealing. They employed fanciful titles, organized single editions into series, and even at times disguised anthologies as single-composer editions by promoting the most marketable composer in the edition on the title page. The anthologies of the 1560s differed markedly from those of earlier decades in that the compiler, whether it be a printer or an external editor, sought to fashion the collection into a unified musico-literary work, what has been called the edizione collettiva.8* Though the integrative aspect tended to vary with each anthology, the key unifying element found in all these collections was a particular musical genre—the madrigal cycle. With the madrigal cycle, the composers of the time created a large-scale musical work by setting each verse of a multi-stanza poem, such as an entire canzone, sestina, or series of ottave, to different music. Complete settings of canzoni first emerged in the 1540s. Jacquet Berchem’s setting of the Petrarch sestina Alla dolc’ombra delle belle frondi, which appeared in Doni’s

82. Haar notes this phenomenon, particularly in its Jater phases in the 1580s, in Essays on Ital-

ian Poetry and Music, 130 n. 16. For an overview of printed madrigal anthologies, see Franco Piperno, “L’ antologia madrigalistica a stampa nel Cinquecento,” in Gli Eccellentissimi musici della citta di Bologna con uno studio sull’antologia madrigalistica del Cinquecento (Florence, 1985), | 8h For a discussion of the financial aspects of Bonagiunta’s editions see chap. 6. On the editions themselves, see Ongaro, “Venetian Printed Anthologies,” 43-69. 84. Bianconi, “Il Cinquecento e il Seicento,” 342 n. 21.

, 208

The Late Years (1554-1572) Dialogo della musica (1544),®> and Rore’s twelve-part setting of Vergine bella, completed in 1548-49,86 count among the earliest madrigal cycles.8” Throughout the 1550s, the multi-strophe form rose to prominence in singlecomposer publications. Ruffo, Gero, Ciera, Alessandro Romano, Lando, Spontone, and others all tried their hand at this genre. Venetian music printers shied away from using the madrigal cycle in their anthologies of the 1550s. The Roman printer and composer Antonio Barré, on the other hand, was the first to feature it in his anthology series Libro delle Muse (1555-63).88 He devoted his inaugural volume

of five-voice madrigals (1555) to four different madrigal cycles by Arcadelt, Berchem, Ruffo, and himself, and in his second book (1557) he introduced Lasso’s five-voice setting of the Petrarch sestina Standomi un giorno. The sense of musico-dramatic unity in the anthology did not occur in tts full

form until the mid-1560s, with the appearance of the Bonagiunta editions and other Scotto publications.8? The degree of musical integration varied with each anthology. In some cases, it meant the presentation of several madrigal cycles by different composers as in Gli amorosi concenti (1568), which included two sestine

by Andrea Gabrieli and Rossetto and a five-stanza canzone by Monte. In other instances, the anthology publication contained a canzone de diversi, that is, a collaborative setting by a group of composers of a single madrigal cycle, as in // Gaudio (1567). Here, each stanza of Luigi Alamanni’s sestina Mai non voi pitt cantare is set by a different composer, most of whom have some connection with Venice.” The selection of composers to represent the musical taste of a specific city or court also served to unify an anthology. Musica de’ Virtuosi (1569), compiled by Massimo Troiano, for example, included only musicians associated with the court of Duke Albrecht in Munich. It contains two canzoni; the first work, the thirteenstanza Al dolce suon del mormorar de l’onde, begins with a stanza set by Lasso.?! The commemoration of a special event in a canzone de diversi also lent added

weight to the integration of a collection or raccolta celebrativa.?* I dolci frutti (1570), for example, contains an eleven-stanza canzone either celebrating the

85. Haar, Essays on Italian Poetry and Music, 91 and Einstein, Italian Madrigal, 1: 432. Gardano reissued Berchem’s cycle in his 1555 edition of Jl primo libro de le muse. 86. Lewis, “Rore’s Setting of Petrarch’s *Vergine Bella’.”

87. Giaches de Ponte’s Cinquanta Stanze del Bembo . . . (Venice: Gardano, 1545) (RISM P5073) should also be mentioned. 88. Haar makes a fascinating correlation between the cyclic madrigal and the melodic formulae of improvvisatori in Essays on Italian Poetry and Music, 92. In addition to featuring cyclic madrigals

in his anthologies, Antonio Barré also published a series of volumes devoted to the madrigale arioso, a genre which emulated the stock melodies of the improvvisatori. 89. See Piperno, “L’ Antologia madrigalistica,”’ 12-16; also Ongaro, “Venetian Printed Anthologies,” 43-46. 90. The composers in question are Merulo, Andrea Gabrieli, Bonardo, Grecco, Mira, and Grisonio; see Catalogue no. 297. Piperno, “L’ antologia madrigalistica,” 15, suggests that the canzone de diversi served as a type of competition between the composers involved. 91. See Catalogue no. 333.

92. The term is borrowed from Amedeo Quondam, // naso di Laura (Ferrara, 1991), 136, as cited by Ongaro, “Venetian Printed Anthologies,” n. 8.

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Historical Study

imminent formation of the Holy League against the Turks (stanzas 9 and 11, in particular, praised Pope Pius V and Philip II of Spain as well as Don John of Austria, the “noble son of Charles V,” who was chosen to command the fleet), or it glorifies Margaret, duchess of Parma. Each stanza is set by a different composer. The composers are grouped according to where they live, beginning with the Venetian composers, Donato, Merulo, and Zarlino, continuing with the Roman, Animuccia, Bonardo who worked in Padua, Contino, and Wert—identified with Mantua—and ending with other composers from the Venetian Republic: the Venetian Andrea Gabrieli, the Paduan Costanzo Porta, and finally Martinengo, who was then maestro di cappella at Verona cathedral. One of the most successful occasional anthologies of the period was the Corona della morte dell’Illustre Signore... Anibal Caro, a volume commemorating the death of the famous writer and humanist Anibal Caro. What is unusual about this edition is that both the sonnets and the music were commissioned especially for the volume, bringing together the contributions of several eminent writers and composers.?3 The unity of the work originates with the text, in which each stanza invokes Caro’s name. Furthermore, the “corona” of the title relates specifically to the form of the poem, whereby the last line of the preceding stanza becomes the first line of the next, thus creating a cyclic form.?4 While Scotto encouraged the publications of these new raccolte, Gardano con-

tinued to cater to the single-composer market. He did produce one magnificent col- , lection in the 1560s, the Novus Thesaurus Musicus. This edition is significant not only because it is a edizione collettiva, but also because it points to Gardano’s ties

with principalities across the Alps. , GARDANO, TRANSALPINE CENTERS, AND THE NOVUS THESAURUS MUSICUS

During the 1560s, Gardano’s sources for commissioned editions extended north to various German-speaking centers. Composers working in Munich, Augsburg, and Vienna tended to favor Gardano for their publishing needs. We have already noted that Lasso, after arriving at the Bavarian court, used Gardano as his primary Venetian printer. Other musicians associated with northern patrons also sought out the

Gardano press. The Netherlander Jacobus Kerle came to Venice to oversee the printing of his psalms and Magnificat settings at the Gardano press in 1561. Kerle,

who spent the early part of his career in Orvieto, met Cardinal Otto Truchsess,

93. Among the literary contributors were Caro’s nephew, Giovanni Battista, who helped to write and assemble the text, Battista Zuccarino, Domenico Venier, Girolamo Fenarolo, and Cardinal Boba. The impressive array of composers requested to set each sonnet included Merulo, Andrea Gabrieli,

Palestrina, Zarlino, Grisonio, Schietti, Comis, Anville, Adriani, Ghibel, Bellavere, Raimondo, Sperindio Bertoldo, and Renaldi. See Catalogue no. 313. 94. I am grateful to Giulio Ongaro for sharing this observation with me.

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The Late Years (1554-1572)

Lord High Steward of Waldburg and bishop of Augsburg, in 1559. Cardinal Otto commissioned Kerle to write for the Council of Trent the Preces speciales, which Gardano printed in 1562. Kerle remained in the service of the cardinal off and on from 1562 until 1568, when he was appointed vicar-choral at Augsburg cathedral. Composers in the service of the Imperial court in Vienna also had ties with the Gardano press. Jacobus Vaet, the Kapellmeister to Archduke Maximilian of Austria from 1554 until his death in 1567, had two books of motets printed by Gardano in 1562. In 1568, Philippe de Monte assumed Vaet’s position at the court of Emperor Maximilian II. One of the most prolific composers of the sixteenth century, Monte had at least thirty-four books of madrigals, ten books of motets, and five books of madrigali spirituali published in Venice. For a time, he alternated between the two Venetian printers for his editions. Before his arrival in Vienna in 1568, two of his madrigal books were printed by Gardano. Then with his career secured, Monte embarked on an ambitious publishing program. During the four-year period of 1569-73, the Scotto firm issued at least six editions. Monte switched to the Gardano press in 1574; from that time until the composer’s death in 1603, a seemingly unendless stream of his publications was printed by Gardano’s heirs, with only a handful of editions printed by the Scotto firm in 1580-81. Of all the commissioned publications with ties across the Alps, the Novus Thesaurus Musicus was by far the most sumptuous. Printed by Gardano in 1568, the Novus Thesaurus Musicus was edited and compiled by Pietro Giovanelli, a member of a wealthy merchant family from Gandino. Giovanelli presumably financed the magnificent edition, which contained 254 motets, mostly by composers active in Austria at the Habsburg court chapels of the Emperor Maximilian II and his brothers, Archduke Ferdinand of Tyrol and Archduke Charles of Styria.?° Intended as a private commemorative edition for an elite audience, it was the most ambitious music anthology published in mid-sixteenth century Venice. The Novus Thesaurus Musicus was the most elaborate publication ever printed by Gardano, who used the same upright quarto format, large paper size, initials, and music and text type fonts that he had employed some ten years earlier for the Musica nova,.?© But the comparison with the earlier publication stops here, for the Novus Thesaurus was far more complicated to produce. Though printed as a series of five separate books, the set was conceived as one huge edition. The Gardano press employed continuous pagination from one volume to the next, so that all five volumes might be bound together. The publication thus consisted of six partbooks with a total of 468 pages each—by far the largest single music edition issued by any sixteenth-century Italian printer. Of particular typographical interest were a number of different, specially printed presentation leaves added to several copies. These copies have their own brief dedicatory preambles addressed to such impor-

95. See Pietro Giovanelli, comp., Novus Thesaurus Musicus (1568), ed. Albert Dunning (CMM 64; AIM, 1974), 5: p. vii. 96. The physical description of the edition is based on Lewis’s discussion in “The Printed Music Book in Context,” 907-12.

211

Historical Study tant figures as Cardinal Borromeo, the dukes of Bavaria, Saxony, and Mantua, and the bishop of Bergamo.?7

IT IS CLEAR THAT A SPIRIT of cooperative enterprise endured between the two music printers throughout their publishing careers. Scotto and Gardano learned early on that in order to succeed, they had to follow procedures observed by the

printing industry at large. They carefully struck a balance in the production of commissioned works, independently financed publications, and reprinted editions. Furthermore, they recognized the importance in maintaining separate sub-specialties and obtaining their music from different geographical sources.

The case studies presented above have highlighted different and sometimes complex aspects of their business procedures. Those dealing with commissioned editions have addressed some especially crucial issues. The thorny matter of the composer’s financial involvement was tackled in the case of Willaert and Rore. The music publications of Vincenzo Ruffo demonstrated the different ways in which single-composer editions were funded, with Ruffo paying for some of his first editions, others apparently commissioned by another party, and a third group of editions clearly financed by printers. Doni’s Dialogo della musica furnished us with an unusual example of a vanity book—one that was not initiated by a com-

poser or printer, but by a third party, whose intent as compiler of the edition was , to create a commercially successful product. On the other end of the spectrum was the commissioned edition sponsored by a third party not for financial gain but for the achievement of fame and public recognition. Willaert’s Musica nova and Zantani’s La eletta di tutta la musica intitolata corona diversi provided extreme examples, where self-aggrandizement by the two patrons was played out in a notorious dispute. We have also observed the strategies followed by Gardano and Scotto in their independently financed publications. The most significant practice was the formation of partnerships among two or more printers and publishers. Though difficult to discern, consortia were apparently just as common in the specialty of music printing as they were in other fields. Several examples have emerged in these chapters.

One concerned a group of twenty-two unsigned music editions dating from ) 1545-47, which was sponsored by no fewer than three printers: Girolamo Scotto who commissioned the edition, his cousin Ottaviano Scotto di Amadio who did some of the presswork, and the Paduan printers Jacopo Fabriano and Bernardo Bindoni, who were responsible for four of the books. Another example involved a series of mostly musico-literary anthologies assembled by Giulio Bonagiunta, who obtained financial backing from several bookmen. Acting either individually or as a consortium, the group included Girolamo Scotto, who served as the main printer; Claudio Merulo and Francesco Rampazetto, who did the presswork for two of the

97. For an example of one of these presentation leaves see ibid., 911. . 212

The Late Years (1554-1572)

editions; and no fewer than three other publishers, whose devices appear on the title page. Even more significant to our study is the case of the 1541 edition of the Gero Duos, which points to an association between Scotto and Gardano. Here, Gardano did the presswork, while Scotto, who signed the dedication, underwrote the edition. This example and the others described above lead one to believe that the two printers might have collaborated on editions more often than extant evidence suggests. Certain marketing strategies played a key role in minimizing competition between the two music presses. They also defined the musical repertories published in Venice. We have seen how Scotto and Gardano altered the editions they reprinted. They would rearrange the order, omit and/or add new pieces, separate or combine whole editions, or simply retitle their reprinted editions. These changes may be perceived as marketing tactics whereby the printer could proffer improved even new editions to the public. Another marketing ploy was the multi-volume series. By arranging their anthologies and single-composer volumes into sets, the two printers created an effective selling device, particularly for “repeat” customers and bibliophiles who were interested in collecting complete series of editions. The two most telling business strategies observed by Scotto and Gardano were sub-specialization in certain repertories and the cultivation of different geographical sources from where they obtained their new editions and commissions. From the very beginning of their careers, the two printers deliberately avoided direct competition by bringing out different repertories. Scotto emphasized sacred music editions devoted to single composers, while Gardano mostly printed motet anthologies. Gardano’s other repertories included the Arcadelt madrigals and the note nere anthologies. The separation of repertories between the two presses persisted into the later years. Scotto featured the lighter villote alla napolitane and the musicoliterary madrigal anthology. Gardano, on the other hand, continued to stress singlecomposer editions. That proprietorship of new repertories was taken very seriously by printers can be observed in the case of the Arcadelt madrigals. Gardano was the first printer to issue an edition of Arcadelt madrigals. When the Scotto press released a second book containing an entirely new repertory of Arcadelt madrigals, Gardano became furious. His rage had nothing to do with the reprinting of music, rather it concerned the right of exclusive ownership of a specific musical repertory that he believed belonged to him. The crucial business practice that enabled the two printers to publish distinct repertories was the acquisition of music from separate locations. During his long publishing career, Gardano maintained an important association with the duchy of Ferrara. In later years, he also had significant connections with Rome and with German-speaking centers across the Alps. Scotto, on the other hand, looked westward to his native Lombardy, and then to Mantua and Trent. He also had established links with Naples and Sicily. Through their business acumen, these two giants of the Venetian music-printing

industry played a pivotal role in establishing their specialty as a successful 213

Historical Study commercial venture. In the spirit of cooperative enterprise, they produced separate repertories, commissioned works, reprinted popular editions, and devised all sorts

, of marketing schemes—from the creation of series with fanciful titles to the refashioning of reprinted editions—to sell their music books. By streamlining their production methods and tapping into Venice’s trade routes, they were able to disseminate music to a larger and more diverse audience than hitherto imagined. In so doing, they transformed the Venetian music press from a narrowly focused artistic endeavor into an international business, which influenced composers and patrons alike. Scotto and Gardano also had a profound impact on our modern world, for, by producing an enormous body of musical works for all occasions, they bequeathed an important legacy that has enabled us to expand our knowledge of the life and culture of Cinquecento Europe.

214

PART II

Catalogue of Music Editions

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PREFATORY NOTE

laa ——— his part of the study focuses on the books published by the , sae Scotto press from the years 1539 to 1572. The music catalogue } od NN VASA describes all editions that have survived into the twentieth cen-

She es) tury. It is divided into two parts. The first section lists editions SA EA of polyphonic music and lute tablatures; the second part provides an account of ten missals and one music treatise. Non-musical publications issued by the Scotto press during this period are presented in a short-title catalogue in appendix D. Finally, lost music editions known only through sixteenth- and seventeenth-century sources are recorded in appendix E. It has been my intention to create a one-volume work, that, while accessible to a wide interdisciplinary audience, will be easy to use by its primary readership, music historians. | have adapted the principles of bibliographical description established by literary bibliographers for transcriptions of title pages, colophons, and dedications, as well as the sections concerning collation and technical notes, which comprise the first part of each entry. I have, however, departed from conventional bibliographical procedures for the remainder of each entry. This is particularly evident in the listing of the contents. Strictly speaking, this section should contain a description of the first line for each partbook separately, with distinctions made between partbooks. It should be a diplomatic transcription containing all typographic characteristics found in the partbooks, such as original orthography, distinction of type font, contraction signs, repetition of words, the letter u serving for the letter v and the letter 7 used for the letter j (and vice versa). Since my aim is to provide the reader with easy access to the repertory, I have tried to make the listing of the contents less complex than traditional bibliographical description requires by modernizing certain typographical features, while at the same time retaining as much of the original as possible (see no. 9 below for details). 217

Prefatory Note Those who have used Mary S. Lewis, Antonio Gardano, Venetian Music Printer, 1538-1569, a Descriptive Bibliography and Historical Study, will recognize a similarity between the structure of her catalogue and mine. I have made the basic for-

mat of the Scotto catalogue conform with hers so that readers who wiil be using the two studies in conjunction can move back and forth between them with greater ease. Headings, nomenclature of certain typographical features, and even specific aspects of the Jayout also correspond. My catalogue, however, deviates from Lewis’s in several ways. The most conspicuous difference is the absence of concordances. The listing of every known sixteenth-century manuscript and printed source for over 6,000 individual pieces would have expanded the length of my

, study to four volumes, rendering the catalogue too cumbersome to use. Since many of the editions published by Scotto were also brought out by Gardano, much of the information regarding concordances of separate pieces already appears (or will

| appear) in the Lewis catalogue. In addition to the absence of concordances, the short-title heading and the bibliographical listings of the Scotto catalogue have fuller citations than those found in the Lewis catalogue. I have also included a brief commentary for each music edition, and have provided a list of modern editions for individual pieces. The following list describes in more detail the entry for a single music edition with each number representing individual sections: 1. Each entry begins with a HEADING identifying the edition by catalogue number, composer and abbreviated title, RISM number and date if not part of the RISM number. The entries are organized first by year, then, within each year, alphabetically by composer according to their RISM numbers. Anthologies appear after single-composer editions and are arranged numerically by their RISM number. Edi-

tions with no RISM numbers are placed at the end of each year. Two or more issues of the same edition occur in the same entry, but are distinguished by a letter following the catalogue number. “Ghosts” listed in RISM are recorded as entries, but have not been assigned catalogue numbers. 2. The main body of the entry opens with a brief COMMENTARY discussing pertinent information relating to the composer, dedicatee, and/or printing history of the edition. Emendations of locations cited in RISM and Nuovo Vogel are also noted in this section. References to secondary sources appear parenthetically, as do

editions issued by other printers (identified by their RISM numbers), and other Scotto editions in this catalogue (indicated by the number in boldface). 3, A diplomatic transcription of the TITLE PAGE follows with indication of origi-

nal fonts, orthography, capitalization, line endings, decorative material, and printer’s marks. The title page is taken after the cantus or the highest surviving partbook. Any significant variants in other parts occur immediately under the cantus title-page description. Distinction is made between such decorative material as printer’s fleurons (three-petaled flowers) and leaves. The generic term typographical ornament (type om.) is used to describe all other decorative materials. Contractions are expanded within brackets. The standard line-for-line continuous transcription has been suspended for 33 and 47, where the contents and composers

| 218

Prefatory Note

appear in two columns with braces. In these cases, the conventional method of transcription would obscure both the columnar layout, and more importantly, the identification of individual works with their composers. 4. The location and contents of the COLOPHON (the imprint, printer’s device,

and/or statement of privilege appearing at the end of the book). After 1539, colophons rarely appeared in editions of polyphonic music printed by the Scotto press. 5. Collation and headline is divided into three main parts. The first section describes the number of volumes, book format, and number of leaves of an edition. Pagination, foliation, or numeration by piece are indicated here. Bracketed numbers are supplied by the editor. Variants in other partbooks also appear in brackets. An edition where no complete copy is known is noted at the end of this section. The second section presents the COLLATION or signatures and gathering structure of the partbooks. This includes the SIGNATURE TITLE, a catchphrase that is sometimes used along with the signature. The signature title usually appears only on the first signed leaf of each gathering. Recto folios containing the signature title (other than first signed leaf) are noted in brackets, followed by variant signature titles found in the edition. The description of the SIGNATURE, an alphabetical letter that appears in the bottom right-hand corner of a recto folio, includes the gathering structure (usually four folios to quarto) in the order SATB56. An account of the way each edition is SIGNED then follows, with the second leaf of the highest extant partbook used as the example (Aij, A2, etc.). “$” refers to the number of leaves signed (in quarto only the first two leaves are normally signed $2, while in octavo the first four leaves are signed $4), Nearly all of the title pages of Scotto’s music editions are not signed. The third section lists the HEADLINE found at the top of the music page, which consists of the running title (the voice part, composer’s name, and/or item number) and page number. Usually an example of the recto folio is supplied, but substantial variants on verso folios are also noted. 6. TECHNICAL NOTES concern matters of typography and paper. The descriptions of MUSIC AND TEXT FONTS and decorative INITIALS used in this section

appear in tables 3.2—3.6 in chapter 3. WATERMARKS are listed and described very generally by family type. Unfortunately, time and space constraints have not allowed for detailed information concerning the precise location of watermarks in all partbooks examined. Measurements of the PRINTED AREA Of title pages and music pages are given in centimeters by height first then width. The vertical measurement for music pages includes the headline at the top of the page but not the signature at the bottom. Where measurements are missing, I have not been able to examine a copy in person. 7. The TABLE OF CONTENTS includes location, heading, type font, and arrange-

ment (alphabetical or in order of appearance) of the list of contents. 8. The DEDICATION section presents the location and diplomatic transcription of the entire text of the dedicatory page, including indications of type fonts, capitalization, original orthography, and line endings. Contractions have been expanded in brackets. 219

Prefatory Note 9. The CONTENTS list the order of pieces as found in the cantus or highest extant

partbook. The contents of reprinted editions are listed in full with the exception of those whose contents are identical, appearing in the same order with the same pagination as an earlier Scotto edition. Column one presents an editorial Arabic number for each composition; column two displays the original numeration found in the edition (1.e., Roman or Arabic), denoting pagination, foliation, or number of the individual ptece. Column three contains the first complete line of text. For Italian poetry, this normally entails the first eleven- (endecasillabi) or seven-syllable (settenari) line of regular verses (in some cases irregular lines of eight syllables, or more than eleven syllables may occur, particularly in the villanesca or early madrigal texts). The orthography and accents follow the text that appears in the body of the edition (not the table of contents), but differentiation has been made between u and v, and i and j. Proper names and place names have been capitalized. Contractions have been silently expanded (unlike the title page and dedication page, where

editorial expansions are noted in brackets). Repetitions of words have been dropped, and initial phrases not found in the highest partbook have been included without remark. Differentiation by means of spacing between aphaereses and elisions that appear at the ends of words (e.g.: che’ | and ch’ il) have been made. Words run together have been separated by spaces. Parts other than the first of a

multi-sectioned work are indicated by Roman numerals (II = Seconda parte; Ill = , Terza parte, etc.). Attributions to composers appear as they do on the music page of the cantus or highest available partbook of the edition. Conflicting attributions or those not found in the cantus but in the table of contents and/or other partbooks appear in a footnote. Conflicting attributions in other sources are also footnoted (note: footnotes do not necessarily list all concordances of the piece). The number of voices for individual pieces differing from the predominant one described on the title page are noted in brackets next to the first line; the abbreviation [6 vv], for example, means six voices. Description of the works, such as Canzona or Dialogo, and references pertaining to liturgical function and/or feast days found in the edition also appear next to first line. All other supplementary information concerning an individual piece, such as dedicatee, performance instructions, and canonic directions, are placed in footnotes. Bracketed text in front of the first line denotes an incipit or first verse of a liturgical piece not sung polyphonically. 10. LOCATIONS AND NOTES presents a list of all copies that have survived, their

location by city, institution, and shelfmark when available. Extant partbooks of incomplete copies are also indicated. Earlier provenances of copies, when known, as well as copies that once belonged in private collections that no longer survive intact are also noted. At least one copy of each edition has been seen in person or on microfilm. A single asterisk (*) in front of a location indicates that the specific copy was examined only on microfilm. A double asterisk (**) signifies that a copy has not been seen at all. Some of the readily apparent errors have been noted, but time and space have not permitted a full typographical discussion for every copy of each edition. Information concerning unusual bindings and only the most unusual typographical irregularities are listed for each copy. 220

Prefatory Note 11. BIBLIOGRAPHICAL LISTINGS AND LITERATURE records secondary sources

dealing specifically with the edition. The author’s last name and an abbreviated title are given for easy reference; full citations appear in the Bibliography. VogelEinstein is only listed when not superseded by Nuovo Vogel. 12. MODERN EDITIONS notes secondary sources containing modern editions of

individual musical works. The numbers following the modern edition refer to the editorial number of the pieces in column one. Secondary sources not followed by any numbers indicate that the entire contents of the entry appears in the modern edition.

22]

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— 1539 —

1 Arcadelt, Secondo libro de madrigali a quatro voci A1368=[c. 1537]® The Scotto press in collaboration with Andrea Antico probably brought out the Secondo libro in January 1539. It contained twenty-five madrigals, and as with Gardano’s earlier edition of the Primo libro, lacked attributions for all the pieces. Production of the Secondo libro most likely began in the fall of 1538, if not earlier, since, as with previous Scotto music publications, Antico’s more timeconsuming woodcut process was used to produce the music typography. While no colophon identifying the printer and/or publisher (usually found in the bassus partbook) survives, it has generally been assumed that the publication resulted from the collaboration of Andrea Antico and Girolamo Scotto’s brother Ottaviano. Girolamo, however, could have been responsible for its publication and presswork, since he was working at the Scotto press from at least 1536 onwards (see chapter 2). Gardano brought out a completely different edition of Arcadelt’s Second Book only one month after the Scotto publication appeared. He entitled his publication // vero secondo libro to distinguish it from Scotto’s earlier volume. As noted in several sources, Gardano accused the publishers of the earlier Secondo libro in his dedication of falsely issuing madrigals by other composers under Arcadelt’s name (see chapter 8). Actually, only eight of the madrigals in the Scotto edition appeared with conflicting attributions in other sources, and Gardano reprinted most of them in the same fashion as the present edition (Arcadelt’s name on title page with no ascriptions in the body of the music). No subsequent edition of the Antico—Scotto publication is known. Gardano, on the other hand, issued his

Vero secondo libro at least more four times. Eleven of the madrigals from the Secondo libro did reappear in later Gardano editions of Arcadelt madrigals: no. 3 in the reprint of the Primo libro a 4 (A1314 = 153972); nos. 1 and 6 in all the reprints of the Secondo libro a 4; nos. 10 and 24 in all editions of the Terzo libro a 4 (nos. 7 and 11! in the 1541 edition only); and nos. 19 and 2] in the Quarto libro a 4 (nos. 18 and 22 in the 1545 edition only). RISM incorrectly lists the two surviving partbooks as two different editions. Series A records the cantus partbook in Oxford, Bodleian Library under A1368, while Series B presents only the altus partbook in Paris, Bibliothéque Nationale de France with the suggested date of 1537. Nuovo Vogel records only the cantus book in Oxford. All secondary literature cite the Oxford book as a complete copy of the cantus.

Title Page & L SECONDO LIBRO DE MADRIGA- | LI D’ARCADELT NOVAMENTE | STAMPATI, ET CON SOMMaA | diligentia coretti.| M D. [ornate Gothic S ] XXXIX. | Con Gratia, 2? Priuilegio. [s.1., s.n.]

The altus partbook has only an ornate Gothic A on its title page [s.1., s.n., s.d.]

Collation and Headline 4 volumes in octavo oblong; 16 leaves without pagination or foliation, numbered by piece. No tenor or bassus partbook is known to survive. Signature title None. Signatures (S) A~B*; (A) E-F®. Signed A ii, $4: title pages unsigned.

Headline | Cantus

Technical Notes ,

Music font Woodcut; Text font Gothic; Initials Calligraphic Gothic; Dark floral J; Watermarks Anchor with star; Printed area Title page 8.7 < 11.1 cm. [A: 6.9 x 7.5 cm]; Music page 8.9 x 12.8 cm.

Table of Contents (f. 1”] Tabula.; Gothic; in order of appearance.

223

No. 1—1539

Contents

1. 1 Hor vedete madonna! 3. 3 Il vag’e dolce sguardo”

2. 2 O crudel de mia fral vita nemica 4. 4 Dolce cibo dolc’esca de mia vita 5. § O chioma de fin’oro o front’ altiera 6. 6 Itte tristi sospiri alle chiar’ onde? 7. 7 Benedetto sia *] di che gli occhi met 8. 8 Dura lege d’amor poss’io ben dire 9. 9 Lieti fior verde fronde che solete* 10. 10 Se grato o ingrato amor te” ll. 11 Quando ritrovo la mia pastorella® 12. 12 Non mi duol il morir donna per vui 13. 13 Io vo pensando pur com’el sia vero

14. 14 Ardea tutt’a voi presso

15. 15 Che bisogna dire o signor mio 16. 16 Se la figlia de Jove e di Latona 17. 17 Morte su prego che da tant: affannt

18. 18 Se ’| pensier amoroso

19. 19 S’io non Jodo madonna 1! vostro volto 20. 20 Saria pur tempo hormai madonna mia’

21. 21 Amorosi pensier che di dolore

22. 22 Quando vostri bei occhi un chiaro velo , 23. 23 In me cresce l’ardor in voi l’orgoglio , 24. 24 Lasso quand’io gli och’alz’al vostr’altiero stato 25. 25 Qual altra fu giamai dolcezz’in pria®

Locations and Notes Oxford, Bodleian Library. (S inc.) Harding Mus. H. 48 (2) For a description of the partbooks see Lewis, Antonio Gardano, 1:146. Cantus: missing last leaf (f. 167%).

Paris, Bibliothéque Nationale de France. (A) Rés. Vm‘ 25 For a description of the partbooks see Lewis, Antonio Gardano, 1:147-48.

Bibliographical Listings and Literature Nuovo Vogel #150; Chapman, “Andrea Antico,” 351-56; Bridges, “Publishing of Arcadelt’s First Book,” 87; Fenlon and Haar, /talian Madrigal, 245-51; Lewis, Antonio Gardano, 1:209.

Modern Editions Arcadelt, Opera omnia, 2: no. 3; vol. 3: nos. 1, 6; vol. 4: nos. 7 and 24; vol. 5: nos. 18, 19, 21, 22; vol. 7: no. 14; Festa, Opera omnia, 8; nos. 9-11; Corteccia, Second Book of Madrigals for Four Voices: no. 25.

1. Attributed to Ihan in 1530? and 1534"; no attribution in all later Gardano editions.

2. Attributed to Layolle in L1179; no attribution in A1314 = 153972. 3. Attributed to Festa in Madrigale de M. Constantio Festa. Libro primo, 1538; no attribution in all later Gardano editions. 4. Attributed to Festa in 1530? and 1534)5, 5. Attributed to Festa in A1376 = 1541!'! and all later Gardano editions. 6. Attributed to Festa in [c.1530]! (index) and A1376= 1541", 7. Attributed to Festa in Madrigale de M. Constantio Festa. Libro primo, 1538. 8. Attributed to Corteccia in C4159 (1547).

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No. 2—1539

sf

2 Arcadelt, Terzo libro dei madrigali a quattro voci A1374=15397° Girolamo Scotto addresses one of the few dedications he wrote to Girolamo Verallo, then papal legate in Venice, mentioning his brother Ottaviano’s indebtedness to Verallo. The edition was probably printed some time between May and September 1539, when Gardano brought out // quarto libro (chapter 8). Verallo moved to the See of Bertinoro in February of 1539/40.

Scotto has provided composer attributions in this volume, in contrast to earlier Arcadelt publications. As advertised on the title page, the edition also contained works ascribed to Festa, and eleven pieces for all-male voices (a voci mudate or a voci pari m the Tavola). Gardano printed this collection at least three more times: A1376 = 1541'', A1377= 154379, and A1378 = 15667". There are considerable variations in the contents of these editions: 15397? contains

forty-eight madrigals, while the three later editions have forty-nine, forty-one, and thirty-one, respectively. Gardano’s 1541 edition drops three madrigals (nos. 26, 31, and 34) and adds four other pieces. No new works appear in the 1543 edition, and the number of pieces decreases by eight. The 1556 edition, in turn, is drastically reduced by seventeen pieces. There are also major changes in the order of the pieces as well as conflicting attributions to Arcadelt and Festa in each of the editions. The existence of a lost 1539 edition by Gardano listed in Lewis (Antonio Gardano, no. 6), remains highly

debatable; for another opinion, see Bridges, “Publishing of Arcadelt’s First Book,” 94-96. Seay (Arcadelt, Opera omnia, 4: ix—xv) provides a detailed discussion of the various editions. The use of an abbreviated title page for the three lower voices, a practice common in Girolamo’s early publications, has led to confusion among modern bibliographers: Nuovo Vogel mistakenly catalogues this print as two separate editions, listing the lower three partbooks of both the Munich and Venice copies as one entry (#156) with the erroneous RISM number 1539”, and the cantus partbook of the Munich copy as another edition (#157). Furthermore, both RISM series A and B list the three lower partbooks of the Venice copy twice; the first time correctly as A1374= 15397; the second time as the ghost: A1375 =[1556]°.

Title Page IL TERZO LIBRO DE I MADRIGALI | NOVISSIMI DI ARCHADELTH A QVATTRO VOCI, | Infieme con alchuni di Conftantio Fefta, & altri dieci belliffimi a Voci mudate. | Nouamente con ogni diligentia Stampati, & corretti. | ‘€ | LIBRO TERZO [pr. mk. Fame V] A QVATTRO VOCI. | VENETIIS | APVD HIERONYMVM SCOTYVM. | [rule] | 1539.

Altus, Tenor, and Bassus have:

DEL TERZO LIBRO DE I MADRIGALI | DI ARCHADELT, ET DI ALTRI ECCELLENTISSIMI | Authori. Con la gionta de alcuni Madrigali a Voci mutate belliffimi. | A QVATTRO VOCL | [ornate Gothic A, T, B] | LIBRO TERZO [s.1., s.n., s.d.]

Tenor has: DEL TERTIO... LIBRO TERTIO instead of TERZO.

Colophon [p. XXXXVII; ATB only] [pr. mk. Anchor I]

Collation and Headline ,

4 volumes in quarto oblong; 24 leaves, pp. [i-11] I-XXXXV [XXXXVI]; ATB: pp. [i] I-XXXXV [XXXXVI, XXXXVIIJ].

Signature title Libro Terzo di Archadelt. [all signed leaves]; a2, 62, c: Libro Tertio di Archadelt.; b, c2: Libro Tertio di Archadelth.; B, AA-FF2, d-{2: Libro Terzo di Archadelth. Signatures A-F*; AA—FF*; af *; aa-ff*. Signed Aii, $2: title pages unsigned.

Headline ARCHADELT I CANTVS 225

No. 2—1539

Technical Notes Music font I; Text font Gothic; Initials Calligraphic Gothic; Dark floral I; Watermarks Fleur-de-lys; Printed area Title page 11.7 x 15.6 cm. [ATB: 11.2 x 15.8 cm]; Music page 12.5 x 18 cm.

Table of Contents [p. XXXXVI] TAVOLA | [contents listed ] | MADRIGALI NVMERO XXXXVIIII; Italic; alphabetical.

Dedication [p. 1; S only] AL REVERENDIS[SIMO] MONSIGNOR VERALLO | LEGATO APRESSO

L’ILLVS[TRISSIMA] S[IGNORIA] DI VENETIA. | Geronimo Scotto. | [woodcut Q]VANTONOQVE Ottauiano mio fratello debitamente efpettaffe maggior occafione per | fodisfare

in parte a li obligi che ha uerfo Voftra Signoria Reuerendisfima, nondimancho ef=| fendo io parimente tenuto al medemo debito, mi grauaua il tanto diferire: & come che in me | cognofcesfi non effer qualita alcuna, con laquale potesfi adimpire tal mio defiderio, mi fon | auifato farlo con quello de altrui: per il che trouandomi in mani una perfetta compofition di Mufica di | Archadelt, & di Constantio Fefta, mi e parfo douer far cofa grata a Voftra Signoria Reuerendisfima | amatore di quefta, & d’ogni altra uirtu, apportando allegrezza a tutti i Mufici; con il mandar quelli in | luce. Quella donque accetti con bono animo cio che li offero, & lo tenga per conto d’una caparra de | qualche cofa maggiore.

Contents

1. I Se ’! mio bel sol e spento Archadelt

2. Ii Quando talhor el mio unico sole Archadelt

3. I Donna beat’, e bella Archadelt 4. Ill Che cosa ’! mondo far potea natura Archadelt

5. V Fiamma gentil entr’a cui chiari lampi Archadelt 6. VI Ecco che pur doppo si lunghi affanni Archadelt 7. VII Se non fosse nel volto di coste1 Archadelt 8. VIII Foll’e chi crede la prudenti’o gli anni Archadelt

9. IX Lasso quand’1o gli occhi alzo Archadelt 10. X E morta la speranza Archadelt! 11. XI Sei vostri bei sembianti e ’! vago volto Archadelt 12. XII Quanto piu m’ard’et piu s’accende il foco Con. Festa.

13. XIII Amor s’al primo sguardo Con. Festa.” 14. XIII So che nissun mi crede Con. Festa. 15. XV Se mort’in me potesse quanto puo il duolo Con. Festa.

16. XVI Non sia chi pens’al mio cocent’ardore Archadelt 17. XVII O felici color che nott’e giorno Con. Festa. 18. XVIII Sei sguardi di costei fan bell’11 sole Con. Festa.? 19. XIX Divelt’el mio bel vivo, altiero faggio Con. Festa." 20. XX Qual paura ho quando mi torn’a mente Archadelt? 21. XXI Posando le mie membra in pover letto Archadelt

22. XXII Madonna s’ io credessi Archadelt® 23. XXIII Quanto fra voi mortal Archadelt 24. XXIIil Liet’, e seren’in vista Archadelt 1. No attribution in 1541!''and 15432°: attributed to Festa in 155622.

2. Conflicting attributions to Arcadelt in 1543, and to Alfonso della Viola in V1693 (1540). 3. Attributed to Arcadelt in 15432° and 155622. 4. Attributed to Archadelt in bassus partbook 5. Attributed to Festa in 155672. 6. Attributed to Corteccia in C4157 (39).

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No. 2—1539

25. XXIIII Se la durezz’in voi fosse men dura Archadelt’ XXV [II.] Se tutto ’] bell’in questa sol accolse Archadelt 26. XXVI Dhe quanto fu pietoso delli amanti Archadelt 27. XXVII Madonna al volto mio palid’, e smorto Archadelt?

28. XXVIII Si liet’alcun giamai Archadelt® 29. XXIX Dai dolci camp’ Elisi ove tra fiori Archadelt 30, XXX Bianch’e vermiglia rosa Archadelt 31. XXXI Luce creat’in terra per dar luce Archadelt

32. XXXII Io potrei forsi dire Archadelt 33. XXXII Qual Clitia sempre al magior lum’ intenta Archadelt’

34. XXXII Lasso che pur hormai Archadelt 35. XXXIIII Si come d’ogni donna sei piu bella Archadelt

36. XXXIIII =‘ Voi che prendete gioia Archadelt’

37. XXXV Amanti tutt’il bel che voi vedete” Archadelt 38. XXXVI S’altrui d’amor sospir’, io rid’, et canto” Archadelt®

39. XXXVII Si come dit’ogn’hor bella vi paio” Archadelt

40. XXXVIII Hor che ’I cielo, & la terra, e ’! vento tace’ Archadelt 41. XXXIX Poiche’I fiero destin del mondo ha tolto!® Archadelt'!

42. XXXX Vaghi pensier che cosi passo passo” Archadelt

43. XXXX] Languir non mi fa amore’ Archadelt!? 44. XXXXiII Donna se ’| mio servire” Archadelt

45. XXXXIII Per non saperti ringratiar amore’ Archadelt 46. XXXXIIII Chi puo fiso mirar la donna mia? Archadelt 47. XXXXV Angela assai via piu ch’un angio] bella? Archadelt

Locations and Notes Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 95/2 For a description of the partbooks see Lewis, Antonio Gardano, 1:96.

Venice, Biblioteca Nazionale Marciana. (ATB) Musica 365—367 (#3) For a description of the partbooks see Lewis, Antonio Gardano, 1:155—-56. All parts: front flyleaves: 20642 Archadelt | 20643 dalla Viola] 20644 Musiche.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 1:186; Nuovo Vogel #156; Boorman, “Some Non-conflicting Attributions,” 115-17;

Fenlon and Haar, /talian Madrigal, 253-56; Lewis, Antonio Gardano, 1:213; Bridges, “Publishing of Arcadelt’s First Book,” 94-96; Wiel, d’Este, and Faustini, “Biblioteca di S. Marco,’184; Bayerische Staatsbibliothek, Katalog, 1:134.

Modern Editions Arcadelt, Opera omnia, 4: nos. 1-11, 13, 16, 20-22, and 24-47; Festa, Opera omnia, 8: nos. 10, 12-15, 17-20, and 28; Corteccia, First Book of Madrigals for Four Voices: nos. 22, 38, and 43.

7. Second of three pieces on one opening; placement different in three lower partbooks with attribution to Arcadelt. 8. Attributed to Festa in 15437° and 155672, 9. Headline: A Voce Mudata. 10. Tavola: A Voci pari. 11. Attributed to Iachet Berchem in 1541!! and 1543”°. 12. Attributed to Corteccia in 15437° and C4157 (39); and three lower parts of 1541!'.

227

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No. 3—1539

3 Gombert, Musica quatuor vocum vulgo motecta liber primus © G2977 (1539) Scotto dedicated the publication to Alfonso d’Avalos, marquis of Vasto and governor-general of Milan under Charles V. The connection between Scotto, d’Avalos, and the Imperial court is not distant, since the printer had strong family ties in the Milanese domain. It is possibly through his link with the Milanese court, rather than through Venetian connections, that Scotto acquired some of the Gombert pieces. D’Avalos and his wife, Maria d’Aragona, were avid patrons of music. Vincenzo Ruffo was employed at the Milanese court from around 1538 until 1542. Two Milanese music publications printed by Giovanni Antonio Castiglione, Ruffo’s First Book of Motets a 5 (1542) and an anthology, First Book of Motets (1543°), were dedicated to d’Avalos.

About half of the twenty-three motets in this edition had not as yet been printed. The remaining , eleven appeared in earlier northern publications: nos. 15, 20, and 21 in Moderne’s Motetti del fiore, libro primo (1532!°) and nos. 16-19 and 22 in Libro secundo (1532''). Their placement together toward the end of the book suggests that Scotto used the two earlier Moderne editions as his source. No. 6 was published in Attaingnant’s First Book of Four-Voice Motets (1534°). Nos. 9 and 23 appeared one year before Scotto issued this edition in Buglthat’s Liber cantus (1538°). Among the previously unpublished motets, no. 4, Dicite in magni dum spes altera, was written to celebrate the birth of Philip II, son of Charles V, in 1527 (Dunning, Staatsmotette, 145). No date appears on the title page or colophon of the edition; typographical evidence firmly establishes 1539 as the year Scotto issued this set of partbooks. Three later editions of the collection survive. Gardano published his own edition in 1541 (G2979), where he reprinted all of the motets from Scotto’s first edition, but arranged them in a different order. In the same year Scotto brought out a new edition (18), eliminating nine motets (nos. 4, 5, 10, 13, 15, and 19-22) and replacing them with © ten works by other composers. Gardano published another edition in 1551 (G2980 = 1551*), where he employed all but four of the works from the 1539 edition (11, 16, 17, and 19) (Lewis, “Antonio

Gardane and his Publications of Sacred Music,’ 506~8). ,

RISM incorrectly lists the altus partbook in Valladolid, Archivo de la Catedral as a copy of this edition; it is instead from the Gardano edition of 1541 (G2979).

Title Page GOMBERTI EXCELLENTIS | SIMI, ET INVENTIONE IN HAC ARTE | FACILE PRINCIPIS, CHORI CAROLI QVINTI IMPERA- | toris Magi/tri, MVSICA QVATVOR VOCVM, (uulgo MOTECTA | nuncupatur,) Lyris maioribus, ac Tibijs inparibus accomodata. | Nuper maximo authoris ftudio compofita, nulli hactenus uifa, | fed nouiter accuratiffime in lucem edita. | LIBER PRIMVS. | NICOLAVS [ornate Gothic S] GOMBERTH | CON GRATIA, ET PRIVILEGIO. [s.1., s.n., s.d.]

Altus, Tenor, and Bassus have:

DEL PRIMO LIBRO DE I MOTTETI A | QVATTRO VOCE DI NICOLO GOMBERTH, MAESTRO | DILA CAPELLA DI LO IMPERATORE. | NICOLO GOMBERTH | [ornate Gothic A, T, B] [s.L, s.n., s.d.]

Colophon [f. 20”] Anchor I

Collation and Headline 4 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. Signature title Libro primo. [a2—e2, AA2, Aa—Dd, Ee, Ee2, A2,B,C,D,E]. Signatures a—e’*; AA-EE’; Aa-Ee*, A-E’*. Signed a ii, $2: title pages unsigned.

Headline GOMBERTH I] CANTVS

, 228

No. 3-—-1539

Technical Notes Music fontI; Text font Gothic; Initials Calligraphic Gothic; Watermarks Fleur-de-lys; Printed area Title page 10.9 x 16.9 cm [A: 9.6 x 12.8 cm; T: 9.9 x 16.1 cm; B: 9.9 x 12.8 cm]; Music page 12.6 x 18 cm.

Table of Contents [f. 1°; ATB] TAVOLA | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication (f.1°; S only] AL GRAN MARCHESE DEL VASTO | Geronimo Scotto. | GRAN manchamento

luftriffimo Principe mi pareua che doueffi effer’il mio a non publicare la Mu | fica, e le compofitioni di Nicolo Gomberth: Conofcendo maffimamente l’artificio, V'inuentione, & har=| monia che dal fuo ueramente Diuino ingegno nafce. Ma grandiffimo dubbio farebbe nato in me, fe il| foggetto di uoftra Eccellentia non me lhaueffe rifoluto, perche hauendo a uenire fuora tal’opera penfa= | ua fi toglieffi il fuo debito alla gloria del famofo Gomberth, non uenendo a luce fotto l’ombra di quella. \ Et é ben dritto che a uoi fi confacrino l’opere che {caturifcono da i uertuofi foftenuti da la bonta de la | MAESTA CESAREA, perche uoi con grato affetto fete offeruatore & fautore di tutti i loro meri | ti: oltra che ogni pellegrinoe lodato ingegno, fenz’altro mezzo uenendo @ uoi, é da Voftra Eccellentia | benignamente accolto. Onde chiaro fi uede quanto lo Uluftriffimo animo uoftro aggiunga f{plendore all’alta | fama de gl’Auoli fuoi, da quali con Real giudicio fono fempre ftate collocate nel fommo grado di felicita | con la uera Militare difciplina, le lettere, e la muficale fcientia, e pero non u’indrizzando le primitie di fi | Ottimo Mufico, priuaua lui del debito honore, e mancaua a uoi amatore di quefta e d’ogni altra uirtu. Siaui | adunche grato cioche ui offero- e fe non refponde alla Grandezza uoftra, allaquale difficilmente f’aggiunge, | piaccia a Voftra Eccellentia riguardare la prontezza dell’animo mio.

Contents

1. J Domine pater, & Deus vite mee Gomberth 2. Miserere pie Jesu Gomberth IT. Parce [eis] Domine & defende 3. Ill Venite fili audite me Gomberth II. Servite Domino in timore

4. Wil Dicite im magni dum spes altera mundi Gomberth IJ. Leta dies terris

5. V Ecce nunc tempus acceptabile Gomberth

6. VI O gloriosa dei genitrix

IT. Que est tsta que ascendit

7. VI Ave regina celorum mater regis Gomberth

8. VIII Virgo prudentissima Gomberth! II. Propter miseriam inopum 10. X Duo rogavi te Domine Gomberth ll. XJ Levavi oculos meos Gomberth II. Dominus custodit te 12. XI Saluto te sancta virgo Gomberth II. Subvenias mihi tam in corpore 9. XI Salvum me fac Domine

13, XIII Que est ista que processit Gomberth II. Et sicut dies verni

14. XII O gloriosa domina dei genitrix Gomberth

15. XV Super flumina Babilonis Gomberth 1. No attribution in 15427: Attributed to Nicolaus Payen in 1548’, G2980= 15512, and Leiden, Gemeentearchief, MS 1441.

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No. 3—1539

16. XVI Inter natos mulierum Gomberth

17. XVII Quam pulchra es et quam decora Gomberth

18. XVIII Ave sanctissima Maria Gomberth 19. XIX Fuit homo missus a deo Gomberth II. Hic precursor & dilectus

20. XX Aspice Domine quia facta est Gomberth? II. Muro tuo inexpugnabili 21. XXI Dignare me laudare te Gomberth

O regina poli 22. XXII II.Fidelium Deus omnium Gomberth 23, XXIII Domine si tu es jube me venire Gomberth ,

II. Cunque vidisset ventum validum

Locations and Notes Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 12/2; copy 2: 4° Mus. pr. 2427/2 For a description of 4° Mus. pr. 12/2, see Lewis, Antonio Gardano, 1:136. 12/2: Cantus: XI instead of IX (changed by hand in ink).

New York, Public Library. Mus.Res.*MRH (Gombert) (olim Wolffheim) Cantus: f. 1’: in pencil: Wolffheim sale June 25, 1929 Carnegie.

** Palermo, Biblioteca Nazionale. (ATB) Rari 1.a.29, 31, 32 [3] For a description of the partbooks see Lewis, Antonio Gardano, 1:146—47.

All copies: Cantus: XI instead of IX. Altus: VIII, XI (II pars): GOMBERH; IIII, VII, IX, XI, XT, XII: headline for Secunda pars: italic instead of Roman. Tenor: Ii] instead of III] at signature Bb.

Bibliographical Listings and Literature Versteigerung... Wolffheim, 2:361-62; Lewis “Antonio Gardane and his Publications of Sacred Music,” 215-16; Bayerische Staatsbibliothek, Katalog, 6:2311-12.

Modern Editions Gombert, Opera omnia, 5.

fo 4 Gombert, Musica vulgo motecta quinque vocum liber primus G2981 (1539) Scotto intended the Gombert five-voice motets as a companion volume to the four-voice edition, since he neglected to sign it (though his printer’s device appears in the colophon). Three later editions of this publication survive. Two years after issuing the first edition, Scotto brought out a much revised volume (G2982 = 15417) containing nineteen motets. He only incorporated seven (nos. 1, 4, 7, 9, 12, 20, and 21) of the original twenty-three motets in his second edition (19). A third edition by Scotto appeared in 1550 (108). The contents of the 1550 book follow the 1541 edition, but the last three motets are omitted. One Gardano edition survives (G2983, 1552). This abbreviated edition comes closer to Scotto’s first edition, in that seventeen of the eighteen works first appeared in the 1539 print (Lewis, “Antonio Gardane and his Publications of Sacred Music,” 512). With the exception of no. 18, none of the motets appeared in print before 1539. Scotto probably acquired the motets for the present publication from the same (possibly Milanese) source as for his edition of Gombert’s four-voice motets (3).

2. Attributed to Con. Festa in Gottingen, Staatliches Archivlager, MS 7; but assigned to Gombert in most other sources,

230

No. 4--1539

Title Page MVSICA EXCELLENTISSIMI | NICOLAI GOMBERTI (VVLGO MOTECTA | QVINQUE VOCVM NVNCVPATA) IN QVA FACILE | comperies quantum in hac arte, inuentione alijs omnibus pree- | ualeat. Nouiffime omni ftudio, ac diligentia | in lucem edita. | LIBER PRIMVS. | QUINQVE [omate Gothic S] VOCVM. | NICOLAVS GOMBERTH | [rule] | WENETIS. M.D.XXXIX. [s.n.] Altus, Tenor, and Bassus have:

DEL PRIMO LIBRO DELI MOTETTI A | CINQVE VOCI, COMPOSTI DA LO ECCELLENTISSIMO | NICOLO GOMBERT Meaeftro de la Mufica de l’imperatore. | Nouamente pofti in luce. | A CINQVE [ornate Gothic ATBQ] VOCI. | NICOLO GOMBERTH [s.l., s.n., s.d.]

Colophon (f. 20"; ATBS] [pr. mk. Anchor J]

Collation and Headline 5 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. Signature title Libro primo. Signatures a—e*; A-E‘*; aa—ee*; AA-EE*; Aa—Ee*. Signed aii, $2: title pages unsigned.

Headline GOMBERTH cum Quinque Vocibus. I CANTVS

Technical Notes Music font I; Text font Gothic; Initials Calligraphic Gothic; Dark floral I; Watermarks Fleur-de-lys; Printed area Title page 11.6 x 17.4 cm. [ATBS5: 10.9 x 15.8 cm.]; Music page 12.5 x 18.3 cm.

Table of Contents [f. 20°; S only] TAVOLA; Italic, in order of appearance.

Contents

l. I Judica me Deus & discerne causam meam Gomberth

Et introibo ad altare Dei 2.IIIII.IIJ.Tribulatio & angustia Gomberth Tribulationes cordis mei

3.I]IllII.Hec dies quam fecit Dominus Gomberth Confitemini Domino 4. IV O flos campi & liltm convalium Gomberth IJ. Quam pulchre sunt 5.VIVV Laus Deo pax vivis Gomberth IJ. Et beata viscera Marie virginis

6. VI Anima nostra sicut passer erepta est Gomberth

7. VII Inviolata, integra & casta Gomberth VII II. O benigna o Maria

8. VIII Adonay Domine Jesus Christe Gomberth

9.IXIxII. Emendemus in melius Gomberth Peccavimus Domine

10. X Maria Magdalene et altera Maria Gomberth

euntes dicite 11.x II. XICito Ave sanctissima Maria Gomberth

12. XII Domine Deus omnipotens pater Gomberth 13. XII Tota pulchra es amica mea Gomberth 14. XIlil Gaudeamus omnes et letemur Gomberth 231]

No. 4—-1539

15.XVXV Alleluia spiritus Domini Gomberth IT. Laudes Deo devotes

16. XVI O beata Maria Gomberth XVI IJ. Assiste parata

17. XVII Audi filia & vide Gomberth II. Specie tua & pulchritudine tua 18.XVIIXVIII Vias tuas Domine Gomberth II. Trahe nos ad portum maris 19.XVIII XIX Hodie beata virgo Maria Gomberth

XIX II. Responsum accepit Simeon 20. XX Pater noster Gomberth 21. XXI Ave maria gratia plena

22. XXII Anima mea liquefacta est Gomberth II. Filie Hierusalem 23.XXII XXIII Tu Deus noster suavis Gomberth XXIII IJ. Tribue ergo nobis Domine

Locations and Notes ** Brescia, Biblioteca Queriniana. (5) Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 2427/1 Altus: headline cropped off on some folios.

** Palermo, Biblioteca Nazionale. (ATB) Rari 1.a.29, 31, 32 [8] For a description of the partbooks see Lewis, Antonio Gardano, |:146-47.

Verona, Accademia Filarmonica. (STBS) N. 67, III For a description of the partbooks see Lewis, Antonio Gardano, \:161.

Paper folder, no binding. |

Washington, DC, Library of Congress. M 1490. G63 M9 case (olim Wolffheim)

A copy lacking the quintus partbook was once in K6nigsberg [now Kaliningrad], Universitatsbibliothek.

Bibliographical Listings and Literature Miiller, Die musikalischen Schatze ... Kénigsberg, 183-84; Turrini, Catalogo . . . Verona, 12; Versteigerung... Wolffheim, 2:361, #1793; Eitner, Quellen-Lexikon, 4:302; Bayerische Staatsbibliothek, Katalog, 6:2312.

Modern Editions Gombert, Opera omnia, 7.

ate s) Jacquet of Mantua, Motecta quinque vocum liber primus —_J6 (1539) As with the Gombert editions, Scotto issued a pair of books devoted to four- and five-voice motets by Jacquet of Mantua. The four-voice motet publication includes a lengthy dedication by Scotto honoring “Cardinal Ippolito Gonzaga” (6). In the five-voice edition, the dedicatory letter addressed to the cardinal of Mantua appears only in the quintus partbook. The cardinal to whom Scotto referred is actually Ercole Gonzaga. Born in 1505, Ercole became bishop of Mantua in 1520. He studied at the Studium at Bologna with the renowned Mantuan philosopher Pietro Pomponazzi. In 1526 he

received his cardinal’s hat, and later, he was appointed papal legate to Charles V. After Duke Federico’s death in 1540, Ercole administered the duchy for fourteen years with Federico’s wife Margherita and brother Ferrante. He died in 1563. (Litta, Famiglie celebri italiane, 4, Gonzaga Tavola 5, and Nugent, “Jacquet Motets,” 82-93; also Fenlon, Music and Patronage, 53-56.) Four later editions of this work survive. Gardano brought out a book of twenty-eight motets in 1540 (J7) and another of twenty-one motets in 1553 (J14= 1553'"), while in 1565 Scotto brought out 232

No. 5—1539

two books of Jacquet’s five-voice motets containing a total of 36 motets (256 and 258). Each of the four editions varies considerably in content. A core of fourteen works (nos. 1, 3, 4, 6-11, 13, 15, 21, 23, and 26) from the 1539 edition appeared in all the later editions. An additional five motets were included in the 1553 and 1565 editions. Gardano, in his 1540 edition, replaced twelve motets from the Scotto collection with fourteen (or fifteen) other motets (see Lewis, Antonio Gardano, 1: 249-55). For his shorter 1553 edition, Gardano curiously reverted back to Scotto’s first edition, restoring five works (nos. 2, 17, 22, 24, 25) to the original core of fourteen; he rounded out the volume with one motet from his 1540 edition and Decantabat populus in Israel, which originally appeared in Scotto’s edition of Gombert’s five-voice motets (G2932 = 1541°). All of these motets appeared along with others in the two books issued by Scotto in 1565. A useful chart of the five editions appears in Bautier-Regnier, “Jachet de Mantoue,” 114. Only significant conflicting attributions are reported in the contents; for a complete discussion of all conflicting attributions see Nugent, “Jacquet Motets, ” 199-206. An early date of composition for half of the collection is suggested by the use of cantus-firmus structure (nos. 17-19, 24, and 26), canon between cantus and quintus (nos. 13 and 20), and ostinato (no. 10) (Nugent, Jachet, Opera omnia, 5: x). Ploremus omnes was written as a funeral motet for Cesare of Aragon about 1519 (Dunning, Staatsmotette, 251 and Nugent, “Jacquet Motets,” 215). In addition, Nugent (232) theorizes that four others were occasional motets. They include Jacquet’s bestknown work, Aspice Domine quia factus est, possibly composed in response to the devastation of Rome after the sack of 1527, Repleatur os meum for the coronation of Emperor Charles V in 1530, and Plorabant sacerdotes and Salvum me fac as a response to the cessation of natural disasters and disease in northern Italy in 1527-1528 and in Rome in 1530.

Title Page DEL PRIMO LIBRO DE I MOTETTI A | CINQVE VOCI, DELLO ECCELLENTISSIMO IACHET, | Maeftro di Mufica de la Capella del domo de 1 "Illuftriffimo Signor Duca | di Mantoua. Nouamente pofti in luce. | A CINQUE [ornate Gothic S, A, T, B] VOCI. | [s.1., s.n., s.d_]

Altus, Tenor, and Bassus have: Domo instead of domo, and Mantoa instead of Mantoua. Quintus partbook has: IACHETI MVSICI CELEBERRIMI ATQVE | DELECTABILIS, CHORI ILLVSTRISSIMI, AC REVEREND. | Cardinalis Mantue Magiftri, MOTECTA Quingue Vocum. Nouisfime omni | ftudio, ac cura in lucem edita.| ‘@ | LIBER PRIMVS. | CVM QVINQVE [pr. mk. Anchor I] VOCIBVS. | [rule] | Venetits Apud Hieronymum Scotum. | 1539.

Collation and Headline 5 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. Signature title Libro Primo a Cinque. [all signed leaves except Aa2]. Signatures a—e*; aa—ee’; A-E*; AA-EE‘; Aa—Ee*. Signed aii, $2: title pages unsigned.

Headline IACHET a Cingue. PRIMA PARS. it CANTVS

Technical Notes Music fontI; Text font Gothic; Initials Calligraphic Gothic; Dark floral I; Watermarks Anchor in circle with cross; Anchor in circle with trefoil; Anchor in circle with star; Fleur-de-lys; Printed area Title page 8.4 x 15.7 cm [A: 9.3 x 15.7 cm.; T: 9.7 x 16 cm; B: 9.4 x 15.7 cm; 5: 10.9 x 16.7 cm]; Music page 12.9 x 18 cm.

Table of Contents [f. 1%; 5 only] TABVLA | [contents listed] | MOTECTA NVMERO. XXVL) Italic, alphabetical.

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No. 5—1539

Dedication (f. 2; 5 only]; AL REVERENDIS[SIMO] ET ILLVSTRIS[SIMO] SIGNOR | CARDINALE DI MANTOVA. | Geronimo Scotto. | [woodcut I]L GENTIL Spirito, che fi nutrifce nel fangue Illuftrisfimo di V[ostra] S[ignoria] Reuerendiffima, | fa, che tutte le operationi, che da lei dipendono, fi conformino alla Eccellentia di quello: | Onde ne auien, che anchora quelli, i quali di prefentia non la conofcono, lodino, offeruino, & | adorino la magnanimita, la liberalita, & l’altre fue infinite uirtu. Quefto dico io perche | non hauendomi conceduto la fortuna fin hora di effer feruitor con effetto, come fon con l’animo, d’un tan- | to ottimo Signore, mi conuien fargli riuerentia come poffo: Et cid anchor farei con qualche tema di pa- | rer profontuofo, fe la Eccellentia del fuo perfetto Mufico GIACHET non mi afficuraffe, che cid, | che da me uiene, — debba effer grato a Voftra llluftriffima, & Reuerendiffima Signoria, tanto piu, quanto | il tutto uien da i felici frutti, colti nel giardin fuo: & quefto fara la defiderata Mufica del detto | Giachet; che da i Virtuofi gia piu anni fi afpetta; & fi come la perfettion fua lo fa degno di effer fo- | ftenuto da la cortefia, & benignita di V[ostra] S[ignoria] cofi la fua dolce, & dotta Mufica non conuien ad altri che | a lei, che é lo fplendore de le lettere, & di tutte le uirtu. Vostra Signoria Reuerendiffina adunque accet- | ti la bona uolunta, promettendosi di me in ogni occafion tutto quello, che di cordiale, & uero feruo fi| puo promettere: le cui liberaliffime mani bafciando humilmente allei mi raccomando.

Contents

1. I Pater noster qui es in celis lachet' IJ. Ave Maria gratia plena

2. Il Ave regina celorum ave domina Iachet* II. Gaude gloriosa

3. Il O quam preclara sunt Tachet 4. Till Iste est discipulus Iachet 5. V Virgo prudentissima Iachet 6. VI Aspice Domine quia facta est lachet? 7. VO Mirabile misteri1um Iachet* 8. Ix VIII O Deioelecte 9. Si ignoras pulchralachet Iachet II. O fides spei columen

II. Pulchrae sunt genae tuae

10. X Dixit autem Dominus servo [5: Parce Domine] Iachet II. Serve nequam [5: Parce Domine]

11. XI Liberator animarum mundi redemptor Tachet

12. XII Inclita sanctae virginis Catherinae Jachet II. Ave virginum gemma Catherina 13. XU Plorabant sacerdotes et levite” Iachet II. Parce Domine parce populo 14. XIII Salvum me fac Domine Iachet IJ. Veni in altitudinem maris “15. XV Alma redemptoris mater Tachet

IJ. Tu quae genuisti 16. XVI Ploremus omnes et lacrimemur® Jachet 17. XVII [Gaudeamus] omnes in Domine Iachet

1. Attributed to Jachet Berchem in Brussels, Bibliothéque Royale de Belgique, MS 27088. 2. Attributed to Consilium in Rome, Vallicelliana, MS S' 35-40 and to Maistre Jnan in Rome, Biblioteca Apostolica Vaticana, Cappella Giulia MS XII, 4 and Cappeila Sistina MS 17; Jachet in all other sources. 3. Attributed to Lupus [talus in index of Cambridge, University Library, Peterhouse MS 31-32, 40-41. 4. Attributed to Jo. Lebrun in 1539 and Jachet Berchem in Wroctaw, Biblioteka Uniwersyteka MS Mus. 8. 5. Headline: Per Diapente denotes canon between cantus and quintus parts. 6. Quintus begins with “Parce Domine” instead of “Ploremus omnes.”

234

No. 6—1539

18. XVIII [Assumpta est] Maria in celum Jachet

19, XIX [Optimam partem] Elegit tibi Maria Iachet

20. XX Repleatur os meum laude tua lachet

21. XXI IT.InQuoniam te Domine speravi lachet’ fortitudo mea 22. XXII Sancti per fidem vicerunt regna Iachet II. Alii autem detenti sunt

23. XXIII O lampas ardens Iachet 24. XXII [Haec dies] Quam fecit Dominus Iachet 25. XXV Caligaverunt oculi mei lachet 26. XXVI Presul sanctissime Augustine lachet

Locations and Notes .

** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. J 50;

copy 2: (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchen-und MinisterialBibhothek) Mus. ant. pract. S 912 [8], S 913 [6] For a description of Mus. ant. pract. S 912/S 913 see appendix C.

Jena, Universitdtsbibliothek. 4 Mus.3 a—e ** Palermo, Biblioteca Nazionale. (ATB) Rari 1.a.29,31,32 [9] For description of partbooks see Lewis, Antonio Gardano, |:146-47.

Wolfenbiittel, Herzog-August-Bibliothek. 2.13.9-13 Musica #4 (T= #3) See appendix C.

All copies: Cantus: VIII instead of V. Tenor: X instead of XIII], II pars.

A copy was once in K6nigsberg [now Kaliningrad], Universitatsbibliothek.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 5:259; Bautier-Regnier, “Jachet de Mantoue”; Nugent, “Jacquet Motets,” 195; Lewis, Antonio Gardano, 1:250; Schmieder, Musik, #209.

Modern Editions Jachet, Opera omnia, 5.

__ eb

6 Jacquet of Mantua, Motecta quatuor vocum liber primus —_ J9 (1539) In his dedication, Scotto mistakenly names Gonzaga “Ippolito” instead of Ercole, possibly confusing

him with Cardinal Ippolito II d’Este, whom Jacquet honored in the two motets, O Domine Jesu Christe (no. 3) and O angele Dei qui custos es (no. 4) (Nugent, “Jacquet Motets,” 176-81). He also refers to Jacquet as music master of the cathedral chapel of the duke of Mantua. Jacquet was actually in the personal employ of Cardinal Ercole (Nugent in Jachet, Opera omnia, |:xii). A third motet, Quis incredibili (no. 20), might have been written to celebrate the Treaty of Bologna of 1530 (Dunning, Staatsmotette, 248-51 and Nugent, “Jacquet Motets,” 177-78). Scotto published two further editions of Jacquet’s Liber primus 4 vv in 1544 and 1565 (41 and 257), and Gardano printed one in 1545 (J11). (The RISM A listing of a 1554 edition (J12) is a ghost; it is a mistaken reading of a misprinted date on cantus title page of J10, 1544.) None of the three later editions entirely duplicates the contents of the 1539 edition. Of the twenty-four motets in this first edition, a core of fourteen appeared in all four prints (nos. 1, 2, 5, 7, 8, 10, 13, 14, 16, 18-20, 22, and 23). Another two (nos. 3 and 17) were included in both the 1544 and 1545 editions. The remaining

7. Attributed to Jachet Berchem in both Gardano editions (J7, 1540 and J14 = 1553!”),

235

No. 6-——1539

eight motets were dropped from the 1544 and 1545 editions; these include nos. 4, 9, 11, 12, 15, 21, and 24 (no. 6 is attributed to de la Fage in an earlier Attaingnant edition (1535°), and to Claudin de Sermisy in three Italian manuscript sources). Scotto added seven new motets to his 1544 edition (see _ 41). Gardano’s 1545 edition contains all the motets found in the 1544 edition plus an additional three motets not found in 41 (Lewis, Antonio Gardano, 1:460-65). In his 1565 edition Scotto reinstated O sacrum convivium (no. 23) from the first edition, and inserted Domine bonum est which appeared in the 1544 and 1545 editions. He also included four additional motets (three of which are not by Jacquet). Bautier-Regnier (“Jachet de Mantoue,’’ 113) presents a chart of the contents for the first three editions; she was unaware of the 1565 edition. Nugent (Jachet, Opera omnia, 1:xi11) compares the contents of J13 (1565) with the earlier editions.

Title Page CELEBERRIMI MAXIMEQVE DELECTABILIS | MVSICI IACHET, CHORI SANCTI PETRI

VRBIS | MANTVAE MAGISTRI: MOTECTA QVATVOR VOCVM, | nuperrime maxima diligentia in lucem zdita. | LIEBR [sic.] PRIMVS. | QVATVOR [pr. mk. Anchor I] VOCVM. | APVD HIERONYMVM SCOTVM. | VENETIIS. | [rule] | 1539. Tenor and Bassus have:

DEL PRIMO LIBRO DE I MOTETTI A | QVATTRO VOCI, DE LO ECCELLENTISSIMO JACHET, | Maeftro di Mufica de la Capella del Domo de !| Uluftrif{fimo Signor Duca | di Mantoa. Nouamente pofti in luce. | A QVATTRO [orate Gothic T, B] VOCI. [s.1., s.n., s.d.]

Altus has:... A CINQVE [ornate Gothic A] VOCI.... Colophon [f. 20"} pr. mk. Anchor I

Collation and Headline 4 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. Signature title Libro Primo a quattro [all signed leaves]; AA2, BB2, CC2, DD2, EE2: Libro

Primo a quatro. Signatures A-E*; AA-EE*; a-e4; aa—ee*. Signed Bii, $2: title pages unsigned.

Headline IACHET. PRIMA PARS I CANTVS

Technical Notes Music font!; Text font Gothic; Initials Calligraphic Gothic; Ghost; Watermarks Anchor in circle with star; Anchor in circle with balls; Printed area Title page 11.4 x 17.4 cm [A and B: 9.4 x 15.5 cm; T: 9.9 x 15.6 cm]; Music page 12.4 x 18 cm.

Table of Contents [f. 20°; ATB] TAVOLA | [contents listed] | MOTECTA NVMERO. XXIIII. | FINIS.; uses fourpart bracket for secunda pars. Italic, in order of appearance.

Dedication [f. 20”, S only] ALLO ILLVSTRIS[SIMO] SIGNOR, ET REVERENDIS[SIMO] | CARDINALE, IL SIGNOR HIPPOLITO GONZAGA. | Geronimo Scotto. | VOLENDO io fare Stampare la dotta,

et dileteuole Mufica di IACHET, | fi per comune utilitate & delettatione di quelli che di tale {crentia fi di- | lettano, come anco per debito honore del compolitore, il quale per I’ec- | celentia de l’opere fue merita effer cono[ciuto, & celebrato per tutto il | mondo: mi e parfo conueneuole publicarla {otto il nome di Voftra Mluftriffima, & | Reuerendis[sima} Signoria: accioche come lei e patrona & protetrice del compofitore fia | ancora delle fue compofitioni: per lequali ciafcaduno potra chiaramente cono(cere la | feruitu del Compofitore che [eco tiene, & la mia ancora, effendo tanto de fuoi ferui- | tori affettionato. Quefti [ono Monfignor Reuerendis[stmo] MOTETTI a 236

No. 6—1539

Quattro | Voci: fra pochi giorni Voftra Iluftriffima, & Reuerendis[sima] Signoria n’afpetti a Cinque | del ifte{fo Compofitore, alla quale humilmente bacio la mano.

Contents

1. J In illo tempore dixit Jesus discipulis suis Jachet

ergo 2.]I]IJ. IlII. Dicebant Audi dulcis amica mea Jachet Veni plena gratiae

3. I O Domine Jesu Christe obsecro te Jachet Il] II. Defende [eum] a sagitta volante

4. Till O angele Dei qui custos es lachet 5. V Celorum candor splenduit Tachet 6. VI Aspice Domine de sede sancta tua lachet! 7. VI Visita quaesimus Domine lachet? 8. VIII Fratres. Ego enim accepi a Domino Jachet

VII II. Similiter & calicem postquam cenavit 9. virgo Jachet 10.IXXSalve Unum colevirginum Deum Jachet

xX IT. Non sis occisor 11. Domine DeusTachet Jachet 12. XI XIIAdonay Tibi soli peccavi XII IJ. Cor contritum humiliatum Deus

13. qui natusconfido est nobislachet? Jachet 14. XIU XIIIPuer In Domino XII II. Dominus 1n templo sancto suo

15.XVXV Cantantibus organis Caecilia lachet II. Biduanis ac triduanis

16. XVI In illo tempore erat autem Jesus lachet* XVI II. O mulier Samaritana XVI III. Dixit e1 mulier

17. XVII Retribuere dignare Domine lachet? XVII II. Dominus conservet eos 18. XVIII Omnipotens sempiterne Deus Iachet 19. XIX Spem in alium nunquam habui lachet

20. XX Quis incredibili non exultet gaudio lachet XX II. Nos vero pro te nunquam desistimus 21.XX] XXI Stephanus servus Det lachet Ii. Cum igitur saxorum crepitantium

22. XXII Alleluia surrexit Dominus vere & apparuit Simoni lachet XXII II. Qui fecit celum & terram

23. XXIIIOOmnes tui Iachet 24. XXIII sacrum sancti convivium Jachet

1. Conflicting attributions to Claudin appear in $2818 (1542), 15587°, Modena, Archivio Capitolare MS IX, Rome, Biblioteca Apostolica Vaticana, Cappella Giulia MS XII, 4, and Verona, Biblioteca Capitolare MS 760, and to de la Fage in 1535°.

2. Ascribed to Adrian Vuillart (Jacquet in index) in 1538°. 3. Ascribed to Lud. Senffel in 1542°. 4. Appears with no ascription in 1543° and 1546? (Morales on title page). Attributed to Morales in Coimbra, Biblioteca Geral da Universidade, MS Mus. 48. 5. Attributed to Verdeloth in Bergamo, Biblioteca Civica, MS 1209D.

237

No. 6—1539

Locations and Notes ** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchenund Ministerial-Bibliothek) Mus. ant. pract. S 912 [7] S 913 [7] See appendix C.

** Jena, Universitatsbibliothek. 4 Mus.3 a—d Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 12/4 For description of partbooks see Lewis, Antonio Gardano, 1:136. Cantus: secunda pars of X not indicated. Altus: I, secunda pars: headline CANTVS instead of ALTVS; VII: headline ALT VS; XIX, Tertia pars instead of XVI, Tertia pars (changed in ink by hand).

** Palermo, Biblioteca Nazionale. (ATB) Rari 1.a.29, 31, 32 [4] , For a description of the partbooks see Lewis, Antonio Gardano, 1:146—-47.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon 5:259; Nugent, “Jacquet Motets”; Bautier-Regnier, “Jachet de Mantoue,” 113; Bayerische Staatsbibliothek, Katalog, 8:3062.

Modern Editions Jacquet, Opera omnia, 4; Morales, Opera omnia, 5: no. 16.

ate 7 Willaert, Musica quatuor vocum vulgo motecta liber primus W1106 (1539) In 1539 the Scotto press issued Willaert’s motets in a set of two books, one each for four and five

voices. A second volume of four-voice motets was printed in the same year by Girolamo’s second cousins, Brandino and Ottaviano di Amadio Scotto, at the request (ad instantiam) of Andrea Antico. The absence of a dedication in all three books and the omission of the printer’s name in the first book

of four-voice motets point to the possibility of a collaboration between the Scottos and another , bookman. The Venetian printer, Francesco Marcolini da Forli, who in 1536 issued Willaert’s Liber quinque missarum, might have been the silent partner of the editions (chapter 8 and 8). The Liber primus was issued again by Gardano in 1545 (W1107). He included nineteen of the twenty-six motets from the first edition, leaving out nos. 1, 7, 13, 14, 18, 22, and 23, replacing them with three other motets. Zenck offers a detailed discussion of the contents in Willaert, Opera omnia, L:vil—x1.

Title Page FAMOSISSIMI ADRIANI | VVILLAERT, CHORI DIVI MARCI | ILLVSTRISSIMAE REIPVBLICAE VENETIARVM MAGISTRI, | Mufica QVATVOR VOCVM, (que uulgo MOTECTA nuncupa- | tur) Nouiter omni ftudio, ac diligentia in lucem edita. | LIBER PRIMVS. | QVATVOR [pr. mk. Fame I] VOCVM. | ADRIANI VVILLAERT | [rule] | 1539 Altus, Tenor, and Bassus have:

DEL PRIMO LIBRO DEI MOTETTI A | QVATTRO VOCI, DE LO ECCELLENTISSIMO ADRIANO | Vuillaert, Maeftro de Mufica de la Capella de San Marcho de | Uluftriffima | Signoria di Venetia. Nouamente pofti in luce. | A QVATTRO [ornate Gothic A, T, B] VOCI. | ADRIAN VVILAERT [s.|., s.n., s.d.]

Colophon [f. 20°] pr. mk. Anchor I

Collation and Headline 4 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. 238

No. 7—1539

Signature title Libro primo. Signatures A-E*; AA—EE*; a—e*; aa-ee*. Signed Aii, $2: title pages unsigned.

Headline ADRIAN Vuillaert. J CANTVS

Technical Notes Music font I; Text font Gothic; Initials Calligraphic Gothic; Watermarks Anchor in circle with cross; Fleur-de-lys; Printed area Title page 12.3 x 15.5 cm [A and B: 10.9 x 15.9 cm; T: 10.9 x 16.2 cm]; Music page 12.5 x 18.2 cm.

Table of Contents [f. 20] TAVOLA | [contents listed] | MOTECTA NVMERO XXV1.,; Italic, in order of appearance;

Tenor and Altus:... J#lotecta numero 26.

Contents

l. I Ave Maria gratia plena Adrian Vuillaert

2. Ii Videns Dominus flentes sorores Lazar Adrian Vuillaert

3. Ill Quasi unus de paradisi fluminibus Adrian Vuillaert Ill II. Deus qui beatum Marcum

4. Ili Antoni pastor inclite Adrian Vuillaert 5. V Omnipotens sempiterne Deus Adrian Vuillaert

6. VI Angelus Domini descendit de celo Adrian Vuillaert 7. VII Ave dulcissime Domine Jesu Christe Adrian Vuillaert

8. VII Natale sanctae Eufemiae Adrian Vuillaert VIII II. Tu Domine notus omnibus

9. IX O gemma clarissima Adrian Vuillaert 10. X O Thoma laus & gloria Adrian Vuillaert li.XI XIII.Veni sancte spiritus Adrian Vuillaert Sine tuo numine

12. XII Benedicta es celorum regina Adrian Vuillaert! XII II. Per illud ave prolatum

13. XIII Beata Dei genitrix Maria Adrian Vuillaert XIII II. Et beata quae credidit Adrian Vuillaert

14. XIII O Domine Jesu Christe... in cruce pendentem Adrian Vuillaert XIII IJ. O Domine Jesu Christe .. . in cruce vulneratum XIII III. O Domine Jesu Christe . . . propter illam XIII IV. O Domine Jesu Christe justos conserva

15. XV Mirabile misterium Adrian Vuillaert

16. XVI Magne martir Adriane Adrian Vuillaert

17. XVII Ave regina celorum ave domina Adrian Vuillaert XVII II. Gaude gloriosa 19, XIX Armorum fortissime ductor Sebastiane Adrian Vuillaert XIX Il. Te igitur martir egregie 18. XVIII Domine Jesu Christe fili Dei vivi qui de celis Adrian Vuillaert

20. XX In illo tempore stabant autem Adrian Vuillaert

21. XXI Joannes apostolus et evangelista Adrian Vuillaert XX] II. Ecclesiam tuam quaesimus Domine

22. XXII Ad te Domine preces nostras fundentem Adrian Vuillaert

23. XXIII Tota pulchra es amica mea Adrian Vuillaert 24. XXII Patefactae sunt januae celi Adrian Vuillaert XXII II. Mortem enim quam salvator 25. XXV Surgit Christus cum tropheo Adrian Vuillaert 1. Attributed to Bouteillier in 1534*, but to Willaert in all other sources.

239

No. 7—-1539

XXV II. Dic Maria quid fecisti contemplando XxXV III. Dic Maria quid fecisti postquam Jesum

26. XXVI Magnum hereditatis misterlum Adrian Vuillaert Locations and Notes ** Brussels, Bibliothéque Royale de Belgique. (AT) ** Cracow, Biblioteka Jagiellonska. (AT) (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. W 415 London, British Library. K.1.e.18 See appendix C.

Munich, Bayerische Staatsbibliothek. 4° Mus. pr 12/1 For a description of the partbooks see Lewis, Antonio Gardano, 1:136.

* Palermo, Biblioteca Nazionale. (ATB) Raro 1.a.29, 31, 32 [1] , For a description of the partbooks see Lewis, Antonio Gardano, |:146-47.

Vicenza, Biblioteca Bertoliana. (S) Mus. FF.2.7.22 For a description of the partbooks see Lewis, Antonio Gardano, 1:161-62.

All copies: Bassus: IIII: headed BASVS; XII: headline XII misaligned; XXV tertia pars: headed BASSV.

Bibliographical Listings and Literature British Union Catalogue, 1082; Squire, Catalogue of Printed Music... British Museum, 2:687; Rumor, Catalogo... Vicenza, 21-22; Eitner, Quellen-Lexikon, 10:263; Bayerische Staatsbibliothek, Katalog,

Modern Editions . 17:7082.

Willaert, Opera omnia, 1.

age 8 Willaert, Motetti libro secondo 4 vv W1108 (1539) The second volume of Willaert’s four-voice motets was published by a partnership of Girolamo’s second cousins, Brandino and Ottaviano di Amadio Scotto, and Andrea Antico, who prepared the woodcuts for the edition. This was the last music book that Antico crafted, and the first and only music edition published jointly by Amadio’s sons. The title page states that the edition is privileged. No privilege taken out by the Scottos and Antico survives. In 1536 another printer, Francesco Marcolin: da Forli, declared that he would issue Willaert’s music in a series of editions that would

include one volume each of Masses, motets, and madrigals. Only the Mass edition survives, suggesting that Marcolini might have abandoned music printing himself, but still remained active as a possible underwriter of the Scotti/Antico edition(s) (chapter 8 and 7). In 1545 Gardano brought out another edition of the two books of four-voice motets. He eliminated three motets (nos. 4, 5, and 15) and added five others, including the popular Pater noster and a setting of Vergil’s Dulces exuviae. In addition, Gardano radically altered the order of the motets, even interchanging pieces between the two editions. Chapman (“Andrea Antico,” 396-405) presents a comparative study of the two editions. The copies in Oxford, Christ Church and Cracow, Biblioteka Jagiellonska are not listed in RISM.

Title page MOTETTI DI ADRIAN | VVILLIART. | Libro Secondo A quattro uoci nouamente impresso. | Cum gratia et priuilegio. | [pr. mk. BOS III] | [half rule over date] | VENETIIS M D XXXIx Altus, Tenor, and Bassus have:

Mlotetti si Adrian Guillaert Libro secando. | [ornate Gothic ATB] [s.L, s.n., s.d.] 240

No. 8—1539

Collation and Headline 4 volumes in quarto oblong; 16 leaves without pagination or foliation, numbered by piece. Signature title ATB only: Altus, Tenor, or Bassus; Signatures A-D*; A~D*; A—D*; A~-D*; Signed A ij, $2: title pages unsigned. Headline none.

Colophon [f. 16; B only] Impressum Venetijs per Brandinum & Octauianum | Scotum. Ad instantiam Andree Antiqui. | [rule] |M D XXXIX;,; [f. 16°] pr. mk. BOS I.

Technical Notes Music font Woodcut; Text font Roman; Initials Calligraphic Gothic; Dark floral I; Watermarks Cardinal’s hat; Printed area Title page: 11.7 x 12.9cm [A: 7.9 x 7.4 cm; T: 8.8 x 7.5 cm; B: 8.3 x 7.4 cm]; Music page: 12.7 x 17.4 cm.

Table of Contents [f. 1”] No heading; Gothic; in order of appearance.

Contents

1. | Qui habitat in adiutorio

II. Cadent a latere tuo ITI. In manibus portabunt te

2. 2 Parens tonantis maxim} 3. 3 Usquequo Domine oblivisceris I. Illumina oculos meos

4. 4 Strinxerunt corporis membra II. Mea nox obscurum non habet 5. 5 Valde honorandus est beatus Joannes 6. 6 Spiritus meus attenuabitur II. Libera me Domine

7. 7 Victimae paschali laudes II. Dic nobis Maria 8. 8 Domine Jesu Christe memento II. Et concede mihi

9. 9 Beatus Stephanus preciosus II. Et videntes vultum eius

10. 10 Sancte Paule apostole

11. 11 Congratulamini mihi omnes II. Recedentibus discipulis

12. 12 Ave regina celorum mater regis”

13. 13 Quem terra pontus ethera II. Beata celi nuntio

14. 14 O magnum mysterium IJ. Ave Maria gratia plena

15. 15 Ave virginum gemma sancta Catherina

16. 16 Inviolata integra & casta

IT. Nostra ut pura pectora

17. 17 Salve crux sancta arbor

II. Causa etiam vite ferret

18. 18 Dominus regit me II. Parasti in conspectu meo

2. Instruction: “Canon duorum temporum fuga in subdiapente” appears next to staff.

24]

No. 8—1539

19. 19 Beatus Joannes apostolus & evangelista II. Ipse est qui evangelii°

20. 20 Congratulamini mihi omnes II. Beatam me dicent omnes generationes

21. 21 Saluto te sancta virgo Maria

II. Rogo te ergo per illud gaudium

Locations and Notes” Bologna, Civico Museo Bibliografico Musicale. V 7 ** Cracow, Biblioteka Jagiellonska. (AT) (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. W 417 Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 12/2 For a description of the partbooks see Lewis, Antonio Gardano, |:136.

Oxford, Christ Church. (B inc.) Mus. 341 See appendix C. Missing first two folios (pp. I~4).

** Palermo, Biblioteca Nazionale. (ATB) Rari 1.a.29, 31, 32 [2] For a description of the partbooks see Lewis, Antonio Gardano, 1:146—47.

Vicenza, Biblioteca Bertoliana. (S) Mus. FF.2.7.22 For description of partbooks see Lewis, Antonio Gardano, |:161-62.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 10:263; Rumor, Catalogo .. . Vicenza, 21-22; Bayerische Staatsbibliothek, Katalog, 17:7082; Chapman, “Andrea Antico,’ 396-405; Zenck, in Willaert Opera omnia, 2: i.

Modern Editions Willaert, Opera omnia, 2.

__sfo

9 Willaert, Musica quinque vocum vulgo motecta liber primus W1110 (1539) Of the twenty-three motets in this edition, at least fifteen appeared in print for the first time (nos. 1-3,

5-7, 9, 10, 13-18, and 21). Five came out in earlier northern publications: no. 22 in Moderne’s Motetti del fiore (1532”), nos. 11 and 19 in Attaingnant’s Liber quartus (1534°) and Liber duodecim (1535), and nos. 4 and 23 in Formschneider’s Secundus tomus novi operis musici (1538°). Three more (nos. 8, 12, and 20) were printed in Schoeffer’s Cantiones quinque vocum (1539*). Scotto issued another edition of these motets in 1550 (105). Both the contents and order of motets are the same, but there are a few musical and textual variants in the later edition (Zenck, in Willaert, Opera omnia, 3: I—1i1).

A number of motets were composed for special occasions. No. 7, Adriacos numero was written in celebration of Cardinal Ippolito de’ Medici’s visit to Venice in 1532. Nos. 15 and 18, Inclite Sfortiadum princeps, and Victor io salve, pays homage to Francesco Sforza, duke of Milan after the defeat of the French at Pavia in 1525. No. 17, Haud aliter pugnans fulgebat Caesar, celebrates Ferdinand I of Austria’s defense of Vienna against the Turks in 1529. No. 5, Si rore aonio, might have been composed for the humanist Pierio Valeriano, a favorite of Pope Leo X (Dunning, Staatsmotette, 283-87 and Zenck, it).

Title Page FAMOSISSIMI ADRIANI VVILLAERT, | CHORI DIVI MARCI [LLVSTRISSIMAE REIPVBLICAE | Venetiarum Magiftri, MVSICA QVINQVE VOCVM, (quae uulgo MOTECTA

| nuncunpatur,) [sic.] Nouiter omni ftudio, ac diligentia in lucem edita, | LIBER PRIMVS. | 3. Tenor begins with “Ipse est enim qui evangelij.”

242

No. 9—1539 QVINQVE [pr. mk. Fame I] VOCVM. | VENETIIS. | APVD HIERONYMVM SCOTYVM. | [rule] | 1539,

Altus, Tenor, Bassus, and Quintus have:

DEL PRIMO LIBRO DE I MOTETTI A | CINQVE VOCI, DE LO ECCELLENTISSIMO ADRIANO | Vuillaert, Maeftro de Musica de la Capella de San Marcho de 1 Uluftriffima | Signoria di Venetia. Nouamente pofti in luce. | A CINQVE [ornate Gothic A, T, B, Q] VOCI. |

ADRIAN VVILLAERT [s.1., s.n., s.d.] | Collation and Headline

5 volumes in quarto oblong; 22 leaves [5 = 18 leaves] without pagination or foliation, numbered by piece.

Signature title Libro Primo a cinque [AA,BB: Libro Primo]. Signatures A-D*E°; AA-DD‘EE®: a-d*e®: aa—-dd‘ee®; Aa-Dd‘*Ee*. Signed Aii; $2 (AD), $3 (E): title pages unsigned.

Headline: SECVNDA PARS ADRIAN. cum quinque Vocibus. I CANTVS Technical Notes Music font I; Text font Gothic; Initials Calligraphic Gothic; Dark floral I; Watermarks Anchor and circle with star; Printed area Title page: 12.1 x 16.5 cm [AB: 11 x 15.6 cm; T: 11 x 15.9 cm]; Music page: 12.8 x 18 cm.

Table of Contents [f. 18°; 5 only] TAVOLA |... | FINIS | MOTECTA NUMERO XXIII; Italic, alphabetical.

Contents

l. I Verbum iniquum & dolosum Adrian J II. Duo rogavi ne deneges mihi Adrian 2. II Salva nos ab excidio Geminiane Adrian 3.UI I Christus resurgens mortutsAdrian Adrian II. Dicant nuncexJudei

4.UII Ill II. Prolongati Inveteratasunt suntdies ossamei meaAdrian Adrian

Sit Aonio ergo fas dicere 5.ilVIII. Si rore fluerent meaAdrian Adrian

V Il. At desueta diu Adrian 6. VI Domine Jesu Christe fili dei vivi Adrian

7. VI Adriacos numero si quis Adrian Vuillaert VI II. Nobis dum sacros templis Adrian 8. VIII Letare sancta mater Ecclesia Adrian (T: Augustine lux doctorum] VI IJ. Augustine lux doctorum Adrian 9, IX Inclite dux salve Victor [5: In Verona Agrippina] Adrian IX I{. Sanguine tumulto victricia Adrian [5: In Verona Agrippina]

10. X Sacerdotum diadema [5: Sancte Gratiane] Adrian x II. O Gratiane, o pie [5: Sancte Gratiane] Adrian

li.XI XIIl. Regina celi laetare Adrian Vuillaert Resurrexit sicut dixit Adrian 12. XII Peccavi supra numerum [5: Tibi soli peccavi] Adrian XII II. Quoniam iniquitatem meam [5: Tibi soli peccavi] Adrian

13. XIII O crux splendidior cunctis Adrian XIll IT. Dulce lignum dulces clavos Adrian 243

No. 9---1539

14. XIII Ecce lignum crucis in quo salus mundi Adrian

XII II. Crux fidelis inter omnes Adrian

15. XV Inclite Sfortiadum princeps [5: Vivat dux Franciscus] Adrian

16. XVI Locuti sunt adversum me lingua dolosa Adrian XVI II. Et posuerunt adversum me Adrian 17. XVII Haud aliter pugnans fulgebat Caesar Adrian 18. XVIII Victor io salve tantum cui fata triumph Adrian

XVIII II. Quis curare neget divos mortalia Adrian XIX II. Memento Abraam, Isaac, & Jacob Adrian

19. XIX Precatus est Moyses in conspectu Domini Adrian

20.XX XX Congratulamini mihi omnes Adrian II. Et dum ad monumentum Adrian

21. XXI Ave maris stella Adrian XXI ({I.] Monstra te esse matrem Adrian 22. XXII Ave Maria ancilla sancte trinitatis Adrian [5: Ave Maria gratia plena] XXil [li.} Ave Maria fons & pulchritudo Adrian [5: Ave Maria gratia plena]

23. XXIII Ne projicias nos Domine in tempore Adrian FINIS | MOTECTA NVMERO XXIII.

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (S) V 8 ** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchen-

und Ministerial-Bibliothek) Mus. ant. pract. S 912 [10], S 913 [6,9]. See appendix C.

** Jena, Universitatsbibliothek. 4 Mus.3 aSee appendix C.

London, British Library. (olim Wolffheim) K.7.c.21; copy 2: (B inc.) K.11.e.2 (1) K.7.c.21 no binding. K.11.e.2 (1) Bassus: first gathering (pp.1--8) lacking. See appendix C.

Munich, Bayerische Staatsbibliothek. (AT) 4° Mus. pr. 56/4 For a description of the partbooks see Lewis, Antonio Gardano, 1|:138.

** Palermo, Biblioteca Nazionale. (ATB) Rart 1.a.29, 31, 32 [7] For a description of the partbooks see Lewis, Antonio Gardano, 1:146—-47,

Wolfenbiittel, Herzog-August-Bibliothek. 2.13.9—-13 Musica See appendix C.

Bibliographic Listings and Literature K. E. Roediger, Die geistlichen Musikhandschriften, 112; British Library, Catalogue of Printed Music, 61:163; Miller, Die musikalischen Schdtze ... Kénigsberg, 408; Schmieder, Musik #522; Bayerische Staatsbibliothek, Katalog, 17:7082; Gaspari, Catalogo... Bologna, 2:330; Eitner, Quellen-Lexikon, 9:263.

Modern Editions - Willaert, Opera omnia, 3.

— 1540 —

10 Quinque missae liber primus cum quinque vocibus M3575 = 1540° In 1540 Scotto launched a series of Mass publications containing settings by several composers. As he had done the previous year with his motet editions, he issued the volumes in sets of two books for four and five voices each (the present edition is paired with 11). The editions prominently feature Mass settings by the Spanish composer Cristobal de Morales alongside works by Jacquet of Mantua and Gombert. Two Masses by Morales open the five-voice book, followed by two soggetto cavato settings by Jacquet composed in honor of Ercole II d’Este and Ferdinand, duke of Calabria. A Mass ascribed to 244

No. 10—1540

Jachet Berchem based on Willaert’s six-voice chanson Mort et fortune appears between the two Jacquet of Mantua settings. No later editions contain all the Masses from this collection. Scotto republished the two Morales Masses in his Quinque missarum of 1543 and 1563 (33 and 233). The same Masses also appeared in Dorico’s Second Book of Morales Masses of 1544 (M3582), Gardano’s Quinque missarum (M3589 = 1547*), and Moderne’s 1551 edition (M3583). Berchem’s Missa Morte

et Mercy also appeared in Gardano’s 1547 edition. Neither turns up in later publications. Philip Jackson (Jachet, Opera omnia, 6: xi—xxvi) offers a detailed discussion of the Jacquet settings. RISM [1542]! is a ghost; it is another copy of the lower three partbooks of this edition.

Title Page Se QVINQVE MISSAE # | MORALIS HISPANI, AC IACHETI MVSICI | Excellentisfimi Liber Primus, cum Quinque Vocibus, Nunc primum | omni diligentia in lucem editus. | Quarum

Miffarum nomina fequens Pagina indicabit. | ‘€ | [pr. mk. Peace I] | VENETIIS | Apud Hieronymum Scotum. | [rule] | 1540. Altus, Tenor, Bassus, and Quintus have: LIBER PRIMVS QVINQVE MISSARVM | CVM QVINQVE VOCIBVS, | Excellentisfimi Mufici MORALIS Hifpani, ac LACHETI, | Nunc primum omni diligentia in lucem editus.| @ | ALTVS (TENOR, BASSVS, QVINTVS] [s.1., s.n., s.d.]

Collation and Headline 5 volumes in quarto oblong; 22 leaves [T = 18 leaves], foliated, ff. [I] 2, ITI—XXTI; [T: ff. [I] 2, IJI~XTI, XV—XX].

Signature title none. Signatures A® B-E*; AA® BB-EE*: a° b* c’d 4 e*: aa®bb—ee*, Aa® Bb—Ee’. Signed Aij, $3 (A), $2 (B—E): Cantus title page signed A.

Headline recto: SVPER LOMME ARME. CANTVS III verso: MORALES SVPER LOMME ARME.

Technical Notes Music font]; Text font Italic]; Initials Putt; Watermarks Anchor and circle with balls; Cardinal’s hat; Printed area Title page 11.7 x 15.1 cm [AB: 6.9 x 15.6 cm; T: 5.7 =x 15.6 cm]; Music page 13.8 x. 17.8 cm.

Table of Contents f. 2; TABVLA.,; Italic [folios given in Arabic numbers], in order of appearance.

Contents

l. f. II Missa super Lomme Arme Morales 2. VIIMissa Missa de beata Morales 3. f.f. XI Hercules duxVirgine Ferrariae 4. f. XV Missa Mort e merc! IachetIachet Berchem 5. f. XIX Missa Ferdinandus dux Calabriae lachet

Locations and Notes * Jena, Universitadtsbibliothek. 4 Mus.10 a-e [2] See appendix C.

Munich, Universitatsbibliothek. (SAS) Cim 44/1 For a description of the partbooks see Lewis, Antonio Gardano, |:144.

** Naples, Biblioteca Nazionale. 8.Q.XXVII.L.44-47 [8] For a description of the partbooks see Lewis, Antonio Gardana, |:144-45.

Verona, Accademia Filarmonica. (ATB) N. 124, IV For a description of the partbooks see Lewis, Antonio Gardano, \:158.

** Zaragoza, Biblioteca Capitular de la Seo (5) All copies: Tenor: VI instead of V, XXI instead of XX.

245

No. 10—1540

Bibliographical Listings and Literature Turrini, Catalogo... Verona, 21; Mondolfi, “Fondo musicale. . . Napoli,” 279; K. E. Roediger, Die geistlichen Musikhandschriften, 113.

Modern Editions Morales, Opera omnia, |: no. 1; vol. 3: no. 2; Jachet, Opera omnia, 6: nos. 3 and 5.

fe 11 Missae cum quatuor vocibus G2973 = M3576 = 15404 The “companion” volume to 10, the Missae cum quatuor vocibus contains five Mass settings and two motets by various composers. All of the Masses are parody works. Jacquet modeled his Missa de Mon triste desplaisir on the five-voice chanson by Richafort. Gombert based his Missa Sancta Maria on Verdelot’s four-voice motet Sancta Maria sucurre miseris, while Jacquet parodied a motet by Mouton in his Missa In illo tempore. The Verdelot and Mouton motets accompany the parody Masses by

Gombert and Jacquet, respectively. No known later editions contain all the Masses from this collection. Only Morales’s Missa de Beata Virgine recurred in collections issued in 1544 by Dorico (M3580), Gardano (M3585 = 1544°), and Scotto (M3581); and later by Moderne (M3581, 1545), Gardano (M3586 = 1557!), Rampazetto (M3587 = 1563'), and Alessandro Gardano (M3591, 1580).

Title Page EXCELLENTISSIMI MVSICI | MORALIS HISPANI, GOMBERTI, AC IACHETI | CVM QVATVOR VOCIBVS | MISSAE, | Nouifsime omni diligentia in lucem cedite. | ‘@ | Quarum Miffarum nomina fequens Pagina indicat.| LIBER [pr. mk. Peace I] PRIMVS. | VENETIIS | Apud Hieronymum Scotum. | [rule] | 1540.

Altus, Tenor, and Bassus have: , MISSAE CVM QVATVOR VOCIBVS, | Noui/sime omni diligentia in lucem edite.| ‘€ | ALTVS [TENOR, BASSVS] [s.L, s.n., s.d.]

Collation and Headline 4 volumes in quarto oblong; 21 leaves, foliated, ff. [1-11] VI-XXVI".

Signature title none. Signatures A! B-F *; AA! BB-FF *; a! b-f*; aa' bb-ff*. Signed Bij, $2: title pages signed A (AA, a, aa). This edition begins with the “B”’ gathering; the first gathering originally intended for the print was left out. Title page is a separate leaf and was added later.

Headline recto: VIRGINE CANTVS VIII verso: CANTVS DEBEATA

Technical Notes Music font I; Text font Italic I; Initials Putti, Dark floral I; Watermarks Anchor and circle with star; Cardinal’s hat; Printed area Title page (A) 6.2 x 14.3 cm; Music page 11.5 x 17.7 cm.

Table of Contents [f. 1°] TABVLA,; Italic, Arabic numbers, in order of appearance.

Contents

1. f. VII Missa de beata virgine Morales

2. f.f.XI Missa AveSancta [fuit] prima salus Jachet 3. XV Missa Marta Gombert

4. f. XVIII" Sancta Maria sucurre miseris Verdelot

5. f. XIX Missa In illo tempore Tachet 246

No. 12—1540

6. f. XXII" In illo tempore acceserunt loan Mouton! f. XXIII II. Propter hoc dimittet homo 7. £. XXII” Missa De mon triste desplaisir Jachet Locations and Notes * Jena, Universitatsbibliothek. 4 Mus.10 a—e See appendix C.

London, British Library. (S inc. AB) A.296.d Bound in paper with name Paolo Magri inscribed in left corner. Initials spelling out CANTVS, ALTVS etc. form design

on each cover. Cantus lacking title page.

Verona, Accademia Filarmonica. (ATB) N. 124, III For a description of the partbooks see Lewis, Antonio Gardano, 1:158.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 4:303 (dated 1541); Squire, Catalogue of Printed Music... British Museum, 2:147.

Modern Editions Morales, Opera omnia, |: no. 1; Jachet, Opera omnia, 6: nos. 2, 5, and 7; Gombert, Opera omnia, 1: no. 3; Smiuyers and Merritt, Treize livres de motets, 2: no. 4.

«fo 12 Veggio, Madrigali a quattro voci V1087 = 1540” Born in Piacenza, Claudio Veggio apparently remained active in his native town as well as nearby Castell’Arquato, where surviving manuscripts preserve some of his keyboard music and a set of vesper psalms (Slim, “Keyboard Music at Castell’ Arquato’). He dedicated his first and only extant

edition to a Piacentine nobleman, Count Federico Anguissola, who served as commander of a company under Pier Francesco Farnese, then General of the pontifical army. Anguissola died a year after this edition was issued at the Rocca di Papa near Rome in the war against the Colonnas (Mensi, Dizionario biografico piacentino, 25—26). Many of the texts Veggio chose for his settings were written by the Piacentine poet and patron Luigi Cassola, whose Madrigali was published in Venice by Giolito in 1544. Other composers also used his texts for their musical works (Fenlon and Haar, Italian Madrigal, 290-91). In his dedication, Veggio stated that in order to complete his edition, Scotto had generously given him six pieces by Arcadelt. All the madrigals by Arcadelt are in the new note nere style, as indicated on the title page (misura a breve). Four of the Veggio madrigals (nos. 22, 23, 25, and 26) are also written in misura a breve. As pointed out by Boorman (“‘Some Non-conflicting Attributions,’” 129~30), not all recto page headlines contain composer attributions. Furthermore, a few openings have three madrigals rather than the usual two madrigals. Owens (Veggio, Madrigali, xii) convincingly proposes that all of the unassigned pieces are by Veggio, pointing to the wording of the title page, the dedication, and the fact that this edition was commissioned by the composer. She also notes that the compositor placed Veggio’s name on the left-hand (verso) page of each opening, as though to indicate that all the music on the opening belonged to Veggio. Gardano reprinted this edition in 1545 (V1088), where he omitted all six of the Arcadelt madrigals and six other pieces by Veggio (nos. 5, 16, 24-26, and 34). Following his usual practice, he also rearranged the contents.

Title Page fe MADRIGALI # | A QVATTRO VOCI | Di Meffer CLAVDIO Veggio, Con la Gionta di fei altri di Arcadelth della | mifura a breue. Nuouamente con ogni diligentia Stampati. | ‘€ | [pr. mk. Peace J]| VENETUS | Apud Hieronymum Scotum. | [rule] | 1540.

1. Attribution to Mouton appears in three lower partbooks.

247

No. 12-1540 Altus, Tenor, and Bassus have:

MADRIGALI DI MESSER CLAVDIO | Veggio, a Quattro Voci. Nuouamente Stampati. | ‘€ | ALTVS [TENOR, BASSVS] [s.L., s.n., s.d.]

Collation and Headline 4 volumes in quarto oblong; 20 leaves, Pp. fii] I-X XXVIII. Signature title none. Signatures A-E’; AA~-EE*; a—e*; aa—-ee*. Signed Aij, $2: title pages unsigned.

Headline recto: I CANTVS . verso: CLAVDIVS Veggius. I

Technical Notes Music font I; Text fontItalicI; Initials Putti; Calligraphic Gothic; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page 10.3 __

26 Missae cum quatuor vocibus paribus M3577 = 1542° This collection includes the first polyphonic Mass setting by a native Italian composer (Ruffo) ever printed. It is also the first sacred publication devoted to Mass settings for equal voices (vocibus paribus). As Lockwood notes (Counter-Reformation, 139), all the identified settings are Marian Masses. Although the Morales motet Missus est Gabriel angelus appears at the end of the Missa Ave

Maria, it has no connection with the previous Mass setting, which is based on the well-known plainchant. The Missa Vulnerasti cor meum parodies an anonymous motet found in Petrucci’s First Book of Motetti de la Corona (1514'), and Jacquet’s Missa Quam pulcra es is modeled after the motet by Mouton also published by Petrucci in Book 3 of the Motetti de la Corona (15197). Though no polyphonic model has been found for Ruffo’s Missa cum quatuor vocibus (listed as Missa Alma redemptoris mater in Gardano M3588 = 1544"), Lockwood (p. 140) has pointed to its affinity with Josquin’s four-voice motet, also found in Book 3 of the Motetti de la corona. Gardano reprinted three of the six Masses (nos. 1, 5, and 7) in his Liber quartus missarum quinque (M3588 = 15447). He moved the remaining Morales Mass, Missa Vulnerasti cor meum (no. 3), to his edition of Morales four-voice Masses (M3585 = 1544°). Both Morales Masses appeared in several later editions: no. 3 can be found in M3580 (Dorico), M3584 (Scotto), M3581 (Moderne), M3586 = 1557! (Gardano), M3587 = 1563! (Rampazetto), and M3591 (Gardano). No. 1 is included in M3582 (Dorico), M3584 (Scotto), M3583 (Moderne), and M3591 (Gardano).

Title Page MISSAE | CVM QVATVOR VOCIBVS | PARIBVS DECANTANDAE, | MORALIS HISPANIT,

AC ALIORVM | Authorum in hac fcientia non vulgarium. Nouiter omni | diligentia in lucem edite,| @ | [pr. mk. Fame I] | Venetijs apud Hieronymum Scotum. | [rule] | 1542. Altus, Tenor, and Bassus have:

ALTVS [TENOR, BASSVS] | MISSARVM CVM QVATVOR | VOCIBVS PARIBVS | CANENDARYVM. | @ | [pr. mk. Fame I] | Venetijs apud Hieronymum Scotum. | [rule] | 1542.

Collation and Headline 4 volumes in quarto oblong; 26 leaves, foliated, ff. [1] 2-26.

Signature title none. Signatures AA°BB-FF*; a°bb_f*; A°B-F*; Aa°Bb-Ff*. Signed AAij, $2 (BB-FF), $3 (AA): title pages signed.

Headline verso: MORALES AVE MARIA A Voci Pari

recto: Cum Quatuor Vocibus AVE MARIA CANTVS 3 277

No. 26—1542

Technical Notes Music font I; Text font Italic I; Initials Putti; Watermarks Fleur-de-lys; Anchor and circle with star; Printed area Title page [ATB] 13.4 x 16 cm; Music page: 13.5 x 17.6 cm.

Table of Contents [f. 26”; S only] TAVOLA; Italic and Roman, in order of appearance.

l. f.2 Missa Ave Maria Morales 2. f.6 Missus est Gabriel angelus Morales

Contents

[II.] Quae cum audisset, turbata es in sermone eius 3. f£.7 Missa Vulnerasti cor meum Morales

4. f. 11 Missa Cum quatuor vocibus

5. f. 15 Missa Quam pulchra es Iachet

6. f. 19 Missa Gaude virgo mater Christi

7. £.23 Missa Cum quatuor vocibus [Alma redemptoris| Ruffus f. 26 LAVS DEO FINIS.

Locations and Notes * Jena, Universitdtsbibliothek. 4 Mus.10 a-e (3) See appendix C.

Verona, Accademia Filarmonica. (ATB) N. 124, II For a description of the partbooks see Lewis, Antonio Gardano, 1:158.

Altus: Title page: the word, “TENOR,” is corrected with a pasteover of “ALTVS.” | Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:53; Turrini, Catalogo... Verona, 39; Mischtati, Bibliografia ... dei musicisti | veronesi, Antologie #29; Lewis, Antonio Gardano, 1:421-23.

Modern Editions Morales, Opera omnia, 1: no. 3; vol. 3: nos. 1 and 2; Ruffo, Seven Masses: no. 7.

__ate

27 Morales, Magnificat cum quatuor vocibus liber primus M3592 = 1542? The Morales Magnificat was the most popular and widely circulated sacred publication of the sixteenth century. It appeared in some fifteen extant editions, the last of which dates from 1619. The present edition is the first publication of the Spanish composer’s Magnificat settings. In the sixteenth century, most musical institutions performed the Vespers canticle alternating verses of chant and polyphony. However, the papal choir, where Morales served as a singer from 1535 to 1545, sang every verse of the Magnificat polyphonically (Brauner, “Traditions in the Repertory of the Papal Choir’). This volume follows the practice of the Cappella Sistina by including a complete cycle in all eight tones (plus three additional tones). Scotto apparently had access to only five of the Morales settings in tones 1, 2, 4, 6, and 7. He completed the cycle of eight tones with three settings (tones 3,

4, and 8) attributed to Jacquet of Mantua, Richafort, and Tugdual [Tuttovale Menon?]. Three additional settings, one each by Jacquet and Pieton, and one anonymous in tones 8, 4, and 1, respectively, appear at the end of the volume. Two years later, Rhau reprinted the complete set of Magnificats found in the Scotto edition (M3593 = 1544*), to which he added another complete cycle by Adam Rener, and a few settings by other composers. The first complete cycle of Magnificats by Morales was brought out in identical editions in 1545 by Gardano (M3594) and a conglomerate headed by the Scotto press (55). In both collections, the editors separated the settings out into oddand even-numbered verses, presenting them as a collection of sixteen alternatim settings, instead of a complete set in the eight tones. By regrouping the settings, the printers catered to the vast majority 278

No. 27—1542

of ecclesiastical institutions that followed the customary practice of alternatim performance. Unfortunately, as Main points out (Festa, Opera omnia, 2:xiv—xv), the new arrangement obfuscated the original conception of the Morales Magnificats as a set of eight twelve-verse settings. With the exception of the two Moderne publications (15504 and 15527), which follow the arrangement of the present edition, all later editions (including the modern one) duplicate the ordering of the two 1545 publications. They include Gardano 1559 (M3596), Gardano (M3597 = 1562'), Rampazetto (M3598, 1563), Merulo (M3599, 1568), Gardano (M 3600, 1575), Gardano (M3601, 1583), Gardano (M3602,

1597), Magni (M3603, 1614), and Vincenti (M3604, 1619). Lewis (Antonio Gardano, 1:469) considers lost sources. A detailed discussion of concordances appears in Morales Opera omnia, 4:31—37.

Title Page MAGNIFICAT | CVM QVATVOR VOCIBVS | MORALIS HISPANI, | ALIORVMQVE AVTHORYVM. | Nuper diligenti cura in lucem prodeunt. | LIBER [pr. mk. Fame I] PRIMVS. | Venetijs apud Hieronymum Scotum. | [rule] | 1542. Altus, Tenor, and Bassus have:

MAGNIFICAT | MORALIS ISPANI | ALIORVMQVE AVTHORVM. | LIBER PRIMVS. | ALTVS [TENOR, BASSVS] | @ | [pr. mk. Anchor III] | Venetijs apud Hieronymum Scotum. | [rule] | 1542.

Collation and Headline 4 volumes in quarto oblong; 20 leaves, foliated, ff. [1] 2-20. Signature title none. Signatures a—e*; Aa—Ee*; A-E*; aa—ee*. Signed aij, $2: title pages unsigned.

Headline MORALES Cum Quatuor vocibus PRIMI TONI CANTVS 2 Technical Notes Music font]; Text font Italic I; Initials Putti; Dark floral J; © Watermarks Fleur-de-lys; Printed area Title page 14 < 14.6 cm [ATB: 12.5 = 13.4 cm]; Music page 13.7 x 17.8.

Table of Contents [f. 20°; B only] TAVOLA Italic, in order of appearance.

Contents

l. f.2 [Magnificat] Primi Toni Morales 3. f.7 f.6 [Magnificat] [Magnificat]Quarti Terti toni toni Morales Jachet 4. 5. f£.9 [Magnificat] Quinti Toni Richafort 2. £.4 [Magnificat] Secundi toni Morales

6. f. 10” [Magnificat] Sexti Toni Morales 7. £.13 [Magnificat] Septim: Toni Morales 8. f. 15” [Magnificat] Octavi toni Tugdual

9. £17 [Magnificat] Octavi toni Jachet

10. f. 18 [Magnificat] Quarti Toni Loiset Pieton ll. f. 20 [Magnificat] Primi Toni Locations and Notes Bologna, Civico Museo Bibliografico Musicale. T 184

Cantus: title page: CANTVS handwritten above printer’s mark. | Altus: contains plainsong intonations; heading: ff. 18-19": PIESON instead of PIETON. Tenor: f. 7: manuscript corrections in ink (16th century?). Bassus: f. 9: manuscript corrections in ink (16th century?).

279

No. 27---1542 ** Jena, Universitatsbibliothek. 4 Mus.3 a—d Verona, Accademia Filarmonica. (ATB) N. 124, I For a description of the partbooks see Lewis, Antonio Gardano, 1:158. Tenor: f. 8’: breve rest added by hand at “sicut”; f. 10: added c! semibreve at last note of first phrase; f. 10”: second note changed to breve, g breve added before last note of first phrase; added breve rest after first phrase.

All copies: Bassus: f. 18: e@ not signed.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:54; K. E. Roediger, Die geistlichen Musikhandschriften, 113; Gaspari, Catalogo ... Bologna, 2:276; Turrini, Catalogo... Verona, 21; Lewis, Antonio Gardano, 1:468—74.

Modern Editions Morales, Opera omnia, 4.

ae

28 Rore, Madrigali a cinque voci R 2479 (1542) This 1s the first publication of any work by Rore. As Meier (Rore, Opera omnia, 2: 111) notes, the first seventeen pieces are organized according to the eight modes. The concept of modal arrangement is not a new one (Scotto placed works in the same mode together and labeled them in his books of twoand three-voice madrigals: 22 and 23). The present edition, however, is one of the earliest Venetian

publications to be organized in such a systematic and theoretical fashion (see chapter 8). Unfortunately, none of the nine later editions of this work follows this arrangement. Scotto reprinted the collection under the same title in 1544 (46) with a change of contents. He dropped four of the twenty pieces (nos. 16, 17-20) and added eleven new works. The growth in size of the collection prompted Gardano, later that same year, to divide the edition into two books of Rore madrigals (R2480). In his first book, Gardano reverted to the contents of Scotto’s first edition with one extra piece (S ‘i/ dissi mai fortuna) taken from the 1544 edition. Eight other works from Scotto’s 1544 edition appeared in the second book, which Gardano had to fill out with twenty madrigals by other composers. He retained the contents of his 1544 publication in his 1552 edition (R2481), but slightly rearranged the pieces. All but one of the subsequent editions follow Gardano’s 1552 edition in contents and ordering. These include: Scotto: (R2482, 1554) (129) and (R2483, 1559) (168); Gardano: (R2485, 1563), (R2486, 1576), and (R2487, 1593); and Rampazetto (R2488, 1565). The exception, Scotto (R2484, 1562) (213) is an abridged edition, containing thirteen madrigals.

Title Page CANTVS | DI CIPRIANO RORE | I MADRIGALI A CINQVE VOCI, | NVOVAMENTE POSTI IN LVCE.| @ | [pr. mk. Peace I] | Venetijs apud Hieronymum Scotum. | [rule] | 1542.

Collation and Headline 5 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. Signature title none. Signatures A-E*; Aa—Ee*; Aa*BB-EE*; a—e*; aa—ce*. Signed Aij, $2: title pages unsigned.

Headline A Cinque Voci. I CANTVS

Technical Notes Music font I; Text font Italic 1; Initials Putti; Dark floral I; | Watermarks none discernible; Printed area Title page 11 x 16.5 cm; Music page 13.7 x 18 cm.

Table of Contents [f. XX”] TAVOLA | [contents listed] | FINIS.; Italic, alphabetical. 280

No. 28—1542

Contents

1. I Cantai, mentre ch’1’arsi del mio foco 2. I Hor che ’! ciel et la terra e ’] vento tace II IJ. Cosi sol d’una chiara fonte viva 3. IT Poggiand’al ciel coll’ali del desio III II. Tal si trova dinanzi al lume vostro 4. WW Quand’io son tutto volto in quella parte

Il II. Cosi davanti ai colpi de la morte 5. V Solea lontana in sonno consolarme V IT. Non ti soven di quell’ultima sera 6. VI Altiero sasso lo cui gioco spira

7. VU Strane rupi, aspri mont, alte tremanti VII It. A guisa d’hom che da soverchia pena 8. VIII La vita fuge, et non s’arresta un’hora VIll II. Tornami avanti, s’alcun dolce mai 9, IX Tu piangi, & quella per chi fai tal pianto IX IJ. Lei tutt’intenta al lume divo e santo 10. xX I! mal mi preme, & mi spaventa i] peggio xX II. Bench’i non sia di quel grande honor degno 11. XI Per mezz’1 boschi inhospiti et selvaggi XI II. Parmi d’udirla udendo i rami, et lore 12. XI Quanto piu m’avicino al giorno extremo XI II. Perche con lui cadra quella speranza 13. XIII Perseguendomi amor al luogo usato XIII II. Io dicea fra mio cor, perche paventi? 14. XIII Chi vol veder quantunque po natura XIII II. Vedra; s’arriva a tempo; ogni virtute 15. XV Quel sempre acerbo & honorato giorno XV I. L’atto d’ogni gentil pietate adorno 16. XVI Far potess’io vendetta di cole XVI II. Cosi gli afflitti et stanchi pensier miet 17. XVII Amor; che vedi ogni pensiero aperto XVII II. Ben veggio di lontano il dolce lume 18. XVIII Ben si conviene a voi cosi bel nome 19, XIX Hor che Ilaria et la terra per natura destino XIX II. So! nel mio petto ogn’hor lasso si serra 20. XX Da quet bei lumi ond’io sempre sospiro

Locations and Notes . ** Jena, Universitatsbibliothek. (SATB) 4 Mus.9 a-d. ** Naples, Biblioteca Nazionale. (S) 8.Q.XXVILL.53 (1).

For a description of the partbook see Lewis, Antonio Gardano, 1:145.

Paris, Bibliothéque Nationale de France (5 inc.) (olim Bibliotheque du Conservatoire) Rés. 1036® Lacks title page; II: Signature Tij is a deliberate alteration of original signature, which has been erased and printed over with new signature. This volume has been combined with a title page from the 1571 edition (1571'°) to contrive a different edition. See Lewis, Antonio Gardano, 1:350 for comments about this source.

Vienna, Osterreichische Nationalbibliothek. SA.77.D.5 Wolfenbiittel, Herzog-August-Bibliothek. 2.11.1—5 Musica See appendix C. Altus: VIII’: fifth system at “stesso” changed from a to c. Quintus: IX: corrections in ink: f changed to g on note before syllable “ri-de ” (first system); IX: first system: on word “vedendo” first 2 notes changed from C B to E D; X: end of piece: extra syllable of text placed under first syllable (i.e., “se gio”); XIJ: second system on word “piu” changed from D to F; XII: on word “si” changed from

F to G; XII: first system, ninth note: changed from F to G.

All copies: .

Cantus: XV: initial: extra L for “L’atto”,

281

No. 28—1542

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:306; K. E. Roediger, Die geistlichen Musikhandschriften, 113; Schmieder, Musik,

#380; Mondolfi, “Fondo musicale .. . Napoli,” 283; Nuovo Vogel #2389.

Modern Editions Rore, Opera omnia, 2.

fe 29 Scotto, Madrigali a quatro voce libro primo $2622 = 1542" | The present edition is the only surviving publication of this title, suggesting that Scotto’s four-voice madrigals were not as marketable as his two- and three-voice publications. As noted on the title page, the collection contains examples of madrigals composed in the new note nere style (ala misura breve) and others scored for male voices (a voce pari). In order to complete the volume, Scotto added four works by Willaert toward the end. Among them are the first two Willaert canzoni villanesche for four voices to be printed (nos. 33 and 34). According to Cardamone (Canzone villanesca, 179), they are the only known examples of the canzone villanesca alla napolitana printed with all strophes of the poem directly underneath the musical notes, thus clarifying the recurrent refrain. The two other Willaert pieces (nos. 31 and 35) were composed in the new note nere style. Scotto also included six of his own note nere madrigals (nos. 2, 4, 6, 7, 13, and 19) in the edition. Surprisingly, the music printer did not try to capitalize on Willaert’s fame by placing his name on the title page.

Title Page MADRIGALI | A QVATRO VOCE | DI GERONIMO SCOTTO | CON ALCVNI ALA MISVRA

BREVE, | ET ALTRI A VOCE PARI | Nouamente pofti in luce. | @ | LIBRO [pr. mk. Fame I] |

PRIMO. | Venetijs, Apud ipfum Authorem.| [rule] | 1542. ! Altus, Tenor, and Bassus have:

... apud Hieronymum Scotum. | [rule] | 1542.

Tenor has GERONYMO instead of GERONIMO and... BREVE. |... PARI. |

Collation and Headline 4 volumes in quarto oblong; 20 leaves, foliated, ff. [1] 2—20. Signature title none. Signatures A~E*; Aa—Ee’*; a—e*; AA-EE*. Signed Ajj, $2: title pages unsigned.

Headline A Quatro Voce. I CANTVS 2

Technical Notes Music font I; Text font Italic I; Initials Putti; Dark floral I; Watermarks Scale with star and ball; Printed area Title page 14.1 x 14.6 cm [ATB: 14.1 x 14.6 cm]; Music page 12.9 x 17.8 cm.

Table of Contents [f. 20°] TAVOLA | [contents listed] | FINIS.; Italic, alphabetical. Both foliation and number of each piece (in Roman) are given on music page.

Contents

lL f.2 I Amorosi pensier che di dolore 2. f.2* I Dhe se non vi € molesto 3. f£.3 I vo piangendo i miei passati temp!

f. 3" Il II. Si che, s’io vissi in guerra & in tempesta 282

No. 29—1542

4. f.4 Ill Gia mi fu col desir si dolce il pianto

5. f.4" V Oyme quanto mi doglio 6. f.5 VI Amor mi fa morire

7. £.5* VII Poi che ’1 camin m’é chiuso di mercede

8. £6 VIII Siate pur contra me spietata e dura 9. f.6" Ix Quant’ahi lasso il morir saria men forte 10. f£.7 X Dhe s’in alma gentil cortese é bella ll. f.7" XI Seria pur tempo hormai madonna mia 12. f.8 XII L’alto valor del vostro ingegno altero 13. £f. 8” XIII Occhi piangete; accompagnate il core

14. £.9 XIII Madonna il diro pur benche sia tardo 15S. £9" XV Madonna udite un poco 16. f.10 XVI Madonna hor voi vedete 17. f. 10° XVII Madonna i vostri sdegni e le vostre ire

18. f.11 XVIII Vorrei il mio martire 19. f. 11 XIX Nessun visse giamai piu di me lieto 20. f.12 XX Giunto m’ha amor fra belle e crude braccia 21. f. 12° XXI Solingo augello se piangendo vai 22. f.13 XXII Lagrimando dimostro 23. f. 13” XXIII Madonna il mio dolore 24. f. 13% XXIII _ I piu soavi e riposati giorni f.14 XXITII II. Hor e mutato 11 corso alla mia vita

25. f.14°XXV__ Dasi felice sorte 26. f.15 XXVI_ Poiche del travagliato stato mio 27. f.15 XXVII_ Preso al primo apparir del vostro raggio 28. f. 15” XXVIII Ben credea del mio amor puro e verace 29. f.16°XXIX — E questo di mia fede il giusto premio 30. f.17 XXX — Che giova saetar un che si more 31. f.17” XXXII Poscia ch’il mio destin fallace et empio

32. f. 17° XXXII Qual piu diversa et nova cosa fu mai Adrian Vuilliart 33. £. 18 XXXII O bene mio fa fam’uno favore' Adrian Vuilliart 34. f.19 XXXIIII A quand’a quand’haveva una vicina! Adrian Vuilhiart

35. f.19°XXXV_ Quante volte diss’io Adrian Vuilliart 36. f.20 XXXVI Quanto piu m’arde e piu s’accende i! foco

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (S) U 198 ** Brussels, Bibliotheque Royale de Belgique. Fétis 2212 A ** Jena, Universitatsbibliothek. Vienna, Osterreichische Nationalbibliothek. SA.77.D.25 Cardboard covers with initials P.E.F. on cover.

All copies: Cantus: Ill, f. 3: BASSVS instead of CANTVS

Bibliographical Listings and Literature Peterson, “Girolamo Scotto’s Madrigali a quatro voce’, Eitner, Quellen-Lexikon, 9:120; K. E. Roediger, Die geistlichen Musikhandschriften, 112; Gaspari, Catalogo... Bologna, 3:170.

Modern Editions Willaert, Opera omnia, 14: nos. 32-35; Harran, Anthologies of Black-Note Madrigals, 4: nos. 32, 35; vol. 5: nos. 2, 4, 6, 7, 13, and 19; Peterson, “Girolamo Scotto’s Madrigali a quatro voce’; Cardamone, Adrian Willaert and his Circle: nos. 33 and 34.

1. Instructions: “In diapason si placet.”

283

No. 30—1542

«fo 30 Willaert, Hymnorum musica W1113 = 1542"! During the sixteenth century, several hymn cycles by individual composers were published. The earliest printed collection, by Johannes Martini, appeared in Venice in 1507, but unfortunately no copy has survived. In 1535 Carpentras had his own cycle printed in Avignon. Willaert’s Hymnorum was the first hymn collection issued by Scotto. The settings were meticulously arranged in accordance with the church calendar and all belonged to the Office of Vespers. The plan of the publication was made with great care, as seen by the designation of specific times of the church year before each hymn. As was the custom, Willaert set alternating strophes of each hymn, sometimes beginning his polyphonic setting with the second stanza of the hymn. In these cases, I have identified the hymn by placing the first line of the opening verse (sung in chant) in brackets before the second stanza. Although the title page mentions hymns by other composers (aliorum authorum), only two settings (nos. 3 and 18) are attributed to Jacquet of Mantua in the edition. Gerstenberg includes a table of all

the polyphonic strophes for each of the hymns with their textual and melodic sources in Willaert, , Opera omnia, 7:iv—vii. Scotto printed this edition again in 1550 (106).

Title Page CANTVS | HYMNORVM MVSICA | SECVNDVM ORDINEM ROMANAE | ECCLESLA, EXCELLENTISSIMI ADRIANI VVILART, | AC ALIORVM AVTHORYVM. | Nouwiter in lucem , edita. | [pr. mk. Fame I] | Venetijs apud Hieronymum Scotum | [rule] | 1542. |

Altus, Tenor, and Bassus have: . ALTVS [TENOR, BASSVS] | HYMNORVM OMNIVM | SECVNDVM ORDINEM ROMANAE

| ECCLESLE, MAGNI ADRIANI VVILART, | ET ALIORVM AVTHORVM. | @ | [pr. mk. .

Collation and Headline | Fame I] | Venetijs apud Hieronymum Scotum | [rule] | 1542.

4 volumes in quarto oblong; 26 leaves [A = 28 leaves], fohated; ff. [1] 226. Signature title none. Signatures A-F*G’; Aa-Gg*; AA-FF‘GG’; a-f*e". Signed aij, $2 , (A-F), $1 (G): title pages unsigned.

Headline In Adventu Domini. Ad Vefperas. Hymnus. CANTVS 2 Technical Notes Music fontI; Text font Italic I; Initials Putti; Dark floral I; Light floral J; Watermarks none discernable; Printed area Title page 13.6 x 16.2 cm [ATB: 13.6 x 15.4 cm] Music page 13.5 x 17.8 cm.

Table of Contents [f. 26"; A: f. 28; lacking in B] TABVLA; Italic, in order of appearance.

Contents

1. ££.2 Conditor alme syderum In Adventu Domini

2. f. 2" [Christe redemptor omnium] Beata quoque Jn Nativitate Domini

3. f. 3” {Christe redemptor omnium] Beata quoque Iachet

4. £.4 [Hostis Herodes impie] Ibant Magi In Epiphania Domini

5. f. 4" Aures ad nostras deitatis In Dom{inicis] diebus in Quadragesima

6. f.6 Vexilla regis prodeunt In Dominica de Passione 7. £.7 Vexilla regis prodeunt 8. f.8 [Ad cenam Agni providi] Cuius corpus In Tempore Paschali 9. f. 10 [Magne pater] Amatorem paupertatis In Festo Sancti Augustini 284

No. 30-—1542

10. f. 11 O jubar nostrae specimen {In Festo Sancti Sindonis] ll. f. 13" [Proles de coelo prodiit] Spoliatis egyptiis § Jn Festo Sancti Francisci 12. £.14 {[Decus morum dux minorum] Plaudat frater Sancti Francisci

13. f. 15" Quo agnito discipuli In Tempore Paschali 14. £.16 Veni creator spiritus In Festo Penthecostes

15. f.17 — [Adesto Sancta Trinitas] Te coelorum In Festo Sancte Trinitatis

16. f.17° [Pange lingua gloriosi] Nobis datus In Festo Corporis Christi

17. £.18 {Ut queant laxis] Nuncius celso In Festo S[ancti| loannis Baptiste

18. f.19*% [Ut queant laxis] Nuncius celso lachet 19. f. 20 {Aurea luce et decore rose] Janitor coeli In festivitatibus Apostolorum Petri & Pauli

20. f.20% [Fons pietatis culmina] Cuius refulsit facies In Festo Transfigurationis Domini

21. £f.2) Ave Maris stella In Assumptione Bl eate| Marie virginis

22. f.22 [Tibi Christe] Collaudamus venerantes In Festo Sancti Michaelis 23. f. 23 [Iste confessor Domini} Qui pius prudens In Natali confessorum 24. f.24 [Lucis creator optime] Qui mane junctum In Dominicis diebus

25. f.25 Vos secli justi judices Hymnus De Apostolis 26. f.25” [Jesu corona virginum] Qui pascis inter lilia Jn Natali Virginum

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. V 11 ** Jena, Universitatsbibliothek. 4 Mus.3 a-d. ** Tarazona, Catedral. (S) Verona, Accademia Filarmonica. (SAB) N. 201 Bound in heavy cardboard; on cover: Adriano a 4 | Himni | Cantus fin doubie circle design].

Bibliographical Listings and Literature K. E. Roediger, Die geistlichen Musikhandschriften, 112; Gaspari, Catalogo... Bologna, 2:330; Turrini, Catalogo... Verona, 36; Ettner, Quellen-Lexikon, 10:203.

Modern Editions Willaert, Opera omnia, 7.

ate

— Liber primus quinque missarum 5yv [1542]! This is a ghost edition. See 10.

— 1543 —

— Arcadelt, Primo libro dei madrigali a quatro voci. A1317-18 = 1543)" This publication, though dated 1543, is not a new edition but a different issue of the 1541 edition. For further details see 17A.

285

a

No. 31—1543

31 Maistre Jhan, Symphonia quatuor modulata vocibus G269= 1543‘ Maistre Jhan was a French composer active in Ferrara from as early as 1512 until 1543. He served as maestro di cappella at the Ferrarese court, as noted in a payment record and on the title page to this edition. The Symphonia quatuor modulata vocibus is the only known publication devoted to his motets. It contains sixteen motets by him, including Omnipotens sempiterne Deus (no. 10), written in honor of his patron, Alfonso I d’Este. Four motets by Leonardo Barré, a singer in the papal chapel, complete the volume. The absence of a dedication suggests that Scotto and not the composer was

responsible for the publication. The original edition might have had only twelve leaves (three gatherings)}—a number too small and therefore too expensive to publish. Scotto presumably added a fourth gathering after the edition had been printed in order to devise a standard edition of sixteen leaves. An inspection of the last gathering verifies this scenario. The fourth gathering (ff. 13-16) has no decorated initials and different watermarks from first three gatherings. Only the four Barré motets appear in this gathering. Furthermore, no mention is made of the other composer on the title page. The unusual woodcut of a ship at sea probably does not depict a printer’s device, but is instead taken from one of the illustrations Girolamo Scotto used in several of his non-music publications. RISM lists neither the copy in Cracow, Biblioteka Jagiellonska nor the one in Reggio Emilia, Archivio di Stato.

Title Page CANTVS | SYMPHONIA | QVATVOR MODVLATA VOCIBVS | EXCELLENTISSIMI MVSICI IOANNIS GALLI | alias Chori Ferrarice Magiftri, que vulgo (MOTECTA | METRE

| IEHAN,) nominantur, | nuper in lucem edita.| @ | [woodcut of a ship] | VENETIIS | Apud |

Hieronymum Scotum. | [rule] | 1543. ,

Altus, Tenor, and Bassus have: | ALTVS [TENOR, BASSVS] | SYMPHONIA QVATVOR MODVLATA | VOCIBVS EXCELLENTISSIMI MVSICI | (vulgo nuncupati,) METRE TEHAN, que alias | & Motecta . nominantur. | ¥ | [woodcut of a ship] | VENETUS | Apud Hieronymum Scotum. | [rule] | 1543.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, foliated, ff. [1] 2—16. Signature title Mote. di Metre Ihan. [Aa2, A2, AA2; first signature only for: b-3, Bb-D9, B-D,

BB-DD]. Signatures a-¥*; Aa—Dd’; A~D*; AA-DD*. Signed a2, $2: title pages unsigned.

Headline Cum Quatior Vocibus. Cantus. 2 Technical Notes

Music font I; Text fontItalic I; Initials Putti; Dark floral I, Watermarks Anchor and circle - with star; Cardinal’s hat; Fleur-de-lys; Printed area Title page 13.7 x 13.1 cm [ATB: 12.6 x 13 cm]; Music page 13.6 x 18 cm.

Table of Contents [f. 16] TABVLA,; Italic, alphabetical.

Contents

l. f.2 Cantate hodie Deo nostro

f. 2” IT. Dominus ccelorum 2. f.3 Postquam consumati sunt dies octo 3. f. 3” Abeuntes pharisei consilium

4. f.4 Super cathedram Moysi

f. 4° II]. Omnes enim vos fratres estis 286

No. 32—1543

5. f£.5 Super ripam Jordanis 6. f. 5° Cum audissent apostoli 7. £.6 Lumen ad revelationem gentium 8. f. 6” Ecce nos relinquimus omnia f. 7 II. Et omnis gui reliquerit

9. f.7° Ave Maria gratia plena que tu virgo

f. 8 II. O Maria flos virginum

10. f. 8° Omnipotens sempiterne Deus

ll. £.9 Hodie ceelesti sponso 12. £. 9" O Roche beatissime

II. Precare Deum quaesumus

13. f. 10 O sancte Hieronyme doctor inclite

f. 10° It. Tu lumen ecclesiae

14. f. 11 In illo tempore, Dixit Jesus ad quosdam f. 11° II. Et publicanus a longe stans

1S. f. 12 Unum cole Deum

16. f. 12° In illo tempore, Dixit Jesus Symoni Petro

f. 13 II. Domine tu omnia nosti

17. f. 13” Exortum est in tenebris Leonardus Barre 18. f. 14 Ego rogabo patrem & alium Leonardus Barre f. 14° II. Si autem non abiero

19. f.15 Da pacem Domine in diebus nostris Leonardus Barre 20. f. 15” Orante sancto Clemente apparuit e1 Leonardus Barre f. 16 II. Vidi supra montem agnum stantem

Locations and Notes ** Cracow, Biblioteka Jagiellonska. (olim Berlin, Preu®ische Staatsbibliothek) Mus. ant. pract. G 175 London, British Library. (B inc.) (olim Cortot) K.11.¢.2 (10) Bassus partbook lacks title page. For a description of the partbook see Lewis, Antonio Gardano, 1:134.

Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 106/4 , For a description of the partbooks see Lewis, Antonio Gardano, |:140.

** Reggio Emilia, Archivio di Stato. (B)N. | Vatican City, Biblioteca Apostolica Vaticana. Cappella Sistina 239-42 For a description of the partbooks see Lewis, Antonio Gardano, |:152-53.

Verona, Accademia Filarmonica. N. 64 Cardboard binding; old catalogue numbers on covers: 142/46 | Gia a 4 | Cantus | Mottettj.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 4:137; Llorens, Capellae Sixtinae codices, nos. 239-42; Turrini, Catalogo .. . Verona, 10-11; Schaal, “Musikbibliothek,” 130; Lincoln, Latin Motet, 740-41; Bayerische Staatsbibliothek, Katalog, 6:2130; Gasparini and Pellicelli, Catalogo... Reggio-Emilia, 14.

Modern Editions Smijers and Merritt, Treize livres de motets, 8: no. 8 __afe__

32 Lupacchino, Madrigali a quattro voci L308] (1543) Bernardino Carnefresca (alias Lupacchino) was a priest at the church of Santa Maria in his native town of Vasto in Abruzzo the year his Madrigali a quattro voci was printed in Venice. While no dedication appears in either of the two editions issued in 1543, it is possible that Alfonso d’ Avalos, marquis of Vasto, might have been instrumental in recommending the Scotto press to his subject. As 287

No. 32—1543

we have seen, d’Avalos, who served as governor-general of Milan under Charles V, had close ties with the Scotto press (3). A woodcut displaying the crest of the king of France that appears on the title page of the other edition issued in the same year (L3080), however, suggests a possible Jink with the - French court. This edition carries neither a printer’s imprint or device. On the basis of typographical evidence, Lewis has delegated the unsigned print to Gardano (Antonio Gardano, 1:382-85). The contents of the unsigned edition, while identical with the Scotto publication, are arrranged in a different order. Since the wording of both titles is practically the same, it is difficult to determine which one of the two publications constitutes the first edition. Minor musical and textual variants and differences in line endings between the two editions suggest that one of the editions was not used as an exemplar for the other. The burning salamander woodcut on Scotto’s title page implies that this edition was commissioned by a non-music printer or a conglomerate of printers (J. Bernstein, “Burning Salamander’). The entry in Nuovo Vogel is a concatenation of the Scotto and Gardano editions, using the Scotto edition for the description of title page, contents, etc, but citing locations for the Gardano publication.

Title Page CANTVS | DI BERNARDINO LVPACCHINI | DAL VASTO MADRIGALI A QVATTRO | VOCI NVOVAMENTE POSTI IN LVCE. | $ | [woodcut of burning salamander] | VENETIIS | Apud Hieronymum Scotum. | [rule] | 1543.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, foliated, ff. [1] 1-15. No altus, tenor, or bassus partbook is known to survive.

Signature title Magri. 3i Ber. Lupa. Signatures A-D*. Signed A2, $2: title page unsigned.

Headline A Quatre Vori. Cantus 2

Technical Notes Music font I; Text font Italic I; Initials Dark floral I; Putti; Watermarks Fleur-de-lys; Printed area Title page 11.5 x 16.2 cm; Music page 13.6 x 18 cm.

Table of Contents [f. 15°] TAVOLA | [contents listed] | FINIS | MADRIGALI Numero. 28.; Italic, alphabetical.

Contents

l. f.2 Da duo bei lumi scorgo

2. f. 2° Somma belta infinita é cagion vera 3. f.3 Non al suo amante piu Diana piacque 4. f. 3° Piu ch’umana belta ch’ in voi risplende

5. f. 3° Somma belta infinita 6. f£.4 Da duo bei lumi scorgo

7. £4" Essendo gionto alla cymerea valle 8. f.5 Come afflitto nocchiero alzai la testa 9. f. 5’ Zeffiro spira é il bel tempo rimena

10. f. 6 Lucretia in voi si vede li. f. 6” Lucretia in voi si vede 12. f.7 Ben conobbi madonna

13. £. 7° Per quei bei occhi ove s’annida amore

14. £.8 Cara vagha bellezza 15. f. 8” O fortunato augello

16. £.9 Dovrebbe il mondo quasi a fida stella

17. f. 9" Consolato fu il giorno 18. f.10 O cara pastorella

19. f. 10° Donna fra piu bei volti honesti é cari 20. f. 11 Signor d’amor in le piu degne schiere 288

No. 33—1543

21. f. 11” Adonque fia pur ver che mi convegna 22. f. 12 Sa st’altiero ch’1o l’amo é ch’io |’adoro 23. f. 12” Donna s’il mio servir piu non ti piace

24. f. 13 Cara mia fiamma é bella 25. f. 13° Laura si dolce spira 26. f. 14 Fuggi fuggi cor mio 27. f. 14” Perche la vita é breve 28. f.15 Se a voi fossi si nota la divina

f. 15 LAVS DEO FINIS.

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (S) S 370 According to Eitner, a tenor partbook was once in Florence, Landau collection.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:250; Gaspari, Catalogo. .. Bologna, 3:92; Lewis, Antonio Gardano, 1:382-85; Bridges, “Publishing of Arcadelt’s First Book,” 124.

a

33 Quinque missarum cum quinque vocibus M3578 = 1543! Two of the Morales Masses (L homme armé and De beata virgine) were previously printed by Scotto (10). Scotto issued a new edition of this collection in 1563 (233). All of the Masses but Queramus cum pastoribus appeared in Gardano M3589 = 1547*. Scotto has incorrectly designated the author of nos. 4—5 as “Johannes Lupus’; these are works by Lupus Hellinck. In order to distinguish the columns

and braces employed in the title, I have chosen to dispense with the line-by-line continuous transcription and reproduce the design as it appears in the original cantus title page (excluding differentiation of font size). RISM B does not list the copy in Rome, Archivio di Santa Maria Maggiore.

Title Page CANTVS. QVINQVE MISSARVM HARMONIA DIAPENTE, IDEST QVINQVE VOCES REFERENS, QVARVM NOMINA SVBSEQVVNTVR.

Lommof{sic] arme. | Queramus cum paltoribus. _ MORALITS HISPANI. De beata Virgine.

Surrexit Paftor bonus. > Vent fponsa Chrifti IOANNIS LVPPI. Recens in lucem edita, ac denuo omni diligentia adamufim recognita.

9 _VENETHS Apud Hieronymum Scotum. 1543.

289

No. 33—1543

Altus, Tenor, Bassus, and Quintus have: ALTVS [TENOR, BASSVS, QVINTVS] | LIBER QVINQVE MISSARVM | CVM QVINQVE VOCIBVS, | ExcellentiBimi Mufici MORALIS Hifpani, ac LVPPI, | Nunc primum omni diligentia in lucem ceditus.| 9 | VENETUS | Apud Hieronymum Scotum. | [rule] | 1543.

Collation and Headline

pages unsigned. , 5 volumes in quarto oblong; 20 leaves, foliated, ff. [1] 2-20. Signature title none. Signatures A~E*; AA—EE*; a-e*, aa-ee*; Aa-Ee*. Signed A2, $2: title

Headline Milla Super Lamme Arie. Cum Quingue Vocibus. Cantus. 2

Technical Notes Music font I; Text font Italic I; Initials Putti; Dark floral; Watermarks Cardinal’s hat;

Contents , Anchor in circle with star; Fleur-de-lys; Printed area Title page 12.4 x 15.1 cm [ATB: 9.3 x 13.6 cm.]}; Music page 13.6 x 17.8 cm.

Table of Contents

[f. 20°; TB]: TABVLA,; Italic, in order of appearance.

l. f.2 Missa Super Lomme Arme . 3.f.f.14" 10” Missa De Pastor Beatabonus Virgine 4. Missa Surrexit Lupus| 2. f. 6" Missa Queramus cum Pastoribus

f, 20° LAVS DEO FINIS .

5. f. 17" Missa Veni sponsa Christi Lupus :

Locations and Notes | ** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. M 1025 *Naples, Biblioteca Nazionale. 8.Q. XXVII L44/7-L47/7; L56/7 For a description of the partbooks see Lewis, Antonio Gardano, 1:144—45.

Regensburg, Proskesche Musikbibliothek. A.R. 173-83 (181) For a description of the partbooks see Lewis, Antonio Gardano, 1:149-50.

** Rome, Archivio di S. Maria Maggiore. (ATB) ** Toulouse, Bibliothéque Municipale. (A)

Bibliographical Listings and Literature Mondolfi, “Fondo musicale... Napoli,’ 279; Lewis, Antonio Gardano, 1:588-90.

Modern Editions Morales, Opera omnia, 1: nos. | and 2; vol. 3: no. 3.

ate 34 Morales, Musica cum vocibus quatuor vulgo motecta M3605 = 1543° Even though it features Morales’s name on the title page, this edition is not a single-composer publication but an anthology. As advertised in the title, works by other musicians (‘‘et multorum eximiae artis virorum’’) also appear in the volume. The title page also mentions that some of the motets are for equal voices (paribus vocibus). Three years later, Gardano brought out another edition 290

No. 34—1543

(M3606 = 1546”), copying the upper-case portion of Scotto’s title verbatim. He dramatically altered the contents by omitting eleven of the twenty-five motets (nos. 1, 2, 5, 6, 10-13, 18, 19, and 21) and replacing them with six other works. Five of the discarded motets (nos. 1, 2, 11-13) resurfaced in the “parallel” editions, 1549? and 154974 (89). Unfortunately, both Scotto and Gardano neglected to provide composer attributions either in the Tavola or in the body of their editions. Concordant sources help us identify the authors of some of the anonymous motets. Four works (nos. 6, 18, 19, and 20) can be assigned to Jacquet of Mantua. Three motets (nos. 11-13) are ascribed to Jhan Gero in 1549’ and 15497", and two (nos. 23 and 24) to Maistre Jhan in other sources. Conflicting attributions to Jacotin and Courtois occur for no. 14, as well as to Escobedo and Morales for no. 15. Ironically, very few of the remaining motets can be

assigned to Morales with certainty. Most of them (nos. 3, 7, 8-10, 16, 17, and 20) only appear anonymously in the two editions and with an attribution to Morales in an unreliable later source, Coimbra, Biblioteca Geral da Universidade, MS Mus. 48, which was probably copied from one of the editions.

Title Page Cantus. | MORALIS HISPANI, ET MVLTORVM | EXIML© ARTIS VIRORVM MVSICA/ CVM VO | CIBVS QVATVOR, VVLGO MOTECTA | COGNOMINATA: | Cuius magna pars paribus vocibus cantanda eft: reliqua verd plena voce | apta elt decantari. hactenus non typijs excuffa, | nunc autem in lucem prodit. | @ | [pr. mk. Anchor III ] | Venetijs apud Hieronymum Scotum. 1543. | [rule] Altus, Tenor, and Bassus have: ALTVS [TENOR, BASSVS] | MORALIS HISPANI, ET RELIQVORVM, | MVSICA VOCVM QVATVOR, CVIVS PARS EST | ZQVALI VOCE/ RELIQVA IMPARI | DECANTANDA. MODO IN | LVCEM EMISSA. | & | [pr. mk. Anchor III ] | Venetijs apud Hieronymum Scotum. 1543. | [rule]

Collation and Headline 4 volumes in quarto oblong; 24 leaves, foliated, ff. [1] 2~24. Signature title none. Signatures A-F*; Aa—Ff*; AA—FF‘; aa-ff*. Signed Aij, $2: title pages unsigned.

Headline Cum Quatuor Vocibus. Cantits. 2

Technical Notes Music font I; Text font Italic J; Initials Putti; Watermarks Anchor and circle with star; Fleur-de-lys; Printed area Title page 11.4 x 14.1 cm; Music page 13.6 x 17.9 cm.

Table of Contents [f. 24”] TABVLA | [contents listed] | FINIS. | Motetta numero. 25.; Italic, alphabetical.

Contents

l. f£.2 Candida virginitas paradisi [no attribution]!

f. 2 II. Quae meruit Dominum 2. f. 2° Regina cceli letare [no attribution] 3. £.3 Clementissime Christi confessor [no attribution]? 3 II. Sancte pater Egidi 4.f.f.4 Inter natos mulierum [no attribution]° 1. Attributed to Morales in 1549° and 1549%4. 2. Attributed to Morales in Coimbra, Biblioteca Geral da Universidade, MS Mus. 48. 3. Attributed to Morales in Toledo, Biblioteca Capitolar, MS 17 and Seville, Biblioteca Medinaceli, MS 13230.

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f. 4" II. Fuit homo missus a Deo

5. f.5 Regina cceli letare {no attribution]

6. £. 5° In illo tempore dixit Jesus discipulis [no attribution]* f. 6 II. Dicebant ergo

7. f. 6° Sancta Maria succurre miseris [no attribution]? 8. £. 7" Ave Domine Jesu Christe .. . lumen cceli {no attribution] f. 8 II. Ave Domine . . . splendor f. 8” Ill. Ave Domine . . . vita dulcis

9. £.9 Ad Dominum cum tribularer clamavi (no attribution]

10. f. 10 Adest dies celebris [no attribution] ll. f. 11 O quam veneranda es virgo Marina (no attribution}?

12. f. 11” Cum inducerent puerum Jesum [no attribution]? 13. f. 12 O beatum pontificem Martinum [no attribution}?

14. f. 13 Inclina Domine aurem tuam [no attribution]® f. 13° II. Deduc me Domine f. 14 III. Domine Deus miserator

‘15. f. 14° Immutemur habitu 1n cinere [no attribution]’ f. 15 II. Justa vestubilum & altare

16. f. 15° Ingrediente Domino in sanctam civitatem [no attribution] f. 16 II. Cumque audissent quod Jesus

17. f. 16° Martinus Abrahe sinu letus [no attribution] 18. f. 17 In tua pacientia possedisti animam tuam [no attribution]® 19. f. 17° In illo tempore, stabat autem [no attribution]® , 20. f. 18 Miserere nostri Deus omnium [no attribution} f. 18” II. Innova signa & immuta mirabilia | 21. f.19 Cantate Domino canticum novum [no attribution]? ,

f. 19” II. Cantate ei & psallite |

22. f. 20° Signum crucis mirabile [no attribution]!° f, 20° II. Haec arbor est sublimior

23. f. 21 Paulus apostolus spirans in discipulos [no attribution]!’ f. 21” II. Quis es Domine

24. f. 22 Ecce amica mea colomba mea [no attribution]! f. 22 Il. Flores apparuerunt in terra nostra

25. f. 23 In illo tempore, dixit Jesus . . . nolite timere [no attribution]'° f. 23 LAVS DEO FINIS Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (B) T 191 ** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. M 1020 Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 106/1 For a description of the partbooks see Lewis, Antonio Gardano, 1:138.

4. Conflicting attributions to Jachet in 1539'3, J6 (1539), and other sources, and to Morales in Coimbra, Biblioteca Geral da Universidade, MS Mus. 48. 5. Attributed to Ihan Gero in 1549° and 1549°4. 6. Conflicting attributions to Jacotin in 1535', 15592', and 15602; and Courtois in 15432', 15592! and 1587°. 7, Conflicting attributions to Escobedo in Toledo, Biblioteca Capitolar, MS 17 and to Morales in 1554”. 8. Attributed to Jachet in Ji0 (1544), J11 (1545), and other sources. 9. Attributed to Jachet in 1542° and J11 (1545). 10. Attributed to Morales in 1555!?, 11. Attributed to M. Ian in 1545? and Treviso, Archivio Musicale del Duomo, MS 6. 12. Attributed to M. Ian in 1538°.

292

No. 35—-1543

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:54; Gaspari, Catalogo... Bologna, 2:467; Bayerische Staatsbibliothek, Katalog, 11:4568.

Modern Editions Morales, Opera omnia, 2: no. 4; vol. 5: nos. 1, 3, 7, 8, 19, 20, and 2; Smijers and Merritt, Treize livres de motets, 9: no. 14; Jacquet of Mantua, Opera omnia, 4: nos. 6, 18, and 19.

age 35 Reulx, Madrigali a quattro voci R1204 (1543) Anselmo Reulx was probably born in Hainaut. He is listed as a member of the Spanish court chapel of Charles V in 1524, and was later apparently active in Italy (Harran, New Grove, 15: 770). Reulx’s first publication, the Madrigali a 4, was issued twice in 1543 in editions by Scotto and Gardano (R1205). The contents are the same for both editions but different in the arrangement of the pieces. An additional madrigal, Ragion e ben ch’alcuna volta, appears 1n the Gardano edition. The title of the Gardano print (“nuovamente ristampati et correti’’) points to the Scotto publication as the first edition of this work. One curious aspect of the Scotto edition is the woodcut illustration found on the title page of the cantus partbook. It depicts a man lying on his back being eaten by two horses (see fig. 3.16). The symbolism of the illustration in connection with the music print may now remain obscure, but the woodcut most assuredly depicts the killing of King Diomedes by his wild man-eating

mares in the Greek myth of the labors of Hercules. _

Nuovo Vogel and Eitner mistakenly cite the copy of Gardano edition in Vienna, Osterreichische Nationalbibliothek as the Scotto edition.

Title Page CANTVS | DI ANSELMO REULX | MADRIGALI A QVATTRO VOCI| NVOVAMENTE DAL PROPRIO AVTTOR | COMPOSTI ET MANDATI]| IN LVCE. | ‘& | [woodcut of a prostrate man ravaged by two horses] | Venetijs apud Hieronymum Scotum. | [rule] | 1543.

Tenor has: TENOR |MADRIGALI A QVATRO VOCE | DI ANSELMO DE REULX NVOVAMENTE | DA

LVI COMPOSTI ET | STAMPATI. | $& | [pr. mk. Anchor III] | [rule] | Venetijs apud Hieronymum Scotum. 1543.

Collation and Headline : 4 volumes in quarto oblong; 16 leaves, foliated, ff. [1] 2—16. No altus or bassus partbook is known to survive.

Signature title none. Signatures a-3*;(T) Aa-D3*. Signed a2, $2: title pages unsigned.

Headline A Quatro Voci. Cantus. 2 Technical Notes

Music fontI; Text font Italic I; Initials Putti; Dark floral J; Watermarks Anchor and circle with star; Printed area Title page 11.7 x 15.2 cm [T: 11.4 x 13.7 cm.]; Music page 13.7 x 17.9 cm.

Table of Contents (f. 16"] TAVOLA | [contents listed] | FINIS. | MADRIGALI numero. 29.; Italic, in order of appearance.

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No. 35—1543

Contents

l. f.2 Per ch’al viso d’amor portav’ insegna 2. f. 2” E son tant’i tormenti che nel core 3. f.3 Spinse amor et dolor ov’ir non debbe 4. f. 3” Gentil mia donna io veggio 5. f. 4 Si una fed’amorosa un cor non finto 6. f. 4° S’amor nuovo consiglio non apporta 7. £5 Quant’ invidia ti porto avara terra 8. f. S’ Ove porg’ombr’un pin’alto ad un colle

9. f.6 O voi che sospirat’a meglior noti

10. f. 6” Questa piagha mi sia sempre nel core

ll. £6" Non ho signor et di continuo servo

12. f. 7° E mi par d’hor in hor udir’il messo ,

13. f.8 Quand’io mi volg’indietr’a mirar g]’anni 14. f. 8° Poi che la dispietata mia ventura 15. f.9 Questi ch’ inditio fan del mio tormento 16. f. 9” Lasso ch’io moro e lagrimando spesso 17. f. 10 Passa la nave mia colma d’oblio 18. f. 10° Ogni loco m/’attrista ov’io non veggio

19. f. 11 Esca son fatto de la donna mia 20. f. 11” Se mai fuoco per fuoco non si spinse 21. f. 12 Valle che de lamenti miei se piena

22. f. 12” Fu quel che piacque un falso sogno, e questo

23. f. 13 Io non porria giamai

24. f. 13 Poi ch’ogn’ardir me circonscriss’amore 25. f. 14 Rott’e l’alta colonna, e ’! verde lauro

27. f. 15 Che far peggio mi poi , 26. f. 14” S’io credesse per morte essere scarco

28. f. 15 Come lume di nott’in alcun porto 29. f. 1S” Mille fiat’o dolce mia guerrera

f. 16 LAVS DEO FINIS.

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (ST) U 117/3, 4

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:194; Gaspari, Catalogo... Bologna, 3:159; Nuovo Vogel #2336.

Modern Editions Harran, Anthologies of Black-Note Madrigals, 1: no. 26; vol. 4: no. 13.

ate 36 Musica quinque vocum motteta paribus vocibus 1543? Scotto clearly released this edition as a companion volume of five-voice motets to Morales hispani

et multorum eximiae artis virorum musica cum vocibus quatuor (34). Scotto did not offer any composer attributions in the Tavola or in the body of either edition. Five years later Gardano published an edition with the same title (1549°). He omitted eight of the motets (nos. 11-13, 15, 18, 21-23) and replaced them with nine new motets (Lewis, Antonio Gardano, 1:656—-58). With the exception of no. 7, Ego sum panis, which bears an attribution to Phinot in the Gardano edition, none of the composers of the motets has been identified.

294

No. 36—1543

Title Page CANTVS | MVSICA QVINQVE VOCVM: MOTTETA | MATERNA LINGVA VOCATA. | Ab optimis & varijs Authoribus elaborata. Paribus voci- | bus decantanda: nunquam antea excuffa. | Nunc vero fub hoc figno Anchore in lucem prodit. Maximo | labore & diligentia emendata, vt patebit | experientibus. | @ | [pr. mk. Anchor III] | Venetijs apud Hieronymum Scotum. | [rule] | 1543.

Altus, Tenor, Bassus, and Quintus have: ALTVS [TENOR, BASSVS, QVINTA PARS] | MVSICES QVINQVE PARIVM VOCVM:|A PLVRIBVS OPTIMIS AVTHO. | RIBVS ELABORATE. | @ | [pr. mk. Anchor III] | Venetijs apud Hieronymum Scotum. | [rule] | 1543.

Collation and Headline 5 volumes in quarto oblong; 20 leaves without pagination or foliation, numbered by piece. Signature title none. Signatures A-E*, AA—-EE’; Aa—Ee’*; aa-ee*; a-e*. Signed Ajj, $2: title pages unsigned.

Headline Cum. V. Vocibus. =I Cantus. Technical Notes Music font I; Text font Italic I; Initials Putti; Dark floral I; Watermarks Fleur-de-lys; Printed area Title page 12.9 x 13.9 cm [ATBS: 11.3 x 13.4 cm]; Music page 14.5 x 17.8 cm.

Table of Contents [f. 20”] TAVOLA | [contents listed] | FINIS. Italic, alphabetical.

Contents

1, l Tribulationes civitatum audivimus [no attribution] J IJ. Peccavimus cum patribus nostris

2. 2 Dum complerentur dies penthecostes [no attribution]

3, 3 Suscipe verbum virgo Maria {no attribution]

4, 44Tria sunt munera preciosa [no attribution] II. Salutis nostrae authorem 5. 5 Hec dies quam fecit Dominus {no attribution] 5 II. Confitemini Domino

6. 6 Virgo Maria speciossima ccelorum regina [no attribution]

Virgo Maria virga Jesse florida 7. 767 IJ.II. Ego sum panis vitae [no attribution]! Ego sum panis vivus 8. 98 Veni O salutaris hostia [no attribution] 9. sponsa Christi (no attribution] 10. 10 Adest nobis dies celebris [no attribution] 11. 1] Salve sponsa Dei {no attribution] 12. 12 Descendit angelus Domini ad Zachariam [no attribution] 12 I. Iste puer magnus coram Domino

13. 913 Hodie Simon Petrus [no attribution] 14. 14 Ave sanctissima Maria [no attribution] 15. 15 Rogamus te beatissima virgo [no attribution] 15 II. O dulcissima, o charissima virgo Maria

16. 16 Sicut lilium inter spinas [no attribution]

17. 17 Stephanus autem plenus gratia [no attribution] 1. Attributed to Do. Finot in 1549°,

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No. 36—1543

17 II. Surrexerunt quidam

18. 18 Angelus Domini descendit de ccelo [no attribution] 18 II. Et introeuntes in monumentum

19,1919 Felix namque es [no attribution] II. Ora pro populo interveni

20. 20 Angustie mihi sunt [no attribution]

21. 21 O beate Christi confessor

22.2222 Iste est Joannes [no attribution] I]. Fluenta evangelii de ipso

23. 23 Angeli, archangeli, troni, & dominationes (no attribution] 23 LAVS DEO FINIS.

Locations and Notes . Bologna, Civico Museo Bibliografico Musicale. (5) R 157 ** Burgos, Biblioteca provincial (5) * Jena, Universitatsbibliothek. 4 Mus.10 a—e (8) See appendix C.

London, British Library. (B) (olim Cortot) K.11.¢.2 (3) For a description of the partbook see Lewis, Antonio Gardano, 1:134.

Verona, Accademia Filarmonica. (STBS) N. 67, V See appendix C.

A copy of the quintus partbook was once in Konigsberg [now Kaliningrad], Universitatsbibliothek.

Bibliographical Listings and Literature | K. E. Roediger, Die geistlichen Musikhandschriften, 112; Miller, Die musikalischen Schdtze . . . Konigsberg, 9; Turrini, Catalogo... Verona, 40; Gaspari, Catalogo... Bologna, 2:345.

Modern Editions Phinot, Opera omnia, 4: no. 7.

— 1544 —

37 Arcadelt, Primo libro di madrigali a quatro voci —A1319=1544'° The 1544 edition contains the same fifty-six madrigals as the four previous extant editions, but the number of pages of the book has been decreased from fifty-six to forty-eight—the equivalent of a whole gathering (duerno). Scotto accomplished this reduction by rearranging the contents, so that ten two-page openings have three madrigals as opposed to only two two-page openings for the 1541 edition (17 and 17A). Scotto also changed the order of the pieces, which, as Bridges (“Publishing of Arcadelt’s First Book,” 116) has remarked, attains a more consistent grouping by mode and clef. As with all the earlier editions of Arcadelt’s Primo libro, no composer attributions appear in the body of the work. For concordant attributions to individual pieces see 119.

Title Page CANTVS | IL PRIMO LIBRO DI | MADRIGALI D’ARCHADELT A QVATRO | VOCI CON NVOVA GIONTA | VLTIMAMENTE IMPRESSI. | # | [pr. mk. Fame I] | VENETIHIS | [rule] | Apud Hieronymum Scotum M. D. XLII

Collation and Headline 4 volumes in quarto oblong; 24 leaves, pp. [I] II-XXXXVII [XXXXVIII].

Signature title Primo Libro d’Archadelt. Signatures T-AA?*; G-M?; A-F*. N-S*, Signed Tij, $2: title pages unsigned.

Headline CANTVS II 296

No. 37—1544

Technical Notes Music font]; Text font Italic I; Initials Putti; Dark floral I; Ghosts.

Table of Contents [p. XXXXVIII] Tauola delli Madregaii. | [contents listed] | IL FINE.; Italic, alphabetical.

Contents

l. I] Se ’] tuo partir m1 spiacque

2. Ii Fra piu bei fiori che mai creasse ’! cielo

3. Ill Quai pomi mai qual’oro 4. V Deh se lo sdegno altiero 5. VI Non v’accorgete amanti 6. VI Qual Clitia sempre al maggior lum’ intenta 7. VII Benedett’1 martiri 8. VIII Alma perche si trist’ogn’hor ti duoli 9, IX Se gli occhi non temperat’ov’entr’io ardo 10. X Pungente dardo ch’! mio cor consumi ll. XI Ragion’e ben ch’alcuna volta to canti 12. XII Quanta belta quanta gratia e splendore

13. XII Poss’10 morir di mala 14. XIII Ahi se la donna mia 15. XIII Il bianco e dolce cigno

16, XIII Non ch’lo non voglio mai altro pensiero 17. XV Deh dimm/’amor se |’alma di costei 18. XVI Io dico che fra voi potenti dei

19. XVII Fammi pur guerr’amor quanto tu vuol ,

20. XVIII Voi ve n’andat’al cielo

21. XIX Voi la mia vita sete

22. XX Occhi miei lassi mentre ch’io vi giro ,

23. XXI Io vorrei pur fuggir crudel amore 24. XXII Ancidetem1 pur grievi martir1 25. XXII Sapete amanti perch’amor’e cieco 26. XXIII Io ho nel cor un gielo 27. XXIII Dunque credete ch’1o 28. XXV Quando co ’1 dolce suono 29. XXVI Chi potra dir quanta dolcezza provo

30. XXVI Quant’e madonna mia foll’el pensiero 31. XXVU Madonna ohime per qual cagion m’havete 32. XXVIII Felice me se dei bei lum’un raggio 33. XXVIII Giovenetta regal pur’ innocente 34. XXIX Lodar voi donn’ ingrate

35. XXX Nova donna m’apparve

36. XXXI Dhe come pur al fin lassa vegg’io 37. XXXII Lasciar’il velo o per sol’ o per ombra 38. XXXII Il ciel che rado virtu tanta mostra 39, XXXII Se vi piace signora 1! mio dolore 40. XXXIIII Non piu chiance madonna 41. XXXV Perche non date voi donna crudele 42. XXXVI Vostra fui e saro mentre ch’lo viva 43. XXXVI Se la dura durezza 44. XXXVII Voi sapete ch’io v’amo anzi v’adoro 45. XXXVIII__— Che piu foc’al mio foco o fiamm’al core

46. XXXIX O s’1o potessi donna 47, XXXX Io mi pensai che spento fuss’el foco 297

No. 37—-1544

48. XXXXI Bella Fioretta io vorrei pur lodarv1 , 49. XXXXII Madonna mia gentile 50. XXXXII O felici occhi miei felici voi

51. XXXXIIJ_ Amor tu sai pur far 52. XXXXIIII Quanti travagli e pene 53. XXXXIIII Se per colpa del vostro fiero sdegno 54. XXXXV_ Ahime dov’el bel viso 55. XXXXVI__ ‘Ver’ infern’e ’! mio petto

56. XXXXVII Quand’io pens’al martire

Locations and Notes *Florence, Biblioteca del Conservatorio. Basevi 2496 (9) Unavailable for physical examination; description of partbooks in Gandolfi and Cordara, Catalogo .. . Firenze, 245. All parts: pp. X, XI, XIIII, XV: voice designation on right instead of left.

Bibliographical Listings and Literature

—|

Gandolfi and Cordara, Catalogo... Firenze, 245; Becherini, “I manoscritti ¢ le stampe rare,” 283; Bridges, “Publishing of Arcadelt’s First Book,” 115-17, Table 4.

Modern Editions

Arcadelt, Opera omnia, 2; Corteccia, First Book of Madrigals for Four Voice, nos. 19 and 23; Layolle, Collected Secular Works for 4 Voices: no. 37; Festa, Opera Omnia, 8: no. 31.

38 Boyleau, Motetta quatuor vocum B4185 (1544)

Simon Boyleau, a Frenchman who worked primarily in Milan, might have been seeking an , appointment at St. Mark’s at this time. He dedicated his motets to Giovanni da Legge or Lezze, who was procurator of St. Mark’s. As treasurer of the Basilica, Legge was in charge of the financial

aspects of the chapel choir. Vasari mentions Legge as an admirer of Sansovino, and chiefly responsible for the buildings of the Piazza (Logan, Culture and Society in Venice, 313). He was also named as the dedicatee of Annibale’s Libro primo di ricercari a 4 of 1556, and might have been

related to Andrea de Leze, another procurator to whom Gardano dedicated his 1544 edition of Arcadelt’s Fifth Book of Madrigals a 4 (A1382= 1544!°). Giovanni da Legge died in 1575. Scotto took out a privilege on 5 September 1544 for several books, among them “l’opere de motetti 4 quattro et cinque voci de simon boile francese’’ (Agee, “The Privilege and Venetian Music Printing, 213). The edition of the five-voice motets mentioned in the privilege is either lost or was never issued.

Title Page CANTVS | SIMONIS BOYLEAV | GENERE GALLI, IVVENIS IN | ARTE MVSICA EXIMII MOTETTA | Quatuor vocum, nunquam hactenus im- | preffa, fed nunc primu[m] & ab authore

| ipfo fummo ingenio, fumma’gq[ue] | dilige[n]tia elucubrata, et | in luce[m] hifce typis | caftigatiBime | edita.| ¥ | (pr. mk. Fame I ] | VWENETIIS | [rule] | Apud Hieronymum Scotum. M D XLIIII | CVM GRATIA ET PRIVILEGIO Altus, Tenor, and Bassus omit CVM GRATIA ET PRIVILEGIO.

Collation and Headline 4 volumes in quarto upright; 22 leaves, foliated, ff. [1] 2—21 [22].

Signature title none. Signatures A-E‘F’; aa—ee +f’; a-e*f?; Aa—Ee‘Ff?. Signed Aij, $2 (A-E), $1 (F): title pages unsigned.

Headline CANTVS 2

298

No. 38—1544

Technical Notes Music font I; Text font ItalicI; Initials Ghosts.

Table of Contents [f. 22] TABVLA | [contents listed] | FINIS. Italic, alphabetical.

Dedication [f. 1°; S only] AL CLARISS[IMO] CAVALIERE ET PROCVRA- | TORE M. GIOVANNI DA LEGGE. S. | [woodcut I]L VALOR de gli huomini illuftri, ClariBimo Signor mio, é co | nofciuto

dalle voci, che ne fanno teftimonio: et l’affettione de i fer- | uitor fedeli fi comprende nell’offeruanza de gli animi, piu che nel | fuono delle parole. ben vi conofce il mondo, che vi riuerifce, et ama. | il quale meritamente afferma col grido vniuerfale, che diuulga la bonta, la libe | ralita, et la grandezza dell’animo voftro, come voi fete buono fenza pari, li | berale fopra ogn’uno, et magnanimo piu che tutti gli huomini. Tuttauia pro- | uando io tutto di le virtu di V[ostra| Mag|nificentia] nella p{er|fona mia, non ho potuto mancare | di moftrare in publico quella diuotione, ch’io gli porto, et quella riuerenza, | con che io l’offeruo: per non effere [timato io folo ingrato tacendo, et fra me | fteffo ritenendo afcofa la fomma de gli oblighi, ch’io mi fento hauer contratta | infinita con la {plendida, et real perfona voftra. Ma fe non faranno le gratie, | ch’io vi rendo per cio di gran longa eguali a i meriti voftri, et al defiderio mio, | ifcufimi con voi la grandifima qualita voftra, et l’infima condition mia. et no[n] | fi fdegni la nobilta di voi, ch’io nel miglior modo, ch’io poffa, moftri fegno de | l’affetto del cor mio. perche non effendo in poter di me donarui cofa maggiore, | ho voluto prefentarui fe non cofa degna di voi, almeno dono conueniente alla | profeBione mia. et é quefto la prefente mufica: la quale ogni volta, che ma[n]dera | alle orecchie di V[ostra| Mag{nificentia] l’armonia fua, le fara ritornare a mente la perpetua, | & rara concordia, c’hanno tra loro le virtu dell’animo di quella. Le quali ren | dono altrui concenti mirabili, & foprahumani. A V[ostra] Mag|nificentia] humilmente bacio | le mani: & la prego a voler gradire il dono, ch’io le faccio con ogni termine | d’amore, et di riuerenza. | Simon Boyleau Di V[ostra] Mag[nificentia] humil Seruitore.

Contents

l. f.2 Domine ne longe facias a me

f. 2° II. Deus meus quare me dereliquisti

2. f. 2” O magnum misterium f. 3° II. Genuit puerpera regem 3. £.4 Dixit autem Dominus servo

f. 4’ II. Serve nequam omne debitum 4. f.5 Videns Jacob vestimenta Joseph f. 5° If. Tulerunt ergo fratres erus 5. £.6 Lamentabatur Jacob de duobus filtis f. 6” II. Prosternens se Jacob

6. f. 7° Nunciaverunt Jacob f. 8 II. Cumque audisset Jacob

7. £9 Absterget Deus omnem lachrymam f. 9” II. Non esurient neque sitient 8. f. 10 Occurrunt turbe cum floribus

f. 10” II. Turba multa

9. f. 11 In illo tempore dixit Jesus . . . Non turbetur f. 11° Il. Domine ostende nobis patrem 10. f. 12 Respexit Helias ad caput suum f. 12” IJ. Si quis manducaverit ex hoc pane

f. 13° II. Astitit regina ,

ll. f. 13 Ornatam monilibus filiam

12. f. 14 Regina coeli letare f. 14” II. Resurrexit sicut dixit

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No. 38—1544

13. f. 14" Letare Hierusalem et conventum facite

f. 15° II. Letatus sum in his

14. £. 16 Sancta Maria succurre miseris 15. f..17 Dulce lignum dulces clavos

f. 17° I. Hoc signum crucis erit

16. f. 18 Hodie nata est beata virgo Maria f. 18” Il. Beatissime virginis Marie 17. f. 19 Ceciliam intra cubiculum

f. 19° Il. Angelus Domini 18. f. 20 Sub tuum presidium

19. f. 21 Solem iustitiae f. 21 Il. Cernere divinum lumen 20. f. 21” Sanson nunc in pulvere’ f. 21° [AT ] Laus Deo Finis. Locations and Notes *Zwickau, Ratsschulbibliothek. V, 2

Bibliographical Listings and Literature

__ste |

Eitner, Quellen-Lexikon, 2:164; Vollhardt, Bibliographie ... Zwickau, #406.

39 Corteccia, Libro primo de madrigali a quattro voci_ C4157 (1544)

Corteccia dedicated this edition as well as all his other books of madrigals to Cosimo I, duke of Florence. In his lengthy dedication, he explained his reasons for publishing his works. He complained about misattributions of his madrigals to other composers and vice versa 1n previous editions, and also criticized the several printing errors found in the music and text of these works. Nine madrigals from Corteccia’s publication (nos. 2, 3, 5, 12, 13, and 26—29) had appeared without attribution or were ascribed to Arcadelt in several Arcadelt madrigal books and in the two books of note nere madrigals issued by Gardano and Scotto (Lewis, Antonio Gardano, 1:562). On 5 September 1544 Scotto was granted a privilege to print Corteccia’s First and Second Books of Four-voice Madrigals (Agee, “The Privilege and Venetian Music Printing,” 213). He apparently did not print a second book, for three years later Corteccia had Gardano publish another edition of the first book (C4157) along with a second book of four-voice madrigals (C4159) and a first book of five-voice madrigals (C4160). A new dedication to Cosimo de’ Medici accompanied the 1547 edition. The contents of the Gardano edition were rearranged with one of the madrigals (no. 23) omitted and six new works added. A different woodcut of the Medici coat of arms graced the title page of the Gardano edition. While Scotto’s first edition had a declaration of privilege on its title page, none of the Gardano publications carried such a statement.

Title Page CANTVS | LIBRO PRIMO DE | MADRIALI [sic] A QVATTRO VOCI | DI FRANCESCO CORTECCIA MAESTRO | di Capella dello UluftriBimo & EccellentiBimo | Duca COSIMO DE MEDICI | Duca Secondo di Firenze. | Y | [woodcut of Medici coat of arms with motto: Videbunt iusti et letabuntur] | VENETIHIS | [rule] | Apud Hieronymum Scotum | M. D XLIIII

Collation and Headline 4 volumes in quarto upright; 20 leaves without pagination, numbered by piece. Signature title Fran. Corteccia Libro primo. [A2, a2, Aa2, aa2; first signature only: B—E, b-e, I, Headline: Canon.

300

No. 39-—1544

Dd-Ee, bb-ee]. Signatures A—E*; a~e*; Aa—Ee*, aa—ee*. Signed Aij, $2: title pages unsigned.

Headline CANTVS J

Technical Notes Music font J; Text font Italic I; Initials Ghosts; Putti; Dark floral]; Watermarks Anchor and circle with star; Printed area Title page 16 x 11.7 cm; Music page 18.1 x 12.9 cm.

Table of Contents [f. 20°] TAVOLA | [contents listed] | IL FINE.; Italic, alphabetical.

Dedication [f. 1Y] ALLO ILLVSTRISSIMO ET ECCELLENTISSIMO DVCA | COSIMO DE MEDICI DVCA SECONDO DI FIRENZE. | FRANCESCO CORTECCIA. | [woodcut I]O fo bene Vluftriffimo & Eccellentiffimo Duca che molti faranno quelli, i quali (& forfe | non fenza cagione)

fi merauiglieranno, prima ch’io habbia fatto ftampare quefto primo li| bro de i miei Madriali [sic], pot che ftampandogli pure, habbia ofato di dedicargli a V(ostra] E[ccellenza] & no[n] | folamente fi merauiglieranno (fecondo ch’io {timo) ma mi biafimeranno ancora fi del pri= | mo, effendo i Madriali non pur cofa debile et leggiera per lo piu, ma etia[n]dio lafciua, & mal conueneuole, | cofi alla eta mia hoggi mai, come alla profeffione, a cui piu tofto nelle uere lodi del Santiffimo Dio, come | facerdote, che nelle fauolofe ciance d’'Amore come profano fi richiedeua, {tare occupato: Et fi del fecon | do conciofiacofa che tale opera fia molto piu, & baffa & picciola, che all’altezza di tanto Principe, & | alla grandezza non e, diceuole: Ma chiunche

faperra quante fiano, & quanto giufte le cagioni, lequalia| l’una & a l’altra di quefte due cofe m’hanno indotto (anzi per dir piu ueramente) {pinto & sforzato, ue | dra manifeftamente, che in amendue, fe non lode grandiffima, almeno giuftiBima fcufa mi fi co[n\uiene, per= | cioche la principal cagione che m’ha moffo a cio fare, é, che alcuni di quefti miei Madriali fteffi erano fta | ti (come puo fapere ciafcuno) {tampati da altri, fotto nome d’altri Auttori, piu eccellenti nel uero, & di | maggior grido, che non fono io; & a me pareua mal fatto permettere, che le cofe mie poteffero arreca | re, 0 danno, 0 uergogna ad alcuno, & anco dubitaua (per dirne il uero) che quegli componitori medefimi | attribuendo a me I’altrui colpe, non mi giudicaffero troppo uano & ambitiofo: Alcuni altri per lo con= | trario erano ftampati fotto il mio nome, i quali io confeffo liberamente di non hauer mai ueduti, non che | fatti, & pler|cio non ho uoluto che alcuno ingannato di cotal titolo mi tenga pl|er] da piu, di quello ch’io mi fia | in uerita, oltra ch’egli non é, atto d’huomo buono, non che di chriftiano religiofo torre la fama et fati= | che fue a p[er|fona: A quefte cofe f'aggiugneua, che gli miei, & gl’altri erano cofi nelle note, come nelle pa | role pieni

tutti di fcorrezzioni bruttiffime & d’importantiffimi errori, la qualcofa come potra ueder | chiunche uorra, non é auuenuta in quefti, fi per la cura & diligenza noftra, & fi per l’opera & indu= | ftria dello ftampatore,; Et cofi quanto a la prima cofa, niuno (penfo) fara, il quale non uoglia fe non lo= | darmi, almeno fcufarmi, pofcia ch’al ftampare non folo quefto primo libro, ma il fecondo, & tutti gl’altri | che fi ftamperanno, fono ftato non meno coftretto dall’intereffe mio particolare, che tratto dalla commu | ne utilita: Quanto alla feconda cofa cioé d’hauerlo indiritto a V[ostra] E[ccellenza] niuno medefimame{[n]te potra biafi= | marmene con ragione, il qual fappia quant’io le fia non folamente feruidore, ma ubbrigato per gli hono= | ri, & beneficij riceuuti da lei in picciol tempo molti & grandiffimi, ne dubito io punto, che quella per ef= \ fere non meno benigna & cortefe, che prudente & giufta, & conofcendo, ch’io le dono non qua[n]to debbo, | ma quel che poffo, fi degnera d’accetare uolentieri & pigliare in grado quefti pochi fiori della mia gio= | uenile eta, i quali qualunchi fiano, hanno prodotto poi & partorito, quei frutti che potra uedere V[ostra] E[ccellenza] in| breue tempo, hauend’io in animo di dare alla ftampa, & mandare a lei medefima l’himnario noftro, & | i Motteti compofti da noi, & di piu, i Refponfi & le Lamentationi tradotte nella noftra lingua Fiorenti= | na, la quale non deue meno alla bonta, giudizio, & cortefia di V[ostra] E[ccellenza] che tutte l’altre fcienze & difcipli= | ne, & qui per non entrare nel profondo pelago delle fue uirtu, faro fine bacciandole humilmente le ma= \ ni, & pregando Dio che la conferui fana & felice.

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No. 39—1544

Contents

J. I Giten’bei fiori & honorat’il seno 2. I Languir non mi fa amore! 3. Ill Vostra merce madonna”

4. Till Ne piu cocenti lagrime giamai 5. V S’altri d’amor sospir’io rid’et canto” 6. VI Io vi chieggio crudel ant’al partire

7. VII Vagha stella serena

8. VIII A che ne stringi o scelerata fame 9. IX Vener del terzo ciel lume benigno 10. X Giunto m’h’amor fra bell’et crude braccia ll. XI Liet’ & beati spirti che 1 celesti

12. XII I corall’ & le perle*

13. XIII Non so per qual cagion |’alma mia donna” 14. XIII Chi viver sempre vuol con lieto core

15. XV Se ben par dur’et grave 16. XVI Dolce pegno d’amore 17. XVII Quant’é folle chi crede

18. XVIII Se Grecia si fe tanto nominare 19. XIX Segua quest’alma luc’ognun che vuole

20. XX Quella rara virti et quel valore 21. XXI Non furon mai trovate

22. XXII Sola la donna mia , 23. XXIII Quando prend’il cammino 24. XXIII Donna fra piu bei volti honest’ & cari

25. XXV Quanto sicuri & lieti

26. XXVI Io vorrei pur fuggir crudel’amore® , 27. XXVII Fammi pur guerr’amor quanto tu vuoi® 28. XXVIII Madonna s’io credessi’ 29. XXIX Viddi fra ’herbe verde®

30. XXX Una sola saetta

31. XXX] Amant’il vo pur dir ch’ognun m’intenda 32. XXXII Donna se ti par tempo ch’ io finir debba 33. XXXIII Scelse dal bell’il bello natura 34, XXXIIII Dal piu bass’ et profondo

35. XXXV Un di lieto giamai

See appendix C. :

Locations and Notes

Wolfenbiittel, Herzog-August-Bibliothek. 1.3.1-4 Musica (4) Cantus: VI instead of V.

1. Appears in Arcadelt, Terzo libro dei madrigali a 4 (2) without attribution. Ascribed to Arcadelt in cantus of A1376= 1541'! (lower three partbooks have Corteccia). 2. Attributed to Arcadelt in 1542'7, 1543!’, and 65. 3. Appears in Arcadelt, Terzo libro dei madrigali a 4 (2) without attribution. Ascribed to Arcadelt in A1376=1541!!. 4. Attributed to Arcadelt in 1543! and 117. 5. Appears tn Arcadelt, // vero secondo libro di madrigali a 4 (A1369, 1539; A1370, 1541; and A1371, 1543) without attribution. 6. Appears in Arcadelt, // primo libro di madrigali a 4 (A1314=1539”, A1315=1541°, 17 and 17A, A1320, 1545, and 56) without attribution. 7. Appears in Arcadelt, Terzo libro dei madrigali a 4 (2) without attribution. Ascribed to Arcadelt in Cantus of

A1376=1541".

8. Attributed to Arcadelt in // quarto libro di madrigali a 4 (A1379=1539% and A1380=1541'%).

302

No. 40—1544 Tenor: Tavola on bottom written in ink: io mi consumo Ia vita... IL FINE [mirror image] | 1557 | [3 Maltese crosses]; modern foliation in ink.

** Zwickau, Ratsschulbibliothek. X,3 Bound with Ragazzoni, Madrigali a quattro voci (R47, 1544) (45).

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 3:69; Vollhardt, Bibliographie ... Zwickau, #429; Schmieder, Musik, #66; Fenlon

and Haar, Italian Madrigal, 264-68.

Modern Editions Corteccia, First Book of Madrigals for Four Voices; Harran, Anthologies of Black-Note Madrigals, 2: nos. 1, 10, 12, and 35; Torchi, L’arte musicale in Italia, 1: no. 35; Arcadelt, Opera omnia, 2: nos. 26 and 27; vol. 4: nos. 5 and 28; vol. 5: no. 29; vol. 7: nos. 3 and 12.

__efe__

40 Doni, Dialogo della musica D3419=1544” Anton Francesco Dont was known primarily as a writer of popular literature. His Dialogo was a hybrid musico-literary work, where he depicted, 1n dialogue format, two musical events that had taken

place in Piacenza and Venice. (A detailed discussion of the contents of the edition appears in Feldman, City Culture and the Madrigal, 19-21, Haar, ‘Notes on the ‘Dialogo’”’ and chapter 8 of the

present study.) The publication was quite novel for a music edition. The upright quarto format, usually reserved for liturgical books and special literary texts, had never before been used for a polyphonic music edition. Doni also chose to dedicate each partbook to a different person. The main dedication in the cantus partbook honored Catelano Trivulzio. Born around 1508, Trivulzio became bishop of Piacenza at the age of fifteen. He spent all of his time at the papal court in Rome, where he was when Doni published his Dialogo (Litta, Le famiglie celebri italiane, 1, fasc. 4, table 4). Doni, who had arrived in Piacenza in 1543, wished to obtain a permanent position at a northern Italian court. Trivulzio was one of many prelates and princes from whom he unsuccessfully sought patronage (Grendler, Critics of the Italian World, 53) Doni addressed the altus dedication to Giovanni Battista Asinelli, a member of a lesser noble Bolognese family. Doni also sought a position with Asinelli (Grendler, 53). The dedication in the tenor partbook paid tribute to another Piacentino, the Marquis Annibale Malvicino, who, according to Grendler, owned a home in Venice where Doni attended a party and probably first met the famous writer Pietro Aretino. He dedicated the bassus partbook to Ottavio Landi of the noble family of Piacenza, who was a member of the Accademia Ortolana and friend to Doni. By 1545 Dont had alienated the nobility of Piacenza, at which time Landi wrote a sonnet addressed to Doni calling him

a betrayer (Grendler, 55). :

Among the pieces at the end of the volume, Rore’s occasional motet, Quis tuos presul valeat nitenti pileo (no. 24) honors Cardinal Cristoforo Madruzzo (Dunning, Staatsmotette). RISM B incorrectly states that Florence, Biblioteca del Conservatorio has only the cantus partbook, and does not include the following locations: Leiden, Universiteits-Bibliotheek; Chicago, Newberry Library; Bologna, Biblioteca Universitaria; Venice, Fondazione Giorgio Cini. According to Haar, the cantus partbook in Vienna, Gesellschaft der Musikfreunde is not now listed in the library’s catalogue. All these locations except Venice, Fondazione Giorgio Cini are listed in RISM, Ecrits imprimés concernant la musique.

Title Page CANTO | DIALOGO | DELLA MVSICA DI|M. ANTONFRANCESCO | DON] FIORENTINO.

| & | [pr. mk. Fame I] | IN VINEGIA | Appreffo Girolamo Scotto. |M D XLIII

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No. 40—1544

Altus, Tenor, and Bassus have:

ALTO [TENOR, BASSO] | DEL DIALOGO | DELLA MVSICA. | §& | [pr. mk. Fame I] | IN VINEGIA | Appreffo Girolamo Scotto. |M D XLII

Colophon [f. 48%; S only] [pr. mk. Anchor II] | CON PRIVILEGIO PER ANNI X. [f. 34”; B only] [pr. mk. Peace I]

Collation and Headline 4 volumes in quarto upright; 48 leaves [A=24; T=26; B=34], foliated, ff. [1]2-47 [48] [A= ff. [1] 2-23 [24]; T= ff. [1] 2-25 [26]; B= ff. [1] 2-33 [34]. Signature title none. Signatures A-M*; a—(*; aa—ff4eg*; Aa-HA*li*. Signed A2, $2 (A—-M) $1 (gg, IZ): title pages unsigned.

Headline CANTO PRIMO 2

Technical Notes Music font I; Text font Italic I; Initials Dark floral I; Putti; Ghosts; Watermarks Fleur-de-lys; Printed area Title page 15.5 x 9.3 cm [ATB: 14 x 8.5 cm]; Music page 17.2 x 11.9 cm.

Table of Contents [f. 48] [AT: f. 24; B: f. 33%] TAVOLA | [contents listed] | IL FINE | [AT only:] [pr. mk. Peace I ]; Italic, alphabetical.

Dedication Each partbook has a different preface. The cantus has the true dedication; the remaining three contain “letters,” all with different dates. All appear on f. 1”. [Cantus]

AL REVERENDISSIMO MONSIGNOR CATELANO | TRIVVLTIO VESCOVO DI PIACENZA. | [woodcut L]’ITALIA con mirabile ftupore riferba in fe molti fiumi | di lode et di memoria eterna degni, Po, Teuere, Arno, | et molti altri infiniti. Ma benche la grandezza del lor | titolo, et l’alterezza del corfo fia marauiglia di natura, | é di bifogno, ch’arriuati ciafcun di l’oro [sic] nell’alto et fenza | termine pelago, del Mare, fubito perdano il nome. Et ogni picciolo ru- | fcelletto, ogni fonte, et qual altro fi fia torrente fi gode della fua fama, | contentandofi d’una

uilletta, che lo riuerifca, et di un’drappello di gregge, | che l’honori. Et benche i Paftori, le Donne, et gli armenti l’intorbidino ritor | na incontanente [sic] nella fua chiarezza; moftrando la fonte cinta di quercia, di | mirto, di lauro, et di faggio p{er} allegrezza allarga[n]do i fuoi rami per le fiorite | riue; ornandofi fempre di frefchiBime herbette, et di arbufcelli: quietafi nel- | l’udire il fuono de le canne, delle fampogne, et delle chiare fonore uoci, che le | paftorelle

fquillano, con armonia uiuaciBima per le rifonanti ualli. Che dol- | cezza penfa. V[ostra] S[ignoria] Reueren[dissima] che habbia un fonte nel fopraggiu[n]gere una bel | la Nimpha fcalza et fcinta allhora ufcita d’una frefca ombra; doue fugge[n]do | il caldo con leggier fonno f'era pofata alquanto: et tuffatafi tutta nelle Cri | ftalline acque fi rinfrefca la bella faccia, il uezzofo collo, et i folgora[n]ti occhi| con la fua bianca mano, difcacciando il uelo ch’il fonno poco inanzi gli haue- | ua accomodato: Cofi leuati i fonti e i fiumi dalla grandezza de gli honori, | che i Satiri i Fauni, e le uezzofe fanciulle gli fanno, fe ne uanno altieri al | Mare: il quale per la Realita fua grande gli receue in fé carezzandoli nel | fuo proprio fenno; doue i piccioli rufcelletti ueduto lo ftupore della congre | gation dell’acque fi conofcano effere ftati nulla, penfandofi effer qual cofa: | et io fimilme|[n]te effendo un piccioliSimo riuoletto di uirtu alzata la tefta della | fama, che gli Jpirti uirtuofi per cortefia loro mi coronano, ne fon uenuto altie | ro al mare della uirtu, al lago

della magnanimita, et al profondo della fin- | cerita et bonta di. V{ostra] Sl[ignoria] 304

No. 40—1544

R[euerendissima] dedicandole il rozzo uolume mio, ornato di ghir \ lande di note, et di canzoni, de piu faggi paftori che cantino. Et mi rendo cer- | tiBimo (fi alla honorata famiglie fua, come al faggio fapere di V[ostra] S[ignoria]) non | effere in me virtu, ne anche hauerne il nome, il che molto mi duole; folo per | non potere et feruirla et honorarla come ella merita. Ma in quella maniera | ch’io mi ritrouo accetti il cor mio quale le dono et raccomando fenza fine. | Baciandole la mano con humilta et riuerenza. Alli .xxix. di Marzo. |M D XLIIII. Di Vinegia. Di. V[ostra] S[ignoria] Reueren|dissima] | Seruitore affettionatiBimo. | Anton Francefco Doni Fiorentino. | MVSICI COMPOSITORI. | Adrian vuillaert. | Archadelt. | Anton Francefco Doni. | Claudio Veggio. | Cipriano Rore. | Giacchetto Berchem. | Girolamo Parabofco. | laches Buus. | Lionardo

Barre. | Michele Nouarefe. | Noleth. | Perifon. | Paolo lacopo Palazzo. | Pre Marie Riccio. | Thomafo Bargonio. | Vincenzo Ruffo. | Verdeloth. [Altus]

ALL’HONORATO M[ONSIGNOR] GIOVAN’ BATTISTA | ASINELLI. | [woodcut Q] VEGLI S[ignor] mio, che vogliono fodisfare a gli oblighi, et re- | ftituire le cortefie, c’hanno riceuute vfano {peffe volte vifita- | re con parole i loro benefattori. Ora io per non difobligarmi | fi tofto, non mi fa bifogno tal’ mezzi: et s’io gli uolefi vfa | re andrei in infinito: perche molti fono i meriti, et i benefici donatimi dalla | cortefia voftra: et mi bifognerebbe altro cambio, a i fatti honoreuoli, | ch’io ho riceuuti che parole femplici; le quali io ui donafi. Ho ben caro | moftarui [sic] in parte, come io mi ricordo di chi piu uolte m’ha fouuenuto | ne miei bifogni: pero afpetto miglior tempo, et piu fauoreuole fortuna a| renderuene merito eguale. In quefto mezzo accettate quefti quatro li- | bretti per mio amore, i quali so che non ui fpiaceran[n]o per effere una in- | uentione non molto ufata, vi trouarete dentro uari ragionamenti, come | hanno per vfanza i Cantori. cosi di piu forte canzoni, feruando il de- | coro de i Mufici; che molte uolte cantano, et belle, et brutte, da chiefa, | et da mercato; faltando d’un ragionamento in un ‘altro, fuor di propo | fito, et hora in

termine; tanto ch’io gli hd condotti quafi a buon fine. | Hauro caro il faggio giudicio uoftro: gratiBimo mi fara intendere che | uiuiate felice; et fauoreuol cofa terro che mi conferuiate nella gratia di | uoi, che in uero ui fon’affettionato, et in fomma ui fon’amico, et mi ui | raccoma[n]do. Salutate M[esser] Giouan’Andrea Cremafco, et il Thofignano. | Alli II] D’Aprile. M D XLII. Di Vinegia. | IL DONI FIORENTINO. [Tenor]

AL. SHIGNORE] ANNIBALE MARCHESE | MALVICINO. | [woodcut L]A Mufica, che fi fa in cafa V[ostra] Slignoria] di Liuti, di ftromenti, di | pifferi, di flauti, di uoci, et in cafa dell’honorato M. Aleffan | dro Colombo é digniBima, et quella de i uioloni del S. Guido | dalla Porta mirabile: ma fe la S{ignoria]V[ostra] vdiffe la diuinita, ch’io | ho guftato con l’orecchia dell’intelligenza qui in Vinegia ftupirebbe. | Ecci vna gentil donna POLISENA Pecorina (conforte d’un cittadino | della mia patria) tanto uirtuofa, et gentile, che non trouo lode fi alte, che | la com[m]endino. Io ho vdito una fera un concento di violoni, et di uoci, do- | ue ella fonaua, et cantaua in compagnia di altri fpiriti eccellenti: il mae- | {tro perfetto della qual mufica era Adriano Villaert di quella fua di- | ligente inuentione non piu ufata da i mufici, fi vnita, fi dolce, fi giufta, | fi mirabilmente acconcie le parole; ch’io confeffai non hauere faputo, che | cofa fia {tata armonia né miei giorni,

faluo in quella fera. L’inferuo- | rato di quefta mufica, et l’innamorato di tanta diuina compofjitione é un | gentil’huomo, uno fpirito eccellentiBimo pur Fiorentino, detto M[esser] Neri | Caponi: al quale per mezzo di M[esser] Francefco Corboli huomo Reale | fui fatto amico: et merce fua fenti, vidi et vdi tanta diuinita. Quefto | M[esser] Neri difpenfa l’anno le centinaia de ducati in tal virtu; et la confer | ua appreffo di fe; né fe foffe fuo padre darebbe fuori un canto. Ora poi | ch’io non ui poffo mandar quella le dono quefta. Ben mi duole no[n] poterle | moftrar

con maggior mezzo, ch’io li fia amico. Salutate M[esser| Pier’An | tonio Burla, Mfesser] Bartholomeo Coffa d’occha, et tutti gl’altri mufici: | ch’io mi raccomando infinitamente. Alli VU

d’Aprile|M D XLIII. Di Vinegia. | IL DONI FIORENTINO.

305

No. 40—1544 [Basso]

AL SIGNORE OTTAVIO LANDLI. | [woodcut P]IV’ volte m’é venuto volonta di diuentar fordo, per non | vdire trempellare corde di timpani, et zuffolar fiftole, et za{m]- | buche, Il dabbudda, la ciaramella, la ribeccha, le cembani- | le, et la ftaffetta hanno fatto l’uoua: et non c’é piu per | nulla la cornamufa da mano, et ’arpe de piedi. lo ho dato bando alle | trombe della Fama, et a gl’archetti di Orpheo, et d’Apollo, et all Sim- | phonie; perche qua fono mufiche, che Siringa rimarrebbe per fare vn |: foffione, et non per fonare,; s’ella fentiffe le uiuacita dell’armonie, che | s’ufano,; Pallade fu anchor ella di quefto capriccio, quando Ia traffe uia | il cornetto; et non pier|che foffe brutto uederla fonare (fe cosi é) in buonho | ra; poi c’é vna compagnia di fpiriti diuini, di fonatori, cantori, poeti | dotti per lettera, come fon io bue per uolgare. Ora uorrei che V[ostra] Signoria] | foffe qua per vdir, et ueder la diuinita delle dame de mujfici, et degli ftro | menti. Io ho dato un calcio nel forame a pifferi, trauerfe, ftorte, et di- | ritte: et ho fatto penfiero di cucirmi la bocca, et conficarmi l’orecchie: | che malann’‘haggia alla mia ignoranza, per non faper far nulla come uoi | uedrete in quefto mio Dialogo della mufica. Lo mando folo per moftrar , | a V[ostra] S[ignoria] ch’io l’amo. per cortefia quella mi fara raccomandato alla | S{ignora] Conteffa mia padrona la S[ignora] Hippolita Borromea Angofciuola. Vi | bafcio la mano. Alli VIII d@’Aprile M D XLIIII. | Di Vinegia. | IL DONI FIORENTINO.

Contents!

I. £4" Donna per acquetar vostro desire Canto Primo Claudio Veggio

2. £.5* Madichi debbo lamentarm’hai lassa Canto secondo Vincenzo Ruffo

3. f.7 Lassatemi morire Canto terzo Marta Riccio

4. f.9”° S’amante fi giamai di sperar privo Canto quarto Archadelth , 5. f. 10" II bianco et dolce cigno cantando more Canto quinto Archadelth }

6. f. 12” Noi v’habbiam donne mille nuov’a dire Canto sesto _[no attribution] , 7. f.13 Oconservi d’amor che cosi spesso Canto settimo [no attribution]

8. f. 13” Pur converra ch’i miei martiri amore Canto ottavo Girolamo Parabosco 9. f.14 Giunto m’ha amor fra belle e crude braccia Canto nono Girolamo Parabosco 10. f. 15” Maledetto sia Amor e quel che disse Canto decimo Paolo Iacopo Palazzo

11. f.16 Alma mia fiamm’et donna C. XI Thomaso Bargonio 12. f. 17° Di tre rare eccellenze adorn’et bella Canto duo- Doni decimo

13. f.18 Madonna il mio dolor e tant’e tale Canto terzo- Claudio Veggio decimo

f.18" IL FINE DELA PRIMA PARTE

14. f. 19" S’io potessi mirar quell’ occhi belli Canto XIIII_ Nollet

15. f.22” Chiaro leggiadro lume che dal cielo Canto XV Doni

16. f.24 Dhe perche com’é il vostro al nome mio Canto XVI _—Perisson

17. f.25” Nessun visse giamai piu di me lieto Canto XVII _Parabosco 18. f.27 A ladolc’ombra de le belle frondi [5 vv] Canzona Giaccheto Berchem f.27" II. Non vid’il mondo si leggiadri rami [5 vv] f, 28 III. Un lauro mi difese all’hor dal cielo [3 vv] f.28% IV. Pero piu ferm’ogn’hor di tempo in tempo [5 vv]

f.29 V. Selve sassi campagne fiumi et poggi [5 vv] f.29” VI. Tanto mi piacque prima il dolce lume [6 wv]

19. f.31 Ingenium ornavit Pallas mucrone [6 vv] Canto XVIII [no attribution] 20. f. 31° Cantai mentre ch’io arsi del mio foco [6 vv] Canto XVIIII Parabosco

21. £.34 Ave virgo gratiosa stella sole clarior [6 vv] Canto XX [no attribution] 1, All ascriptions to composers do not appear in the headline of the music page, but are given in the body of the text of the cantus partbook only.

306

No. 4]—1544

f. 34" II. Rubiconda plusquam rosa lilio

22. f.37 Beatus Bernardus quasi vas auri [6 vv] XX] Adriano f.37" II. Factus est quasi ignis effulgens [6 vv] 23. f.38 Giunto m’ha amor fra belle crude braccia

[6 vv] XXII Perisone

24. f.39° Quis tuos presul valeat nitenti pileo [6 vv] XXIII Cipriano f.40" II. Quin tenes legum sophiam

25. f.41” Madonna il mio dolor e tanto é tale” XXIII Claudio [Veggio]

26. f. 42” Amorosetto fiore [6 vv] XXV Arcadelt

27. f.44" A tous jamais d’ung voloir immuable [8 vv] XXVI Giaches [Buus]

28. f.45 Madonna hor che direte [8 vv] XXVII Claudio [Veggio]

Locations and Notes Bologna, Biblioteca Universitaria. (S) Title page has the inscription “di M. Pier Sangiugni e degl’amici” in ink.

Bologna, Civico Museo Bibliografico Musicale. B 149; copy 2: (S) B 62 Title page of B.149 has “di Cristoforo beati, e degl’amici” inscribed in ink.

Chicago, Newberry Library. (S) (olim Landau) (B) Case VM 1578 .D683d Cantus and Bassus are separately bound and are from different collections. Cantus originally part of Landau collection, bound in modern red leather; Bassus bound in cardboard..

** Florence, Biblioteca dei Conservatorio. Unavailable for examination.

Florence, Biblioteca Nazionale Centrale. (S) (olim Landau) Florence, Biblioteca Riccardiana. (S) **T eiden, Universiteits-Bibliotheek (S) London, British Library. (S) 96.K.20 (6)

** Padua, Biblioteca Universitaria. (T) . Paris, Bibliothéque Nationale de France. (S) (olim Bibliothéque du Conservatoire) Rés. 370° Venice, Biblioteca Nazionale Marciana. (ST) Musica 287 Title pages contain initials F.O. on either side of printer’s mark with date 1625 on bottom.

** Venice, Biblioteca e Istituto della Fondazione Cini (olim Malipiero) (S) Verona, Accademia Filarmonica. N. 50; copy 2: (T) N. 51 N. 50: Bound in vellum; old no. 212 on Bassus: “II Dialogo de la Musica a 4, 5, 6, 8.”

** Vienna, Gesellschaft der Musikfreunde. (S)

Bibliographical Listings and Literature Turrini, Catalogo... Verona, 40; Wiel, d’Este, and Faustini, “Biblioteca di S. Marco,” 172-3; Squire, Catalogue of Printed Music... British Museum, 1:398; Gaspari, Catalogo... Bologna, 1:132; Mischiati, Bibliografia ... dei musicisti veronesi, Antologie #31; F. Roediger, Catalogue des livres... Landau, 1:513; Haar, “Notes on the ‘Dialogo,’” 198-225; Einstein, “‘Dialogo della Musica,’” 244-53; Feldman, City Culture and the Madrigal, 19-21; Grendler, Critics of the Italian World, 53; Monterosso Vacchelli in Doni, L’opera musicale.

Modern Editions Doni, L’opera musicale; Doni, Dialogo della Musica, ed. Malipiero; Arcadelt, Opera omnia, 2: no. 5; vol. 7: nos. 4 and 26; Rore, Opera omnia, 6: no. 24.

ete 41 Jacquet of Mantua, Motecta quatuor vocum liber primus —_J10 (1544) Discussion of other editions and conflicting attributions to individual works appear in 6. According

to Nugent (“Anti-Protestant Music,” 257), no. 19 is an occasional motet invoking prayers and 2. Headline: “Canon in unisono.”

307

No. 41—1544

intercession by the saints and the Blessed Virgin for Giulio Boiardo of Scandiano, who presumably commissioned the work. Boiardo, a vassal of the Este, was given the territory of Reggio by Alfonso I in 1530. When the duchess of Ferrara gave politico-religious refuge in 1536 to Jean Calvin, she persuaded Boiardo to receive the Protestant reformer on his way back to Geneva. Repenting in his actions, Boiardo requested forgiveness, which, as the motet proclaims, he received. A printer’s error in the date of the cantus title page has led RISM B to create the ghost edition J12 with the date 1554.

Title Page CANTVS | CELEBERRIMI | SVAVISSIMIQVE MVSICI IACHET, | MVSICES ILLVSTRISSIMI AC REVEREN | diffimi Cardinalis Mantue Magiftri, MOTECTA quatuor | uocum, nuperrime fumma diligentia recognita, atq[ue] emendata, | & quibufdam, qu[ale ipfius lachet non erant, exemptis, | fuo candori, propiceq|ue] integritati reftituta, | ac multo accuratius guam antea ite= | rum typis excufa. | LIBER PRIMVS. | @ | [pr. mk. Fame I] | VENETHS | [rule] | Apud Hieronymum Scotum. MD LI [sic] Altus, Tenor, and Bassus have: ALTVS [TENOR, BASSVS] | EXCELLENTISSIMI | IACHET, MVSICES ILLVSTRISSIMI, | AC REVERENDISSIMI CARDINALIS | Mantue Magiftri, quatuor vocum MOTE- | CTA, nuperrime fuo nitori reftitu- | ta, & quam emendatiBime | typis iteru[m] excufa. | ¥@ | [pr. mk. Fame I] | VENETIIS | [rule] | Apud Hieronymum Scotum. M D XLIIII

Collation and Headline 4 volumes in quarto upright; 22 leaves, foliated; ff. [1] 2—22. Signature title Iachet liber primus. [A2, a2, Aa2, aa2, first signature only: B—F, b—/, Bb-F/, bb—ff|. Signatures A-E‘F’; a—e*f?; Aa—Ee*Ff?; aa—-ee*ff?. Signed A2, $2 (A-E), $1 (F): title pages unsigned.

Headline CANTVS 2

Technical Notes Music font I; Text font Italic I; Initials Ghosts; Putti; Dark floral Il; Watermarks Anchor in circle with star; Printed area Title page 16.7 x 11 cm; Music page 17.9 x 12.9 cm.

Table of Contents [f. 22”] TABVLA. | [contents listed] | FINIS.; Italic, alphabetical.

Contents

l. f.2 In illo tempore dixit Jesus discipulis suis f. 2° II. Dicebant ergo quod est hoc

2. £.3 Audi dulcis amica mea f. 3° II. Veni plena gratiae

3. £.4 O Domine Jesu Christe obsecrote f. 4” II]. Defende eum a sagitta 4. f. SY In illo tempore erat autem Jesus

f. 6 [II.] O mulier Samaritana f. 6 II. [sic] Dixit e1 muller

5. f.7 Veni dilecte

f. 7° If. Favus distillans labia tua

6. f.8 In Domino confido

f. 8” II. Dominus in templo suo

7. £. 9% Quis incredibili non exultet gaudio

f. 10 II. Nos vero pro te nunquam 8. f. 10° Visita quaesimus Domine

308

No, 42—1544

9. f. 11 Celorum candor splenduit 10. f. 11" In tua pacientia

ll. f. 12 In illo tempore stabant autem f. 12° II. Mulier ecce filius tuus

12. f. 12° O vos omnes

f. 13° IJ. Cogitationes meae dissipate sunt 13. f. 14 Fratres ego enim accepi a Domino f. 14° II. Similiter & calicem postquam cenavit

14. f. 15 Unum cole Deum f. 15° IJ. Non sis occisor

15. f. 16 Alleluia & apparuit Simoni f. 16° II. Qui fecit coelum et terram 16. f. 17 Spem in alum nunquam habui

f. 17° IJ. Omnes sancti tul

17. f. 18” Puer qui natus est nobis 18. f. 19 Cantemus Domino gloriose f. 19° IJ. Et tu Maria exaudi preces nostras 19. f. 20° Domine bonum est nos hic esse 20. f. 21 Omnipotens sempiterne Deus f. 21” Retribuere dignare Domine f. 22 [1I.] Dominus conservet eos

f. 22 LAVS DEO FINIS.

Locations and Notes Milan, Biblioteca del Conservatorio. S.B. 148 Bound in cardboard.

Bibliographical Listings and Literature Grigolato and Zecca Laterza, Musiche della Cappella di Santa Barbara, #192.

Modern Editions Jachet, Opera omnia, 4: nos. 1—4, 6-9, 13-17, and 20.

ste 42 Martinengo, Madrigali a quatro voce a misura di breve M995 (1544) Nothing is known about Gabriele Martinengo before 1547, when he competed unsuccessfully for the post of maestro di musica at the Accademia Filarmonica in Verona. He dedicated his first book of madrigals to Count Gian Girolamo Albano of the noble family of Bergamo. Albano, who received his doctorate from the University of Padua, was accorded the honor of Cavaliere Aurato from the Doge Andrea Gritti in 1529. He spent his life writing various books concerned with church politics. In 1566 he was called to Rome, where he remained a member of the Sacred College for twenty years (DBI, 1:606-7) Martinengo followed the fashionable trend of writing note nere madrigals. He stated on the title page that he had composed and arranged his madrigals according to their modal order.

Title Page CANTVS | DE GABRIEL | MARTINENGO MADRIGALIT | A QVATRO VOCE A MISVRA DI | BREVE NOVAMENTE SECONDO | /i toni compofti, & con perfetto ordi- | ne diligentemente

pofti in luce | ¥ | [pr. mk. Fame I] | IN VINEGIA | Appreffo Girolamo Scotto. | [rule] | M D XLIilll

309

No. 42—1544 , Collation and Headline 4 volumes in quarto upright; 22 leaves, pp. [i-11] I-XL [XLLXLI].

Signature title none. Signatures A~E‘F2; Aa—Ee*Ff?; aa-ee* ff?; a-e*f?. Signed Aii, $2 (A-E), $1 (F): title pages unsigned.

Headline CANTVS I

Technical Notes Music font I; Text font Italic I; Initials Ghosts; Putti; Dark floral II; White floral II; Watermarks Anchor and circle with star; Printed area Title page 16.5 x 10 cm; Music page 18.6 x 13 cm.

Table of Contents [p. XLII] TAVOLA | [contents listed] | IL FINE.; Italic, alphabetical.

Dedication [p.ii; STB] ALLO ILLVSTRISSIMO SIGNOR | CONTE GIAN GIEROLIMO} ALBANO CAVALIERO ET | DOTTORE BERGOMENSE. | [woodcut MJE PARSO Honor mio maggiore & confolatione piu certa dare le | primitie de miei frutti giouenili a la Signoria Voftra, fi perche gle fa- | ra[n]no accetti conofce[n]|]domi ella che di cuore gle li prefento fi ancora per | che mi fcufera non trouandogli di quel gufto Maturo, che l’immatura | eta (fe non quafi miracolofamente) dare non puote, fperando ella che da me ne- | gl’Anni piu graui poffa riufcire & piu dotta &

confonante Mujfa, a laquale ha- | uendomi inchinato il cielo, non mancaro parimente con l’effercitio guadagnarlami, | & alhora far piu degno dono a meriti di Voftra Signoria a la qual di cuore mi | raccomando. | Gabriello Martinengo. The altus has the same dedication but contains minor differences in orthography and typography as follows: ALLO ILLVSTRISSIMO SIGNOR | CONTE GIAN GIEROLIMO| ALBANO CAVALIERO ET | DOTTORE BERGOMENSE. | [woodcut MJE PARSO Honor mio maggiore & confolatione piu certa dare le | primitie de miei frutti giouenili a la Signoria Voftra fi perche le fara- | no accetti conofcendomi ella che da cuore gle li prefento fi ancora per- | che mi fcufera non trouandogli di quel gufto Maturo che l’immatura | eta, fe non quafi miracolofamente dare non puote, fperando ella che da me ne- | gl’Anni piu graui poffa riufcire & piu dotte & confonante Mufa, a laquale

ha- | uendomi inchinato il cielo, non mancaro parimente con l’effercitio guadagnarlami, | & alhora far piu degno dono a meriti di Voftra Signoria a la qual di core mi | raccomando. | Gabrielo Martinengo.

Contents

l. IJ Gia stanco son & vinto 2. I L’alma vostra bellezza

3. Il E’ dunque ’! dolce nom’in voi fallace 4. Til O non beg!’occhi ma lucent & chiare

5. VI So che tropp’alt’aspiro

6. VIII Gia nel bel vostro volt’avorio, & oro

7. IX Saria pur temp’hormai 8. X Leggiadra donna tra le degne degna 9. XII Esce da bei vostr’occhi 10. XIII In van rete sei tesa 11. XIII S’a divina bellezza

12. XV Se ’] ciel d’ogn’altra v’ha fatta piu bella 13. XVI In fin allhor che mi s’incominciaro 14. XVII S’a quella gratia & a la vaghezza vostra 15. XVIII Nova fiamma e fra noi di la giu ascesa 310

No. 43—1)44

16, XX Quel vostr’avorio & oro 17. XXII Con parole soavi

18. XXIII Gioia m’abonda ’! cuor tant’& si pura 19. XXIII Dolci parole da restar 1 fium1 20. XXV Il cuor m’avampa si ch’a pass’a passo

21. XXVI Se ’l vostro empio desire

22. XXVIII La gran beltad’e l’humil alterezza

23. XXIX Liet’et tranquilla pace

24. XXX Qual’hor rimiro i vostri bei sembianti! 25. XXX] Hor che ’n si dolce servitu mi truovo 26. XXXIII Se non e finto ’! fuoco che v’accende 27. XXXIIII Mesta correa fuggendo 28. XXXV S’io v’amo piu che ’1| cuor che gl’occhi mie! 29. XXXVI Perche piu aspir’ogn’hor sua fiera voglia 30. XXXVIII S’Amarillide mia 31. XXXIX Vegghio ch’el fier desio 32. XXXX Begl’occhi occhi divin’ ove s’asconde

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (AB) T.57 *Zwickau, Ratsschulbibliothek. LX,2 All copies: Cantus: Aii instead of Bii [IX]; XXXIX XL instead of XL; XL instead of XLI Altus: XV: ALTAS in headline; XX XIX instead of XL; XL instead of XLI. Tenor: aaii instead of bbii [IX]; Cc instead of cc [XV]; Dd instead of dd [XXIII]; Ddij instead of ddij [xxv]; XXIII] instead of XXXII; XXV instead of XXXII]; XXVIII instead of XXXVI; XXIX instead of XXXVII; XXXVII instead of XXXVIII. Bassus: aii instead of bij [1X]; XXX VII instead of XXXVIII.

Bibliographical Listings and Literature : Vollhardt, Bibliographie ... Zwickau, #593, Eitner, Quellen-Lexikon, 6:352; Gaspari, Catalogo... Bologna, 3:105; Nuovo Vogel #1735.

_

43 Morales, Missarum quinque cum quatuor vocibus secundus liberY(M3584 (1544) Although earlier editions brought out by Scotto had featured Morales Masses, this was the first Scotto publication devoted entirely to the Spanish composer’s Mass settings. Three of them had already been printed in earlier Scotto editions: Ave Maria and Vulnerasti cor meum in 26 and De beata virgine in 11. In the same year as the present edition, the Roman printer Dorico issued two books of four-voice Masses by Morales in choirbook format. All but the last unnamed Mass appeared in the Dorico set. For other sources see 11 and 26.

Title Page CANTVS | CHRISTOPHORI MORALIS | HYSPALENSIS | MISSARVM QVINQVE | Cum QVATVOR vocibus | SECVNDVS LIBER. | Quarum Miffarum nomina funt. | Afpice domine. | De Beata uirgine. | Vulnerafti cor meum. | Aue Maria. | Quinta fine nomine.| 9 | VENETIIS | Apud Hieronymum Scotum. | [rule] | 1544.

1. Headline: “A voci pari.”

311

No. 43—1544

Altus, Tenor, and Bassus have:

ALTVS [TENOR, BASSVS] | CHRISTOPHORI MORALIS | HYSPANI | MISSARVM OVINQVE | Cum quatuor vocibus. | LIBER SECVNDVS. | # | VENETIIS | Apud Hieronymum Scotum. | [rule] | 1544.

Collation and Headline 4 volumes in quarto oblong; 22 leaves without pagination or foliation; location of pieces indicated by signature.

Signature title none. Signatures A~E‘F?; aa—ee ff; a~ef?; Aa—Ee*Ff*. Signed A2, $2 (A--E) $1 (F): title pages unsigned.

Headline none; [in margin before first initial of each Mass:] CANTVS | MORALES | Afpice Domine.

Technical Notes Music font I; Text font Italic]; Initials Putti; Dark floral I; | Watermarks Fleur-de-lys; ' Anchor and circle with star; Printed area Title page 10.1 x 16 cm; Music page 13.2 x 18 cm.

Contents

1. A2 [Missa] Aspice Domine 2. B2” | Missa] De beata virgine 3. C2’ [Missa] Vulnerasti cor meum

4. D3” [Missa] Ave Maria 5. EE3 {Missa sine nomine]

F3” LAVS DEO FINIS.

Locations and Notes

Verona, Accademia Filarmonica. (ATB) N. 125 ,

Vienna, Gesellschaft der Musikfreunde. II 17168/7

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:54; Turrini, Catalogo ... Verona, 21; Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde, 2:8.

Modern Editions Morales, Opera opera, 1: nos. | and 2; vol. 3: nos. 3 and 4.

fe

44 Aretino, Sacra responsoria 4 vy P861 (1544) Paolo Aretino, also known as Paolo Antonio del Bivi, was born in Arezzo in 1508. He remained in his native city his entire life. In 1530 he became teacher of chant at the church of Santa Maria della Pieve. Three years later he was appointed canon at the cathedral, and from 1538 until 1544 served there as maestro di cappella. A year after the publication of his Responsories, Paolo returned as canon to Santa Maria della Pieve, remaining in this position until his death in 1584 (D’Accone, New Grove, 1:563). Paolo dedicated the present edition to his patron, Bernardetto Minerbetti, bishop of Arezzo. He set all the responsories for Holy Week and the Nativity of the Lord. Though the collection does not include a table of contents, the pieces are carefully labeled and presented in the order they appear for each service. Scotto reprinted this edition in 1563 (248). A new edition issued by Rampazetto also appeared in 1564 (P862). Unlike the two Scotto publications, the Rampazetto edition has both revised versions of the earlier pieces as well as completely new settings of the same responsories. RISM B

312

No. 44—-1544 , incorrectly lists the copy in Vienna, Gesellschaft der Musikfreunde as located in Vienna,

Osterreichische Nationalbibliothek.

Title Page CANTVS | SACRA RESPONSORIA, | TVM NATALI DOMINI, TVM IOVIS, | VENERIS, AC SABBATI SANCTI DIEBVS DICI SOLITA, | Nunc primum a D[on] Paulo Aretino fub muficis edita Rhythmis, | atg[ue] ab eodem fumma recens cura, diligentiagq[ue] | caftigata. | @ | [woodcut of Christ] | WENETIIS | Apud Hieronymum Scotum. | [rule] | 1544.

Collation and Headline 4 volumes in quarto oblong; 12 leaves without pagination or foliation; location of pieces indicated by signature. Signature title none. Signatures AA—CC’; a—c*; A-C*; aa—cc*. Signed AA2, $2: title pages unsigned. Headline none [in margin before shortened first staff:] CANTVS | Feria. V in caena Diii. | Refpon. primo.

Technical Notes Music font 1; Text font Italic I; Initials Putti; Dark floral I; © Watermarks Fleur-de-lys; Anchor and circle with star; Printed area Title page 12.1 x 15.9 cm; Music page 13.3 x 18.2 cm.

Dedication AA*[S only] AL REVERENDISSIMO MONSIGNORE | & Padrone offervandifimo M[onsignor] Bernardetto de Minorbetti Epifcopo Aretino. | Pauolo Aretino maeftro di capella nel Duomo della Citta di Arezzo. | [woodcut SJONO celebrati da gli antichi {crittori, Monfignore Reueren|dissimo] Appolline, et Mercurio, come inue[n] | tori della Mufica: et molti poi come augumentatori in qualche parte della p[er|fettione di quella. dalli | quali alcuni (fe fapere fe ne poteffe il uero) fon forfe piu chiari p[er] la nobilita di chi ne {criffe, che p[er|| la eccelle[n]za della arte loro. fi che la uirtu a farfi conofcere, par che habbia anche ella bifogno dil fauore della | fortuna: che con lo fple[n\dore della altrui eloque[n]tia la faccia illuftre. Ma fe noi riguarderemo piu tofto alla ue| rita delle cofe, che alla opinione, chi fu mai che ta[n]to bene meritaffe della Mufica; et ta[n]to

di pler|fettione et di honore | le recaffe; qua|n]to il noftro vefcouo Guido? Il quale, no[n] folame[n]te la refufcito in Italia, ma con la inue[n]tione di qlue]fti | caratteri, che nelle co[m|pofitioni al p|re|fente s ‘ufano, la {par[e p[er] tutto il mo[n|do, et cofi con le proprie fatiche, fenza bi- | fogno dello altrui ingegno, alla arte, et parime[n]te a fe fteffo a un tratto fece lume.

Onde la noftra citta, la quale | fu fempre (come anchora é hoggi) producitrice di huomini eccellenti in ogni maniera di uirtu: fi gloria di effer | ftata patria di quefto egregio cittadino, che a lei fu paftore, et padre: et alla Signoria voftra Reuerendiffima, | che fiede meritamente nella anticha fiede di quello, rende infinite gratie; uedendo che con tanto ftudio, feguita[n]do | i ueftigij d'effo, fi ingegna di rendere hoggi alla chiefa fua, la peritia, la perfettione, et l’ufo di quella arte, la | quale con la fua dolcezza, porge a gli huomini in terra, una arra manifeftiffima della armonia

celefte. Della | qual chiefa, effendo anchora io membro, et dalla. Slignoria] V{ostra] R{everendissima] deputato a coltiuare il fagro, et odorifero giardino | di quella: per non tenere occulto il talento, che \ddio mi ha co|m|\meffo, non uoglio {tare otiofo. Ma perche hora | non ho frutto della mia cultura, che degno fia del gufto del purgatifimo giudicio d’effa, le mando certi pochi | fiori conformi al tempo della uicina quadragefima, accioche ella poffa dallo odore di quefti conietturare | che ne habbiano ad effere i frutti noftri quando maturi faranno et intanto con reuerenza bafandole la ma- | no, alla Reuerendiffima Signoria voftra humilmente mi raccomando.

Contents

]. AA2 In monte Olivet Feria V in coena Diomi]ni Respon. primo 2. AA2 Tristis est anima mea Respon. 2 3. AA2* Ecce vidimus eum non habentem Respon. 3 313

No. 44-1544

4. AA3 Amicus meus osculi me Respon. 4 5. AA3" Judas mercator pessimus Respon. 5 6. AA3* Unus ex discipulis meis Respon. 6 7. AA4 Eram quasi agnus innocens Respon. 7 8. AA4 Una hora non potuistis Respon. 8

9. AA4 Seniores populi concilium fecerunt Respon. 9 10. BB Omnes amici mei dereliquerunt me Feria. VI. Respon. 1

ll. BB Velum templi scissum est Respon. 2

12. BBY’ Vinea mea electa Respon. 3 13. BB’ Tamquam ad latronem Respon. 4 14. BB2 Tenebrae factae sunt Respon. 5 15. BB2 Animam meam dilectam Respon. 6 16. BB2’ Tradiderunt me Respon. 7 17. BB3 Jesum tradidit imptus Respon. & 18. BB3 Calligaverunt oculi met Respon. 9

19. BB3’ Sicut ovis ad occisionem Sabbato sancto Respon. I 20. BB3" Hierusalem luge et exue te Respon. 2

21. BB4 Plange quasi virgo Respon. 3

22. BB4 Recessit pastor noster Respon. 4

23. BB4* O vos omnes Respon. 5 24. CC Ecce quomodo moritur justus Respon. 6

25. CC Astiterunt reges terrae Respon. 7

26. CC” Estimatus sum Respon. 8 |

27. CC2 CC’Benedictus Sepulto Domino Respon. 9, 28. Dominus Deus Israel 29. CC2” Hodie nobis coelorum rex In Nativitate Domini Respon. I 30. CC3 Hodie nobis de coelo Respon. 2

31. CC3 Quem vidistis pastores _ Respon. 3

32. CC3”Beata O magnum misterium 33. CC3" Dei genitrix MariaRespon. Respon. 4 5 ,, 34. CC4 Sancta et immaculata virginitas Respon. 6 , 35. CC4 Beata viscera Mariae virginis Respon. 7

36. CC4" Verbum caro factum est Respon. 8 CC4" LAVS DEO FINIS.

Locations and Notes **Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. A 550 Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 106/7 For a description of the partbooks see Lewis, Antonio Gardano, |:140. Cantus: f. [2]: signature AA2 missing.

** Siena, Biblioteca dell’Accademia Chigiana. (T) ** Vienna, Gesellschaft der Musikfreunde. II 17163

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:311; Bayerische Staatsbibliothek, Katalog, 12:4854; Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde, 2:4.

_ ate

45 Ragazzoni, Madrigali a quattro voci R47 (1544) Born in Parma in 1499, Pietro Paolo Ragazzoni remained in his native town for his entire life. He was

a singer in the choir of the Chiesa della Steccata from 1539 until 1564, when he was appointed 314

No. 45—1544

maestro di cappella (Bussi, New Grove, 15:515). He dedicated his only surviving edition to Monsignor Girolamo Prevosto della Scala. Although a declaration of privilege appears on the title page, no petition or license survives in the Venetian archives.

Title Page CANTVS | MADRIGALT | DI PIETRO PAOLO RAGAZZONI | DA PARMA, A QVATTRO VOCE | Nuouamente da lui compofti | & ftampati.| CON GRATIA ET PRIVILEGIO. | @ | [pr. mk. Fame I] | IN VINEGIA | Appreffo Girolamo Scotto. | [rule] |M D XLIIII

Collation and Headline 4 volumes in quarto upright; 14 leaves [B= 16 leaves] without pagination or foliation, numbered by piece. Signature title Madri. di Pietro Paolo Raga33oni. [A2, Aa2, ad2, a2, first signature only: B-D, Bb_-De, bb-39, ad]. Signatures A-C’D’; Aa—Ce*De?, aa_-ec*d0’; a-34. Signed A2 (Bi), Cii, Dii) $2: title pages unsigned.

Headline CANTVS I

Technical Notes Music fontI; Text font Gothic; Initials Putti, Dark floral I.

Table of Contents [f. 13”; S; f. 16; B] TAVOLA; Italic, alphabetical.

Dedication [f. 17] AL MOLTO REVERENDO MONSIGNOR IL SIGNOR | GIROLAMO PREVOSTO DE LA SCALA | PIETRO PAOLO RAGAZZONL | [woodcut SIOLEVANO ge! antichi Romani molto Reuerendo Monfignor | mio di qualche prouintia 6 luogo con degni fatti & lodeuoli vitto- | riofi

alla lor dolce patria ritornando i riportati veBilli & guadagnati | trophei a particulari fuoi dei deuotamente dedicare, & nelle ampie | chiefe & tempij loro appendergli, accio ch’efi di tutto cuore dimoftraffero quan | to gl’amauano & riueriuano, la onde al coftume loro hauendoui elletto per mio | nume, & lume, ai primi acquiftati premij di que{te poche e debole mie fatiche, | hommi creduto effer mio debito, & cofa ragioneuole, al modo migliore, & con | quella degna riuerenza che per me fi puo lor tutti/che che fi fiano, humilmente | dedicare, Et auenga che dipari non vadino le forze al grand'animo mio, nondi- | meno fon certiBimo che per l'innata gentillezza & cortefia voftra, non vi fa- | ra punto difcaro il buon volere dell’amoreuole donatore, & non la qualita del | picciuolo dono, accetare, il qual tutto feruitor voftro dedicatiBimo fi vi dona per | fempre et inchineuolmente vi baccia le mani.

Contents

1. I Com’esser puo ch’io viva

2. I Amor ch’el cuor mi puns’& con tormento 3. Il Se per grave dolor si puo morire

4. Ill Deh porg’aiut’amore

5. Til Per mezz’1 bosch’ inhospit’et selvaggi

6. VI Si rubella d’amor ne si fugace

7. VII Vasse cantando ’! biancho cign’a morte 8. VIII L’aura che da vermiglie labbre spira 9, IX Piangendo sempre pur convien ch’io ’! dica

10. X Qual sara mai si degn’alma corona 11. XI Spira dalla dolc’aria del bel viso 12. XII Giovane donna sott’un verde lauro

13. XIU Chiaro si vede quello che natura 14. XIitl Occhi ch’a gli occhi miei date sol pianto 315

No. 45—1544

15. XV Piu prest’il sol non sgombra 16. XVI Amor ti rendo gratie 17. XVII Se l’alto grido ch’in sin qui s1 stende 18. XVIII Chiara stella dal ciel disces’in terra 19. XIX Claudia di virtu colma saggi’e bella 20. XX Di quante gemm’ha ’] mondo ’! cuor m’ha vinto 21. XX] In qual dur’alp’o’n qual solingh’et strano 22. XXII Con parlar puro & con un cuor sincero 23. XXIII Scenda dal ciel Appollo scend’Orpheo 24. XXIII Trasformo ’! crudel sguardo 25. XXV Se sciogli °] mazzo de bei fior adorno 26. XXVI Ite felici fior in man di quella 27. XXVII Ver’e ch’esser non puot’un gentil cuore’ 28. XXVIII Deh perch’amor non fanno!

XXVIII IL FINE.

Locations and Notes *Zwickau, Ratsschulbibliothek. V, 3 Bound with Corteccia, C4157, 1544 (39).

Bibliographical Listings and Literature Fitner, Quellen-Lexikon, 8:114; Vollhardt, Bibliographie ... Zwickau, #645; Nuovo Vogel #2312.

a

46 Rore, Madrigali a cinque voci R2489=154478 ,

See 28 for further information. |

Title Page ALTVS | DI CIPRIANO RORE I MADRIGALI | A CINQVE VOCI, NVOVAMENTE RISTAMPATI, | ET CON OGNI DILIGENTIA CORRETTI | CON LA GIONTA. | @ | VENETIHS | Apud Hieronymum Scotum. | [rule] | 1544.

Collation and Headline 4 volumes in quarto oblong; 26 leaves; no pagination, numbered by piece. No cantus or tenor partbook is known to survive. Signature title none. Signatures (A) a—“g’; (B) aa—ff*ge". Signed a2, $2 (a-f), $1 (g): title page unsigned. Headline none [in margin before shortened first stave:] ALTVS | III | Leonardus Barre.

Technical Notes Music font!I; Text fontItalicI; Initials none; Watermarks Fleur-de-lys; Anchor and circle with star; Printed area Title page 8.9 x 13.5 cm; Music page 13.1 x 17.8 cm.

Table of Contents [f. 24°] TAVOLA | [contents listed] | TAVOLA De li Madrigali aggionti. | [contents listed] | FINIS.; Italic, alphabetical.

{. Headline: A Voce pari.

316

No. 46—1544

Contents

l. J Padre del ciel doppo i perduti giorni

II II. Hor volge signor mio l’undecim’anno 2. Ii Fu forse un tempo dolce cosa amore IJ. Ogni mio ben crudel morte m’ha tolto

3. Ii Cosi di ben amar porto tormento Leonardus Barre

4. TU I mi vivea di mia sorte contento

IJ. O natura pietosa et fera madre

5. V O dolci sguardi, o parolette accorte II. Et se talhor da begli occhi soavi

6. VI Scielgan l’alme sorelle in li orti suoi

II. Ardir senno virtu bellezza e fede

7. Vii Quel sempre acerbo et honorato giorno II. L’atto d’ogni gentil pietate adorno

8. VIII Dhe se ti strins’amore

9. IX Amor; che vedi ogni pensiero aperto IJ. Ben veggio di lontano il dolce lume

10. X Chi vol veder quantunque po natura

IJ. Vedra; s’arriva a tempo; ogni virtute

li. XI Per mezz’i boschi inhospiti et selvaggi

If. Parmi d’udirla udendo i rami, & |’ore

12. XII Perseguendomi amor al luogo usato IJ. Io dicea fra mio cor, perche paventi?

13. XIil Hor che ’! ciel et la terra e ’| vento tace II. Cosi sol d’una chiara fonte viva

14. XIII Poggiand’al ciel coll’ali del desio

II. Tal si trova dinanzi al lume vostro

15. XV Quand’io son tutto volto in quella parte II. Cosi davanti a i colpi de la morte

16. XVI Solea lontana in sonno consolarme

II. Non ti soven di quell’ultima sera

17. XVI Altiero sasso lo cul gioco spira

18. XVIII Strane rupi aspri monti alte tremanti II. A guisa d’huom che da soverchia pena

19. XIX La vita fuge, & non s’arresta un’hora II. Tornami avanti, s’alcun dolce mai

20. XX Tu piangi, & quella per chi fai tal pianto II. Lei tutt’intenta al lume divo e santo

21. XXII Cantai mentre chi arsi del mio foco

22. XXII Qual vista sara mai occhi miei lassi Adrianus uuigliart

23. XXII Vaghe faville angeliche beatric1 Leonardus Barre 24. XXIII I] mal mi preme, & mi spaventa il peggio

II. Bench’: non sia di quel grande honor degno

25. XXV Quanto piu m’avicino al giorno extremo IJ. Perche con lui cadra quella speranza

26. XXVI S710 ’] dissi mai fortun’a me superba II. Ma s’io nol dissi quell’ardente face

27. XXVII Ben si conviene a voi cosi bel nome

XXVII FINIS.

Locations and Notes Berkeley, University of California, Music Library. (A) M1579.5. R66 M18 1544 Case x Unbound; on title page: ‘De prete b[er|nardo pallavera.”

London, British Library. (B) K.11.e.2 (5) (olim Cortot) For a description of the partbook see Lewis, Antonio Gardano, 1:138.

317

No. 46—1544

Bibliographical Listings and Literature Nuovo Vogel #2391; British Library, Catalogue of Printed Music, 49:21.

Modern Editions Rore, Opera omnia, 2: all except nos, 3, 22, and 23; Willaert, Opera omnia, 14: no. 22.

__ ate

47 Liber primus missarum quinque 4vv 1544? This edition was intended as the companion volume to Morales, Missarum quinque cum quatuor vocibus secundus liber (43). In the same year, Gardano also released his Sex misse (1544'), an edition of these Masses in the same order with an additional mass by Phinot appended at the end. In light of the use of columns and braces in the title, my diplomatic copy reproduces the design of the original cantus title page (excluding differentiation of font sizes) instead of following the line-by-line continuous transcription observed throughout the catalogue.

Title Page CANTVS. LIBER PRIMVS

MISSARVM QVINQVE, CVM, QVATVOR VOCIBVS,

EX DIVERSIS AVTHORIBVS EXCELLENTISSIMIS

NOVITER IN VNVM CONGESTVS. , Quarum nomina & Authores funt,

Peccata mea.

Christus refurgens. = LVPVS

Philomena VERDELOT

Mort et fortune. IACHET Bergem. In Antiphona. S, Sebaftiani. HESDIN.

9 __VENETIS Apud Hieronymum Scotum. 1544.

Altus, Tenor, and Bassus have:

ALTVS [TENOR, BASSVS] | DIVERSORVM AVTHORVM | MISSAE CVM QVATVOR | VOCIBVS. | @ | VENETHIS | Apud Hieronymum Scotum. | [rule] | 1544.

Collation and Headline 4 volumes in quarto oblong; 22 leaves without pagination or foliation, location of pieces indicated by signature.

Signature title none. Signatures A-E*F?; Aa—Ee*Ff’; a—-e*f’; aa—ee*ff*. Signed A2, $2 (A-E), $1 (F): title pages unsigned. Headline none [in margin before shortened first stave:] CANTVS | LVPVS | Peccata mea domine

318

No. 48—1544

Technical Notes Music fontI; Text font Italic I; Initials Putti; Dark floral I; Watermarks Anchor and circle with star; Fleur-de-lys; Printed area Title page 12.9 x 14.1 cm; Music page 13.2 x 17.9 cm.

Contents

1. A2 [Missa] Peccata mea Domine Lupus 2. B2’ [Missa] Christus resurgens Lupus 3. C2 [Missa] Philomena Verdelot 4. D2 [Missa] Mort et fortune Iachet Bergem 5. E2* In Antiphona. S. Sebastiani! Hesdin

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. R 159 London, British Library. K.11.e.2 (11) (olim Cortot) For a description of the partbooks see Lewis, Antonio Gardano, 1:134.

* Naples, Biblioteca Nazionale. SQ XXVII.L.44-47 For a description of the partbooks see Lewis, Antonio Gardano, |:144-45.

Vienna, Gesellschaft der Musikfreunde. Il 17168/7

Bibliographical Listings and Literature Mondolfi, “Fondo musicale. .. Napoli,” 280; Gaspari, Catalogo... Bologna, 2:30.

Modern Editions Verdelot, Opera omnia, 1: no. 3.

de

48 Willaert, Corteccia, Canzone villanesche a quatro voci 154477 Scotto was the first to print villanesche by Willaert when in 1542 he appended two of the master’s Neapolitan dialect songs in an edition ostensibly devoted to the printer’s own music (29). On 5 September 1544 the Venetian Senate granted Scotto a privilege to print “le canzone alla neapolitana de messer Adriano” (Agee, “The Privilege and Venetian Music Printing,” 213). Only the first of the two gatherings that comprise the 1544 edition survives. Cardamone (Adrian Willaert and his Circle, XVl11) presents a persuasive reconstruction of the complete edition by following the information given on the title page: two madrigals by Willaert and Zoia zentil (La Canzona di Ruzante), and adding all but three pieces by Silvestrino found in Gardano’s edition (1545°°). For his 1545 edition, Gardano omitted Zoia zentil and the Willaert madrigals. Parallel editions by both Gardano and Scotto appeared in 1548 (74). Gardano brought out a new edition in 1553 (W1118= 15537"). Scotto’s 1563 edition of Willaert madrigals (241) has six villanesche from the first edition, including Zoia zentil.

Title Page ALTVS | CANZONE VILLANESCHE |-ALLA NAPOLITANA DI M. ADRIANO | VVIGLIARET A QVATRO VOCI, CON | alcuni Madrigali da lui nuouamente compofti | & diligentemente corretti, con la | Canzona di Ruzante. | CON LA GIVNTA DI ALCVNE ALTRE CANZONE | Villanefche alla Napolitana a Quatro Voci, compofte da M. FRAN= | CESCO CORTECCIA non piu uifte ne stam= | pate, nuouamente pofte in luce.| & | [pr. mk. Fame I] | VENETIIS | [rule] | Apud Hieronymum Scotum M. D XLIIII

Collation and Headline 4 volumes quarto upright; 4 leaves, foliated, ff. [1] 24. No cantus, tenor, bassus, or complete altus partbook is known to survive. 1. Entitled “Missa Hic est vere martir” in 1544.

319

No. 48—1544 | Signature title Canzone alla Napolitana. Signatures a~a*. Signed aa2, $2; title page unsigned.

Headline ALTVS 2 Technical notes Music font]; Text font Italic I; Initials Putti, Dark floral I; Printed area Title page 17.2 x 12.5 cm; Music page 16.5 x 12.9 cm.

Contents

1. f.2 Madonna io non lo so perche lo fai 2. f. 2° Cingari simo venit’a giocare 3. £.3 Madonna mia famme bon’ offerta 4. f. 3” Un giorno mi prego una vedovella 5. f.4 A quand’a guand’haveva una vicina 6. f. 4” Vecchie retrose non valete niente Locations and Notes * Pistoia, Archivio Capitolare della Cattedrale. (A inc.) B.7.7 First gathering [folios 1-4] only.

Modern Editions | Bibliographical Listings and Literature

Laugier, Catalogo... Pistoia, 69; Nuovo Vogel #2996; Cardamone, ed., Adrian Willaert and his Circle. |

Willaert, Opera omnia, 14; Cardamone, ed., Adrian Willaert and his Circle.

— 1545 —

49 Perissone Cambio, Madrigali a cinque voci C550 (1545) Styled as noble and valorous by Perissone Cambio, Gottardo Occagna was a patron of both music and

literature. A Spaniard by birth, Occagna acquired his wealth in the area of commerce. He was a member of a Venetian lay confraternity, the Scuola di Santa Maria della Carita (Feldman, City Culture and the Madrigal, 51~S8). He was the dedicatee of two other music publications: the 1548 edition

of Rore’s Terzo libro di madrigali a 5 signed by Paolo Vergelli (73), and Novello's Mascherate (N801, 1545) printed by Gardano and signed by the writer and composer Girolamo Parabosco. Parabosco also dedicated two literary editions to Occagna, his Lettere amorose of 1545, and his comedy // viluppo in 1547. As stated on the title page, the Venetian Senate granted Perissone Cambio a privilege for this edition (Agee, “The Privilege and Venetian Music Printing,’ 216). Despite the fact that the publication is unsigned, Eitner (Quellen-Lexikon, 2:291) claimed this to be a Gardano edition of 1545. For more information on the unsigned editions of 1545-47 see J. Bernstein, “Burning Salamander.”

Title Page CANTVS | MADRIGALI A CINQVE VOCI | PER L’>ECCELLENTE MVSICO M[ESSER] PERISSONE | CAMBIO COMPOSTI A COMPIACIMENTO DE DIVERSI SVOI AMICI, | ET

A PREGHI DE I MEDESIMI HORA FATTI PORE A LVCE, | ET PER LO MEDEMO COMPOSITORE CORRETTI ET | REVISTI ET ACONCI, NON PIV NE VE- | DVTI NE ISTAMPATI. | Quingue Vocum. | VENETIIS M. D. XLV. | Cum gratia & priuilegio. [s.n.]

320

No. 49—1545

The four lower voices have the same title page, but with minor differences in orthography and typography as follows: ... ET A PREGHI DE I MEDEMI HORA FATTI PORRE A LVCE, | ET PER LO MEDEMO COMPOSITORE CORRETTI ET | REVISTI ET ACCONCI, NON PIV NE VE | DVTI NE STAMPATI. | Quingue Vocum. | VENETIIS M. D. XLV. | Cum gratia & priuilegio. [s.n.]

Collation and Headline 5 volumes in quarto oblong; 16 leaves without pagination or foliation, numbered by piece.

Signature title none. Signatures A~-D*; A~D*; A-D*; A-D*. Signed Aij/, $2: title pages unsigned.

Headline J CANTVS

Technical Notes Music fontI; Text font Italic I]; Initials Plain Roman; Watermarks Anchor and circle with star; Printed area Title page 10 12. XIII la donna mia Vbert Naich

13. XV Che dolce piu che piu giocondo stato Vbert Naich® 14. XVI S’1o credessi per mort’essere scarco Anselmus de Reulx’

15. XVII Se la presentia vostra [no attribution] .

16. XVIII Tant’e l’ardor la fe che meco porto Vbert Naich® 17. XIX Nasce bella sovent’in ciascun loco Yuo 18. XX Proverbi’ama chi t’ama e fatto antico Vbert Naich 19. XXI Nuov’ Angioletta sovra |’al’accorta [no attribution] 20. XXII Qual fia ’1 dolor nella crudel partita Vbert Naich?

21. XXII Troppo scarsa madonna Yuo!l®

22. XXIII Perche piu acerba set’et piu rubella Verdelot 23. XXV Che giova sagittar un che si muore Vbert Naich!!

24. XXVI Nuovo piacer che negl”human’ingegni Archadelt!?

25. XXVII Per Dio tu sei cortese Vbert Naich!?

26. XXVIII Io son’una giovinetta et volentier! Ferabosco 27. XXIX Non ved’hoggi ’] mio sole Corteccia'* 28. XXX Vivace fiamma che con dubbia speme Corteccia

29. XXXI Perche la vit’e breve Corteccia 30. XXXII Vostra merce madonna Archadelt!°

31. XXXII Donna vostra belta s’a dirlo lice Corteccia

32. XXXIIII Questi suavi fiori Jaques Buus 33. XXXV Io non so dir parole Ferabosco 34. XXXVI Con le fuss’io da che si parte I sole Archadelt!®

35. XXXVII Alcun non puo saper da chi sia amato [no attribution] M7 36. XXXVIII Quando son piu lontan da bei vostr’occhi Yuo!?

37. KXXXIX Fu tempo, gia!® Archadelt Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (B) R 162

Bassus: X, XI, XIIH, and XV: headline: ALTVS instead of BASSVS; XXXIII and XXXV signatures: T instead of V, corrected by hand in ink.

4. No attribution in 1550!°, 1552!!, and 1558!!; ascribed to Yvo in other editions. 5. Conflicting attribution to Yvo in 1542!7, 1543!7, and 154713, and to Aretino in 81. 6. Attributed to Vbert Naich in 1542!7, 1543!7, 154615, 1547!3, and 1567!*; no attribution in other editions. 7. Conflicting attribution to Vbert Naich in three lower parts of 1542!’, and to Anselmo de Reulx in other editions. 8. Conflicting attribution to Yvo in 1542!’, and to Vbert Naich in other editions. 9. Attributed to Vbert Naich in 1542!7, 1543!7, and 15479; no attribution in other editions. 10. Conflicting attribution to Yvo in 1542!7, 1543!7, and 1547!%, and to lachet Berchem in other editions. 11. Attributed to Vbert Naich 1542!7, 1543!7, and 1547'3; to Rampollini in R215; and no attribution in other editions. 12. Conflicting attribution to Iachet Berchem in 1558'', to Rampollini in R215, and to Archadelt in other editions. 13. No attribution in 1542!’ only; ascribed to Vbert Naich in other editions. 14. Conflicting attribution to Corteccia in 1542!7, 1543!’, and 1547'3, and to Bracharaio in other editions. 15. Conflicting attribution to Archadelt in 1542!7, 1543)’, and 15471, and to Corteccia in 39. 16. Conflicting attributions to Corteccia in 1542!7, to Archadelt in 1543!’ and 1547!3, and to Iaques de Ponte in other editions. 17. Attributed to Ruffo in 53. 18. Incipit only. Untexted piece.

, 354

No. 66—1547

Bibliographical Listings and Literature Lewis, Antonio Gardano, 1:322; Gaspari, Catalogo... Bologna, 3:25; Harran, Anthologies of Black-Note Madrigals, 1, pt. 1, xxi-lvii; Vogel-Einstein, 1547!.

Modern Editions Harran, Anthologies of Black-Note Madrigals, 1; Arcadelt, Opera omnia, 7: nos. 3, 5—7, 24, 30, 34, and 37; Willaert, Opera omnia, 14: no. 4; Festa, Opera omnia, 8: no. 2; Ferrabosco, Opera omnia: nos. 26 and 33; Rampollini, Primo libro del musica: nos. 23 and 24.

a

66 Festa, Vero libro di madrigali a tre voci 1547° The first publications containing Festa’s three-voice madrigals came out in 1537. Eleven appeared without attribution in a Roman anthology, Madrigali a tre et arie napolitane [c. 1537°], connected to if not issued by Valerio Dorico (Cardamone, “Madrigali a tre’), while in Venice Ottaviano Scotto and Andrea Antico brought out an edition containing thirteen pieces ascribed to Festa (15377). In 1541 Gardano issued an edition of three-voice madrigals headlining Festa’s name on the title page, but only one piece in the collection, Affliti spirti miei, is apparently by Festa. In the following year Gardano published five more Festa pieces in his Primo libro di madrigali d’Arcadelt a 3 (1542!3). As if to make amends for his bogus 1541 Festa volume, Gardano released in 1543 a new edition entitled J/ vero libro di madrigali a tre voci di Constantio Festa. This edition was reprinted six times by Gardano in 1556? and 1564!”, by Scotto in 1547!°, 15511*, and 1559 (66, 112, 174), and by Merulo in 1568. Of the thirty pieces, seventeen had already appeared in earlier editions: (nos. 2 and 4-7 in 1541"; nos. 4, 10, 11, 14-16, 20, 23, 27, 29, and 30 in 1537’, and nos. 16-19, 22, 23, 25, 26, 29, and 30 in [c. 1537°]). Fenlon and Haar (Italian Madrigal, 234) suggest that attributions to five of the new pieces (nos. 1, 13, 21, 27, and 28) in the volume are doubtful (see footnotes to individual pieces in contents for conflicting attributions). Thus, out of a total of thirty pieces, the 1543 Vero libro contained only eight previously unpublished madrigals by Festa. The unsigned 1547 edition presents the same contents in the same order as the 1543 edition with the addition of four madrigals at the end (nos. 31—34). As confirmed by the signatures, the last twofolio gathering was added after the volume went to press. Though no ascriptions are found in the body of the volume, the signature of the last gathering attributes the last three pieces to Fogliano (they also appear with attributions to Fogliano in 1551! and 15597; see 112 and 174). The woodcut of a burning salamander on the title page refers to a conglomerate of printers including the Scotto press (J. Bernstein, “Burning Salamander,” 488-92).

Title Page .

@2 CON” FESTA e® | IL VERO LIBRO DI MADRIGALI A TRE VOCI DI CONSTANTIO | FESTA NOVAMENTE RACCOLTI ET CON VNA NOVA GIONTA | di madrigali di Iacomo fogliano, & de altri autori nuoua- | mente stampati, & corretti.| [pr. mk. Burning salamander] | Con gratia & priuilegio. | VENETUS M D XLVII. | BASSVS | [s. n.]

Collation and Headline 3 volumes in quarto oblong; 18 leaves pp. [1] I-XX XII [XXX V]. No cantus partbook is known to survive. Signature title Tertij di Conftantio Fefta; EEE: Tertij aggiunti di lacomo Fogliano. Signatures J-M‘EEE’. Signed Ii/, $2 (I-M) $1 (EEE): title page unsigned.

Headline BASSVS J

Technical Notes Music font!I; Text font Italic II; Initials Plain Roman.

355

No. 66-——-1547

Table of Contents [p. XXXV] TAVOLA Delli Madrigali numero 34; Italic, alphabetical.

Contents

l. I Madonn’io son’un medico perfetto'

2. I Madonn’il vostr’orgoglio

3. Il Ingiustissim’amor perche si raro

4. Ill Ogni loco m’attrista ov’io non veggio

5. V Se mai vedet’amanti

6. V Deh piaccia al cielo che com’in gli occhi vostri

7. VI Qual sara mai si miserabil canto :

8. VII Madonna al volto mio pallid’et smorto 9. VIII Lieto non hebbi mai 10. IX Madonna io v’am’et taccio

11. X Che si puo piu vedere

12. XI Venut’era madonna al mio languire 13. XII Venit’amanti insieme a pianger forte”

14. XII Se come sete bella 15. XIII Ogni belta madonna

16. XV Afflitti spirti miei siate contenti 17. XVI Che parlo o dove sono o chi m’inganna 18. XVII Se non fusse il sperar che mi conforta 19. XVIII Non mi par che sia vero

20. XIX Madonn’io mi consumo 21. XX O Dio che la Brunette mia*

22. XXI Che giova sagittar’un che si muore 23. XXII Madonna io prend’ardire 24. XXIII Sopr’una verde et dilettosa riva

25. XXIIII Se non fusse il sperar che mi conforta :

26. XXV Dolor sta sempre meco 27. XXVI Io vorrei Dio d’amore*

28. XXVII Una donna l’altrier fisso mirai” 29. XXVIII Madonn’io mi consumo 30. XXIX Altro non e ’! mi’amor che ’! propri’inferno 31. XXX In un bel prato di fiorett’adorno®

32. XXXII Poi ch’io viddi le tue superbe frondi Iacomo Fogliano’ 33. XXXII Alla mia grave pen’al mio tormento [no attribution]® 34. XXXIIII —_ So ben che tanta gratia el ciel ti diede [no attribution]® Locations and Notes * Barcelona, Biblioteca del Instituto espanol de musicologia. (B) Title page, left side of woodcut in ink: “El aguila caudal | Gentileza muy grade | convieneq n nomy”; on right side of woodcut.: “El aguila caudal;” p. ii (verso side of title page) is blank, suggesting a dedication was intended for inclusion.

{. Attributed to Ghibel in 110. 2. Contrafactum of Me doibt on prendre quant on donne by Compére in 1501'. See Fenlon and Haar, Jtalian Madrigal, 236 and Arcadelt, Opera omnia, 7:xvi. 3. A four-voice piece without the altus attributed to Michele Pesenti in 1504*. See Fenlon and Haar, Jtalian Madrigal, 230 and Einstein, /talian Madrigal, 246. 4. Conflicting attribution to Jacobus folia [i.e., Fogliano] in 15377. 5. Attributed to Bernardo Pisano in Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2440. See Fenlon and Haar, ltalian Madrigal, 236 and Einstein, Italian Madrigal, 246. 6. Attributed to La Martoretta in 1541!? and 216. See Fenlon and Haar, /talian Madrigal, 237. 7. Attribution appears in signature. 8. Attribution appearing in signature implies that the piece is by Fogliano.

356

No. 67—1548 Last three pages are misnumbered XX XII—-XXXIIII instead of XX XI-~XXXIII.

** Trent, Biblioteca Comunale. (T inc.) Tenor lacks first two gatherings (pp. 1-13).

Bibliographical Listings and Literature Lewis, Antonio Gardano 1:373; Cardamone, “Madrigali a tre”; Nuovo Vogel #973; Fenlon and Haar, /talian Madrigal, 234.

Modern Editions Festa, Opera omnia, 7.

— 1548 —

67 Abondante, Intabolatura di lautto libro secondo A180=1548" Giulio Abondante, also known as dal Pestrino, was active as a lutenist in Venetian patrician circles. He is mentioned by OrazioToscanella as being employed by the nobleman Antonio Zantani (Feldman, City Culture and the Madrigal, 68). Abondante’s first book of solo lute music was printed by Gardano in 1546 (A179). This second book contains fantasias and lute intabulations of secular and sacred vocal

works. Most of the original vocal pieces, including the French chanson, appeared in recently published Venetian editions. The Primo libro d’i madrigali de diversi autori a misura di breve was presumably the source for four of the madrigal arrangements (nos. 6—9). All but one of the chansons were included in Gardano’s Venticinque canzoni francese (1538'"). The four canzoni villanesche alla napolitana at the end of the volume came from Willaert’s Canzone villanesche first issued by Scotto in 1544 (48). Abondante’s Libro secondo does not belong to the series of ten lute editions brought out by Scotto and his partners from 1546 to 1549 (see 64). Identifications of the original vocal pieces, their attribution, and the first printed source are taken from Brown, /nstrumental Music, 1548,.

Title Page , INTABOLATVRA | Di LAVTTO LIBRO SECONDO. | Madrigal: a cinque & a quattro. | Canzoni Franzefe a cinque & a quattro | Motetti a cinque, & a quattro, | Recercari di fantafia, | Napolitane a quattro | Intabulati & accomodati per fonar di Lautto per lo Excellentisfimo M[esser] | Iulio abondante. Nouamente pofte in luce, & per | lui medemo corretti. | In Venetia appreffo Hieronimo Scotto. |M. D. XLVIII.

Collation and Headline 1 volume in quarto oblong; 32 leaves without pagination or foliation; location of pieces indicated by signatures.

Signature title none. Signtures H’A-G*. Signed Wii, $2; title page unsigned. Headline none; [in margin before shortened first staff:] Qual docezza giamai | Adriano uilaert

Technical Notes Music font Italian lute tablature; Rhythmic fontI; Text font Italic; Initial Dedication only, not identified with Scotto press; Watermarks Crescent with star; Cardinal’s hat; Printed area Title page 11.1 ] fuoco qual riscalda

7. VU Piu temp’ho gia seguito] 8. IX Tanta beltad’e ’n voi e leggiadra

9. X Sia benedett’ Amore 10. XI Sia maledett’ Amore 11. XI S’1o havesse tant’ ardire

12. XIIt Non fia giamai in quest’o in altra etade 13. XIU Per ampla strada entrai nel labirintho 14. XIV Quando madonna gli amorosi sguardi

15. XVI Sola solett’andava

431

No. 113—155]1

16. XVII Se *1 dolce sdegn’e I’ira 17. XVII O felice pensier felic’il giorno 18. XVII Ha che voi piu crucitarm’Amor fallace 19, XIX Madonna prego ’| ciel che mi confonda

20. XX Io penso & nel pensar pensieri penso

21. XX Madonna io v’am’e taccio

22. XXI La vita nostra e com’un bel thesoro 23. XXII Madonna con due lettere m’occidete 24. XXII S’io vi mento madonna 25. XXIII Io v’amo anci v’adoro

26. XXIII Privo di quel che gran tempo mi tenne

27. XXV L’immens’e alte virtude 28. XXVI Amor quando fioriva

29. XXVII Le bianche man con sottilette dita 30. XXVIII Altro non e ’! mio amor chel Paradiso 31. XXVIII Lasso ch’io ardo & altri non me ’1 crede

32. XXIX Madonna mi consumo 33. XXX Lasso s’in un sol ponto 34. XXX Si bella vi formo donna natura

35. XXX] Hor pensat’al mio mal qual esser deve 36. XXXII Madonna sua merce pur una sera 37, XXXII Sospir profondi & voi dirotti pianti 38. XXXIil Quel dolce fuoco in cui abbrugg’& ardo 39. XXXII Si con sua cetr’Orpheo 40. XXXII Si con sua cetr’Orpheo XXXV Cominciano le Canzon Francese di lanequin a Tre Voci 41. XXXV Jeunette Marion sen vont jouer 42. XXXVI Hellas je suis marry de ces maulditz jaleux!

43. XXXVII Grace & vertu bonté beaulté noblesse” :

44, XXXVII C’est mal encontre que d’aimer? 45. XXXIX Je suis trop jeunette pour faire ung amy‘ 46. XXXX Amour me voyant sans tristesse” 47. XXXXI Celle qui m’a tant pourmene® 48. XXXXII _—_C’est une dure despartie®

49. XXXXII _Je ne fais rien que requerir® 50. XXXXIII Mauldicte soit la mondaine richesse’ 51. XXXXIII__‘J’ay le desir content & le faict resolu®

52. XXXXIIII Tant est gentil plaisant & gracieulx 53. XXXXIIII Amor tu es par trop cruelle’ 54. XXXXV Le cueur de vous ma presence desire'® 55. XXXXVI___La loy d’amours est tant inique & dure

1. Attributed to An. de Fevin in Cambridge, Magdalene College, Pepys MS 1760; no attribution in London, British Library, Harley MS 5242 and Florence, Biblioteca Nazionale Centrale, MS Magl. XIX.117. 2. Attributed to Le Hurteur in 155322 and 1578": no attribution in 1539". 3. No attribution in 1520° and Turin, Biblioteca Nazionale, MS I.27. 4. Conflicting attributions to Gascongne in Attaingnant’s Trente et une chansons (1535), 15537*, and 1578"; and to Gombert in 1552!°, 15602, and 1569!!. 5. Attributed to Gosse in Attaingnant’s Trente et une chansons (1535) and 15391”. 6. Attributed to Claudin in Attaingnant’s Trente et une chansons (1535). 7. Attributed to Cosson in 1539!. 8. Attributed to Claudin in Attaingnant’s Trente et une chansons (1535) and 1539". 9. No attribution in Attaingnant’s Trente et une chansons (1535). 10. No attribution in Attaingnant’s Trente et une chansons (1535) and 1539".

432

No. 114—1552

56. XXXXVI___ Contre raison vous m’estes fort estrange!' S57. XXXXVII_ La tres doulce plaisant velue 58. XXXXVII_ Simon malheur my continue® 59. XXXXVIII Bastien et Bastienne vous avez change d’amis 60. XXXXVIII Par fin despit je m’en iray seulette® 61. XXXXIX _ Bon pastoreau garde bien ta houlette

62. L Changeons propos c’est trop chante damours!?

63. L Vignon vignette qui te planta!? 64. LI En disant une chansonette

65. LIl Jay contenté ma volunté® :

66. LII C’est donc pour moy **

67. LIIl Si j’ay eu du mal ou du bien par oubli!” 68. LIII Regretz soucy & peine m’ont faict de villain tours'® 69. LIM Aupres de vous secretement demeure’

70. LV Quant je boy du vin claret tout tourne!” Locations and Notes *Trent, Biblioteca comunale MS. 1947/3 (S inc. B inc.)

Cantus missing pp. I-VIII (first gathering); Bassus missing pp. I-X; XV—XVI.

Bibliographical Listings and Literature Fenlon and Haar, Jtalian Madrigal, 231-33; Lewis, Antonio Gardano, 1:321—35; Adams, French Chanson for Three Voices, viiti-xi.

Modern Editions Adams, French Chansons for Three Voices: nos. 41-70.

— 1552 — 114 = Gero, Primo libro de madrigali & canzoni francese a due voci G1630 (1552) For information on other editions see 16. Nuovo Vogel incorrectly lists Munich, Bayerische Staatsbibliothek and Munich, Universitatsbibliothek as locations. The copy housed at the Bayerische Staats-

bibliothek is of the Gardano 1552 edition. The undated tenor partbook located in Universitatsbibliothek belongs to the Scotto edition of 1540 (16).

Title Page CANTYS | @% IL PRIMO LIBRO @® | DE MADRIGALI ITALIANI | Et Canzoni Francefe A Due Voci Di Iehan Gero | Nouamente Riftampato, Et | Corretto. | A DVE [pr. mk. Anchor IV] VOCI | VENETIIS, | [rule] | Apud Hieronymum Scotum 1552

11. Attributed to Claudin in Attaingnant’s Trente et une chansons (1535), 15537? and 1578!5. 12. Attributed to Claudin in Attaingnant’s Trente et une chansons (1535), 1539'", and 1578!°. 13. Attributed to Claudin in Attaingnant’s Trente et une chansons (1535) and 15537. 14. Conflicting attributions to Ninot le Petit in London, British Library Add. MS 29381, and to Adrianiis Wilhart in Heilbron, Heilbronner Gymnasial-Bibliothek, MS X.2; no attribution in London, British Library Add. MS 35087, Ulm, Stadtbibliothek, Schemar’sche Sammlung MS 237a-d, [1535]'*, and 1538”. 15. Conflicting attributions to Gosse in Attaingnant’s 7rente et une chansons (1535), and to Ysore in A1309= 1542'8, A1310=1543?!, A1311=1559?!, and A1312=1587°. 16. Attributed to Heurteur in Attaingnant’s Trente et une chansons (1535) and 15532, 17. Attributed to Heurteur in Attaingnant’s Trente et une chansons (1535).

433

No. 114—1552

Collation and Headline 2 volumes in quarto oblong; 24 leaves, pp. [1] 1—46 [47].

Signature title Duo di lehan Gero. Signatures A-F*; G-M*. Signed Ajj, $2: title pages unsigned.

Headline II CANTVS [no voice designation on verso] Technical Notes Music fontI; Text font Italic II; Initials Centaurs; White floral I; Ghosts; Small Bible; Dark floral; Watermarks Anchor and circle with star; Printed area Title page 12.5 < 16.8 cm; Music page 12.8 x 18.4 cm.

Table of Contents [p. 47] TAVOLA; Roman, alphabetical.

Contents

l. I Non fia ch’10 tema mai piu di morire

2. Il Je l’ay aymee

3. III Mentre che la mia Donna 4. Ill Je recoumence mes douleurs

5. V Si ch’io ho detto sempre

7. VII Madonna s’1o credessi , 6. VI Deul double deul renfort de desplaisir 8. VIII Je ne me puis tenir d’aimer

9, IX Qual dogli’agguagliar poss’alla mia doglia

10. X Mort et fortune pour quoy m’aves vous laisse 11. XI Come viver debb’io 12. XII Le temps qui court requiert que 1’on se taise

13. XIII Non volete ch’io viva dolce mio bene ,

14. XIII Trist’& pensif suis pour la noie 15. XV Perch’io piangh’ad ogn’hor donna gentile 16. XVI Incessament mon povre cuer lamente 17. XVII Phillida mia piu che i ligustri biancha 18. XVII Tirrhena mia il cui dolor agguaglia 19. XVIII La la maistre Pierre

20. XIX Non dispregiate donna

21. XIX Mon cueur sera tousjours soubz ta puissance

22. XX Ung jour Colin la Collet’accola 23. XXI Povre cueur tant il mennote

24. XXII J’ay mis mon cueur en ung lieu seulement 25. XXIII Mon mari est alle au guet 26. XXIII Vray Dieu d’amour mauldict soit la journee 27. XXV Sur tous regretz les miens piteulz pleurs 28. XXVI Je mi complains de mon amy 29. XXVII Donna chi vi conosce 30. XXVII Tant que vivray en eage florissant 31, XXVIII Sur la rousee fault aller 32. XXIX Quant j’estoie a marier 33. XXX O beati color ch’hanno duoi cori 34. XXXI Chi non sa prov’ Amore 35. XXXII Non si vedra giamai stanca ne satia 36, XXXIII Madonn’io ved’ espresso 37. XXXIIII Che poss’io piu s’el ciel pur mi nasconde

38. XXXV Dolcemente s’adira la donna mia 39, XXXVI Trefves d’amours c’est une paix fourree 434

No. 115—1552

40. XXXVII Amor che di mortal ogni cor vede 41. XXXVIII Misero me che per amar altrui 42. XXXIX Madonna il diro pur benche sia tardo

43. XXXX Occhi soavi & belli

44. XXXXI Qual maggior sendo del mio ardor volete 45. XXXXII Cor mio perche pur ptangi a che ti struggi 46. XXXXIII Quant je boy du vin claret 47. XXXXIIII Au joly son du sansonet 48. XXXXV Ne scay pourquoy vostre grace ay perdu 49. XXXXVI Madonna alla mia fede

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. S 199 (S, T inc.) Tenor: lacks last gathering (pp. 40-47); pp. 1-24: every extant leaf lacks part of side.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 4:209; Nuovo Vogel #1127; Gaspari, Catalogo... Bologna, 3:75.

Modern Editions Gero, Il primo libro.

sgn 115 Verdelot, Tutti li madrigali del primo & secondo libro a 4. V1233=1552"° The contents and their order are identical with V1231 = 1545'? and V1232 = 1549 33 For more informa- tion on other editions and attributions for individual pieces see 14 and 54.

Title Page ALTVS | @% VERDELOT @®& | TVT7TTI LI MADRIGALI DEL | Primo Et Secondo Libro A Quatro Voci Nouamente | Riftampati Et con Somma Diligen= | tia Corretti. | A QVATRO [pr. mk. Anchor IV] VOCI | VENETIS, | [rule] | Apud Hieronymum Scotum 1552

Collation and Headline 4 volumes in quarto oblong; 24 leaves, pp. [1] [I] II—XLVI [XLVIJ).

Signature title Madrigali di Verdelot a quatro. Signatures (A) N-S*. Signed Nij, $2: title page unsigned.

Headline Verdelot II ALTVS [no voice designation on verso]

Technical Notes Music font I; Text font Italic I]; Initials White floral I; Small Bible; Centaurs; Dark floral; Watermarks Anchor and circle with star; Castle; Printed area Title page 12.7 x 15.8 cm; Music page 13 x 18.5 cm.

Table of Contents [p. XLVII] TAVOLA Delli Madrigali Numero 57.; Roman, alphabetical.

Contents See list of contents for 54.

Locations and Notes ** Florence, Biblioteca del Conservatorio. B. 2446 Unavailable for examination. For a description of partbooks see Gandolfi and Cordara, Catalogo ... Firenze, 247.

435

No. 115—1552

London, British Library. (A) A.443.a Altus:page numbers X/III, XV/, XX/1, XXII, XXXVUIL.

** Rochester (NY), Eastman School of Music, Sibley Music Library. (TY)

Bibliographical Listings and Literature

See 54. :

Eitner, Quellen-Lexikon, 10:58; Gandolfi and Cordara, Catalogo... Firenze, 247 (B. 2446) bound with other books; Becherini, “I manoscritti e le stampe rare”; British Union Catalogue, 1038; Squire, Catalogue of Printed Music... British Museum, 2:623; Nuovo Vogel #2876.

Modern Editions

sf

116 Primo libro de madrigali a quatro voci a note negre 1552'8 Scotto reprinted the set of all three books of black-note madrigals in 1552. The contents of the Primo libro is identical with and appears in the same order as Gardano 1546!> and Scotto 1550! (107); for further details about earlier editions and conflicting attributions see 65.

Title Page IL PRIMO LIBRO | DE MADRIGALI A | quatro Voci, de diuerfi Autori a | Note Negre Con la | fua gionta | Nouamente Riftampati | & corretti. | CAN [pr. mk. Anchor IV] TVS | VENETIS, | {rule] | Apud Hieronymum Scotum. 1552.

to survive.

Collation and Headline

4 volumes in quarto oblong; 20 leaves, pp. [i] I-XX XVIII [XXXIX]. No altus partbook is known

Signature title Madrigali primi de diuerfi Autori a quatro; B, G, R: Madrigali primi de diuerfi

Autoria 4. Signatures (S) A-E*; (T) F-K‘4; (B) Q-V*._— Signed Ajj, $2: all title pages unsigned.

Headline Francifcus Roffellus II CANTVS [no voice designation on verso] Technical Notes Music fontI; Text font Italic 1; Initials Small Bible; White floral; Centaurs; Ghosts; Small Dark floral I; Watermarks Anchor and circle with star; Crown with three flowers; Printed area Title page 12.6 x 14.2 cm; Music page 12.9 x 18.3 cm.

Table of Contents [p. XXXIX] TAVOLA Delli Madrigali Numero. 38; Italic, alphabetical.

Contents See list of contents for 107.

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (STB) R 163.

Bibliographical Listings and Literature Vogel-Einstein,1552°; Gaspari, Catalogo... Bologna, 3:25; Mischiati, Bibliografia .. . det musicisti veronesi, Antologie #35A.

Modern Editions see 107.

436

No. 117—1552 __efe__

117 De diversi autori li madrigali a 4 a notte negre libro secondo 1552'° Scotto reprinted a set of all three books of black-note madrigals in 1552. Only one earlier edition of the second book (Gardano 1543!%) survives. The contents and order of Scotto’s 1552 edition are identical with the earlier Gardano edition. An edition with the same title issued by Scotto in 1567 (294) has completely different contents.

Title Page CANTVS | DE DIVERSI AVTORI | ECCELLENTISSIMI LI MADRIGALI | A Quatro Voci A Notte

Negre Nouamente Pofti In Luce | Con Somma Diligentia Corretti Et Stampati, | Libro Secondo. | A QVATRO [pr. mk. Anchor IV] VOC] | VENETIIS, | [rule] | Apud Hieronymum Scotum 1552

Collation and Headline 4 volumes in quarto oblong; 20 leaves, pp. [I] II-XXXIX [XL]. Signature title Libro Secondo de diuerfi autori a quatro. Signatures A-E*; L—P*; F-K*; Q-V*. Signed Aij, $2: title pages unsigned.

Headline verso: Archadelt II

recto: il CANTVS

Technical Notes Music font I; Text font Italic II; Initials White floral I; Small Bible; Centaurs; Putti; Watermarks Anchor and circle with star; Printed area Title page 12.9 x 18.5 cm; Music page 12.9 x 18.4 cm.

Table of Contents [p. XL] TAVOLA Delli madrigali numero 40 | [contents listed] | I/ fine della tauola.; Italic, alphabetical.

Contents

l. Per folti boschi e per alpestre valle Archadelt! 2. Ii Vaghi pensieri che cosi passo [no attribution] 3. Ill Amor mi fea morire Alfonso 4. VI Assat v1 fe natura alt’e cortese Lamberto

5. VIII Un di lieto giamai Corteggia

6. IX Basciami vita mia basciam! ancora [no attribution] 7. X Se ’| dolce sguardo di costei m’ancide lan Gero 8. XI Consumando mi vo di piaggia in piaggia (no attribution]? 9. XII Se per honesti preghi a l’altrui fianco Corteggia 10. XIII Datemi pace o duri miei pensieri Constan. Festa

11. XU lo mi credea scemare Jan Gero

12. XV Copia felice a cui foco gentile Constan. Festa’

13. XVI_ Quando fia mai che ’! foco ond’ io tutt’ardo Lamberto

14. XVII Ne si lucente stella [no attribution] 15. XVIII Giten bei fiori & honorate *] seno Corteggia 16. XIX Perseguendomi amor al luogo usato Jan Gero 17. XX Purpurei e bianchi fiort lan Gero 1. Conflicting attribution to Naich in his Exercitium seraficum (N7). 2. Attributed to Paolo Aretino in his Libro primo (P866; 81). 3. Conflicting attribution to Menon in his Madrigali d'amore (M2271, 1548) and (M2272, 79).

437

No. 117—1552

18. XXI Taccia l’ignaro vuolgo | Ian Gero 19. XXII Standomi un giorno sol’alla finestra Ian Gero*

20. XXIII Tanto piu grato e caro [no attribution]? 21. XXII Se io credessi per morte essere scarco Ian Gero

22. XXV Giunto m’ha amor fra bell’e crude braccia Corteggia 23. XXVI I corali e le perle Archadelt® 24. XXVIII Poi che per mio destino Ian Gero

25. XXIX Amor 10 sento |’alma Ian Gero 26. XXX Madonna io vi confesso Ian Gero 27. XXX] Pero ch’amor m1 sforza Jan Gero

28. XXXII Tant’e l’assentio el fel ch’io rod’e’ fuggo Jaques du pont

29. XXXIII Dolor che la mia vita [no attribution] XXXII II. Dhe cess’hormai che doppo tanti affanni

30. XXXV Amor s’el vede et sal madonn’& 10 Tan Gero

31. XXXVI Dolor perch[e] mi meni lan Gero

32. XXXVII La grata vista e l’angelico viso [no attribution)’ 33, XXXVIII Quand’amor i begli occhi intorno gira Ian Gero

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. R 164 See appendix C. Title page: Scuole [pr. mk.] Pie & stamp of order picturing a lamb.

Valladolid, Archivo de la Catedral. See appendix C.

Verona, Accademia Filarmonica. (A) N. 209, Il For a description of the partbooks, see Lewis, Antonio Gardano, 2:165.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:121; Anglés, “El Archivo... Valladolid,” 99; Turrini, Catalogo... Verona, 41;

Gaspari, Catalogo... Bologna, 3:25; Vogel-Einstein, 15527. | Modern Editions

Harran, Anthologies of Black-Note Madrigals, 2; Arcadelt, Opera omnia, 7: nos. 1, 19, and 23; Festa, Opera | omnia, 8: nos. 10 and 12; Layolle, Collected Secular Works for 4 voices: no. 20; Corteccia, First Book of Madrigals for Four Voices: nos. 5, 15, 22, and 23; Torchi, Z ‘arte musicale in Italia, 1: nos. 5, 9, 11, and 27; Rampollini, Primo libro de la musica: no. 19.

ate 118 De diversi autori li madrigali a 4 a notte negre libro terzo 15527” The contents and their order are identical with Scotto’s earlier 1549 edition. See 94 for attributions of individual pieces in concordant sources.

Title Page CANTVS | DE DIVERSI AVTORI | ECCELLENTISSIMI LI MADRIGALI | A Quatro Voci A Notte

Negre Nouamente Pofti In Luce | Con Somma Diligentia Corretti Et Stampati, | Libro Terzo. | A QVATRO [pr. mk. Anchor IV] VOCI | VENETIIS, | [rule] | Apud Hieronymum Scotum 1552

4. Conflicting attributions to Archadelt in 1549°° and to Rampollini in his Primo libro (R215). 5. Attributed to Layolle in his Cinguanta canzoni (L1179). 6. Conflicting attribution to Corteccia in his Libro primo (C4157; 39). 7. Attributed to Paolo Aretino in his Libro primo (P866; 81).

, 438

No. 118—1552

Collation and Headline 4 volumes in quarto oblong; 16 leaves; pp. [i] I-XXX [XXXI]. Signature title Madrigali De diuersi authori Libro Terzo a quatro; B, K, F, O: De D. authori

Libro Terzo a quatro. Signatures A—D*; I-M*; E-H*; N-Q*. Signed Aij, $2: title pages unsigned.

Headline V. Ruffo I] CANTVS [no voice designation on verso] Technical Notes Music font I; Text font Italic IJ; Initials White floral I; Putti; Small Bible; Centaurs; Dark floral I; Ghosts; Watermarks Anchor and circle with star; Printed area Title page 12.7 x 18.6 cm; Music page 12.9 = 18.6 cm.

Table of Contents [p. XXXI] TAVOLA | De Madrigali De Diuerfi | Hautori.; Italic, in order of appearance.

Contents

1. I Cantan fra rami gl’augeletti vaghi V. Ruffo 2. I Mentr’in scura pregione V. Ruffo II II. Madonn’intender’volse 3. I Io moro & altr’hor’crede V. Ruffo

4. Ill Lasso ch’io non so ben I’hora ne’! giorno V. Ruffo

5. V O sole ov’e quel’sole che gia solo V. Ruffo 6. VI Nov’angioletta sovra l’all’accorta V. Ruffo

7. VI lo piango ch’el dolore V. Ruffo 8. VIII Lasso prima ch’ io spiri V. Ruffo 9. IX , Deggio sempre pennar’in questo inferno V. Ruffo

II. Ahi spirito gentil’ lassate |’1ra 10.IX X Mentr’il pensier vivea V. Ruffo [Il.] Ecco per |’alto mar !’onda rapace

11. XI L’alta speranza ov’io nodrisch’1] core V. Ruffo [II.] E cosi lieto vivo 12. XII Standomi un giorno solo alla fenestra Archadelt 13. XII Come purpureo fior vinto dal gielo Archadelt 14. XIII Quand ’alz’il tuo destrier perlata fronte V. Ferro 15. XV Io vo piangendo i miei passati temp! Domenico de Nola 16. XVII [sic] Quant’il mio mal senza conforto sia Schaffen 17. XVII Liet’e pensose accompagnat’e sole Schaffen

18. XVIII Chi vol veder fra noi Constan Festa

19. XIX Ove lass’il bel viso Schaffen!

20. XX Chi potrebbe stimar che le mie braccia Schaffen

21. XXI Fu pur fero destino acerbo & rio Archadelt* 22. XXII I vaghi fiori & l’amorose fronde Archadelt

23. XXIII Il dolce vostro sguardo Vincenzo Ferro? 24. XXiIill Hor che sera de la mia vit’amore V. Ferro*

25. XXV Se lo sdegno vi piace Schaffen? 26. XXVI Ardenti miei sospiri [no attribution]

27. XXVII Doppoi ch’io vidi quei bei lumi santi {no attribution]

28. XXVIII Si vivo e lo splendore [no attribution] 1. Attributed to Consta[n]tio Festa in Tavola. 2. Attributed to Schaffen in Tavola. 3. Attributed to Archadelt in Tavola. 4. Attributed to Schaffen in Tavola. 5. Attribution found only in Cantus partbook.

439

No. 118—1552

29, XXIX Vaghi boschetti di soavi allori [no attribution] 30. XXX Come posso dir’io lontan da voi Schaffen Locations and Notes Bologna, Civico Museo Bibliografico Musicale. R 166 All parts: VI-[X instead of VII-X, XII-XIIII instead of XIII-XV; table of contents: 13 instead of 23. Cantus: XVII instead of XVI, XIX instead of XXV.

Bibliographical Listings and Literature Vogel-Einstein, 15527*, Gaspari, Catalogo... Bologna, 3:25.

Modern Editions Harran, Anthologies of Black-Note Madrigals, 3; Arcadelt, Opera omnia, 7; nos. 12 and 13; Festa, Opera omnia, 8: no. 18; Nola, Documenti biografici... opera: no. 15; Rampollini, Primo libro de la musica: no. 12.

— 1553 —

119 Arcadelt, Libro primo delli madrigali a quatro voci 15537’ No edition of Arcadelt’s Primo libro emanating from the Scotto press for the six-year period from

1547 until 1553 ts known to survive. Three new editions were released by Gardano in 1548 (=1575!%), 1550!°, and 1551!'. In the 1548 edition, Gardano reproduced the same fifty-six madrigals, but reordered them, as Bridges (“Publishing of Arcadelt’s First Book,” 1:167) notes, in “nearly perfect order according to mode and range, or system of clefs.” The next four extant editions (including the present one) follow this arrangement. All of the title pages specify (incorrectly by 1553) that Arcadelt was a singer of the papal chapel. For more information on earlier editions see 17.

Title Page 7® ARCHADELT 4% | LIBRO PRIMO DELLI MADRI- | GALI CINQVANTA E SEI A QVATRO VOCI, | DELO ECCELLENTE MVSICO MISSER GIACHES ARCHADELT, | CANTOR DELLA CAPELLA DEL PAPA, | VLTIMAMENTE | Riftampati, & | Corretti. | HA | BAS [pr. mk. Anchor IV] SVS | VENETIIS | [rule] | Apud Hieronymum Scotum. 1553

Collation and Headline 4 volumes in quarto oblong; 24 leaves, pp. [1] I-XLVI [XLVII]. No cantus, altus, or tenor partbook is known to survive. Signature title Libro Primo d’Archadelt a 4; V: Primo Libro d’Archadelta4. Signatures (B)

T-AA*. Signed Tij, $2: title page unsigned.

Headline Archadelt IJ BASSVS [no voice designation on verso] Technical Notes Music font I; Text font Italic Il; Initials Centaurs; Small Bible; White floral J; Putti.

Table of Contents {p. XLVI] Tauola Delli madrigali, Numero 56; Italic, alphabetical.

Contents

l. |IIlVoi bianco e dolce cigno 2. ve n’andat’al cielo Archadelt Archadelt

3. Il Pungente dardo che ’| mio cor consumi lachet Berchem

4. IV Ragion’e ben ch’alcuna volt’io cant Iachet Berchem 440

No. 119-—1553

5. V Quanta belta quanta gratia e splendore Archadelt 6. V Poss’io morir di mala [no attribution]!

7. VI Ahi se la donna mia qualhor lasso Archadelt 8. VII Occhi miei lassi mentre ch’ io vi giro Archadelt 9. VIII Io vorrei pur fuggir crudel’amore Cortecia

10. IX Non ch’io non voglio mai altro pensiero Archadelt

11. IX Voi la mia vita sete [no attribution]!

12. X Deh dimm/’amor se |’alma di costei Archadelt

13. XI Io dico che fra voi potenti dei Archadelt 14. XI Fammi pur guerr’amor quanto tu vuoi Cortecia 15. XIII Ancidetemi pur grevi martiri Archadelt

16. Xi Sapete amanti perch’amor é cieco Giachet Berchem

17. XIU Io ho nel cor un gielo [no attribution]? 18. XV Dunque credete ch’io Archadelt 19. XVI Quando co ’! dolce suono Archadelt

20. XVII Chi potra dir quanta dolcezza prove Archadelt

21. XVII Quant’e madonna mia foll’el pensiero [no attribution]! 22. XVIII Madonna ohime per qual cagion m’havete Const. Festa

23. XIX Felice me se de bei lum’un raggio Archadelt 24. XIX Giovenetta regal pur’innocente [no attribution]!

25. XX Lodar voi donn’ ingrate Archadelt 26. XXI Nova donna m’apparve Archadelt

27. XXII Dhe come pur al fin lassa vegg’io (no attribution}? 28. XXIII Lasciar’il velo o per sol’o per ombra F. Layole 29. XXIIII Il ciel che rado virtu tanta mostra Archadelt

30. XXV Se vi piace signora 11 mio dolore Archadelt

31. XXV ' Non piu ciance madonna [no attribution]!

32. XXVI Perche non date voi donna crudele [no attribution]? 33. XXVII Vostra fui e saro mentre ch’1o viva Giachet Berchem 34. XXVIII Se la dura durezza [no attribution]! 35. XXVIII Vol sapete ch’io v’am’anzi v’adoro [no attribution]° 36. XXIX Che piu fuoc’al mio fuoc’o fiamm’al core Archadelt

37, XXX O s’io potessi donna Giachet Berchem

38. XXXI Io mi pensai che spento fuss’el fuoco Archadelt 39. XXXII Bella Fioretta io vorret pur lodarvi Archadelt

40. XXXIII Madonna mia gentile Archadelt Al. XXXIII Amor tu sai pur fare [no attribution]! 42. XXXIIII O felici occhi miet Archadelt

43. XXXV Se ’| tuo partir mi spiacque Archadelt 44. XXXVI Deh se lo sdegno altiero Archadelt 45. XXXVII Fra piu bei fiori che mai creasse ’! cielo Archadelt 46. XXXVIII Se gli occhi non temprat’ov’entr’io ardo Archadelt

47, XXXIX Quai pomi mai qual’oro Archadelt 1. Second of three pieces on one opening. Same placement in other Arcadelt editions. 2. Conflicting attribution to Arcadelt in A1322=1546!7, A1324=1550!®, A1325=1551!! A1323=[c.1551]!?, and A1339=1566*°; and to Layolle in L1179. The remaining Arcadelt editions contain no attribution. Piece omitted from A1330=1558"'4 and subsequent editions, except for 1566 edition. 3. Attributed to Arcadelt in Al1322=1546! and all subsequent editions except for A1323=[c.1551]!* and the present edition.

4. Attributed to Iachet Berchem in A1322=1546! and all subsequent editions except for A1329=15577! and present edition. Piece omitted from A1330=1558"* and later editions, except for A1339= 1566”. 5. Attributed to Arcadelt in A1323=[c.1551]!? and A1329=1557?!. No attribution in remaining Arcadelt editions. Piece omitted from A1330=1558"4 and later editions, except for A1339=1566*°.

44]

No. 119—1553

48. XXXX Alma perche si trista ogn’hor ti duoli (no attribution]!

49. XLI Non v’accorgete amanti Archadelt 50. XLI Qual Clitia sempre al maggior lum’ intenta [no attribution]! 51. XLU Benedett’1 martiri ch’io sostegno Archadelt

52. XLII Quanti travagli e pene Archadelt 53. XLII Se per colpa del vostro fiero sdegno [no attribution]! 54. XLII Ahime dov’el bel viso Archadelt 55. XLV Ver’ infern’el mio petto Archadelt 56. XLVI Quand’ io pens’al martire Archadelt

Locations and Notes : * Vercelli, Duomo. (B)

Bassus: VI, [XIII]: headline ALTVS; VIU: fuggir ir crudel’amore instead of fuggir crudel’amore; XIII instead of XIII; XXXX: signed AA Finis.

Bibliographical Listings and Literature Nuovo Vogel #110; Sartori, “Il fondo musicale... Vercelli,” 24; Bridges, “Publishing of Arcadelt’s First Book,” 404.

Modern Edition Arcadelt, Opera omnia, 2; Corteccia, First Book of Madrigals for Four Voice, nos. 9 and 14; Festa, Opera Omnia, 8: no. 22; Layolle, Collected Secular Works for 4 Voices: no. 28.

— 1554 —

120 Carli, Motetti del Laberinto, libro primo a cinque voci C1224 (1554) | Born in Reggio Emilia around 1530, Girolamo Carli spent his youth under the patronage of the bishop, Battista Grossi, to whom this edition is dedicated (Nutter, New Grove, 3:795). Scotto published Carli’s motets as part of a series of five books with the descriptive title Motetti del Laberinto or Madrigali del Laberinto. The title of the series refers to a woodcut of the labyrinth that decorates the title page of each edition. The woodcut originally appeared a decade earlier in Scotto’s edition of Ovid’s Heroides. For further discussion of title page woodcut illustrations see chapter 3.

Title Page MOTETTI DEL LABERINTO, | Libro primo a cinque Voci, | HAVTORE, | Hieronymo Carlo Reggienfi, | ADOLESCENTVLI, | Nouiter ab ipfo Congefti, | Et nunc primum in lucem editi. | CANTVS | [woodcut of labyrinth] | Venetiis apud Hieronymum Scotum. | [rule] | MDLIIII. Altus and Tenor have:

...| AVTHORE, | Hieronymo Carlo Regienfi, | ADOLESCENTVLO, |... Bassus has:

LIBER PRIMVS MVTECTORVM. | quinque vocum, | Hieronymi Regienfis Adolenfcentuh, | NOVITER AB IPSO AVTHORE CONGESTYI, | Et nunc primum in lucem editi. | | BAS [pr. mk. Anchor IV] SVS'| Venetiis apud Hieronymum Scotum | [rule] | MDLITIL.

1. Attributed to Corteccia in A1321=1546'*. The remaining Arcadelt editions contain no attribution. Piece omitted from A1330=1558!'4 and later editions, except for A1339=15667°.

442

No. 120—15)4

Collation and Headline 5 volumes in quarto oblong; 18 leaves, pp. [J-II] III-XXXV [XRAXVI]. Signature title none. Signatures A-D* E*; L-O*P?’; F-I* K*; Q-T*V’; X-AA‘*BB?*. Signed Aij, $2 (A-D), $1 (E, P, K, V, BB): title page unsigned.

Headline Ill CANTVS

Technical Notes Music font IJ]; Text font Italicl; Initials Centaurs; White floral I; Putt; Watermarks Crown with trefoil; Anchor in circle with star; Printed area Title page 13 x 11 cm [B 13 = 16.5

cm]; Music page 13.5 x 18.2 cm. | Table of Contents

[p. XXXVI] TAVOLA DELLI MADRIGALI [sic] DEL LABERINTO NUM. 35 | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication [p. I] AL REVERENDISSIMO MONSIGNOR, | IL SIGNOR BATTISTA GROSSI VESCOVO DI REGGIO | Signor mio Colendisfimo. | [woodcut C]Redeami Reuerendifsimo Monfignor, potere pagare in parte l’obligo ch’io tengo co{n]. V[ostra] S[ignoria| Reuerendifsima | del cortefe & amoreuolifsimo animo, mi ha sempre dimoftrato per fua naturale gratia e bonta, effendo io fuo | seruidore quafi fanciullo, donandole (come che io faccio di cuore) quefte mie giouenili fatiche, delli presenti mo= | tetti a cinque, ma inganandomi di gran luonga, veggomi per cio affai piu che

prima debitore, che hauendo fatto io | eletione di. V[ostra| S[ignoria] Reuerendifsima, in dedicargliele, non conofcendo Prence piu faggio, piu cortefe o piu liberale. So certo che | l’ombra della grandezza fua. Sara protetrice di quelle, che forfi in altre mani potriano effere biafmate, oltra cio non conof{co | se no[n] da quella que{te compofitioni, per che ho pigliato da effa l’animo, ! l’ingegno, la follecitudine, folo per fodisfarle in qualche | cofa. Quella dunque come cortefe & gentil Signore fi degnara accettarle, non come cofe mie ma fue, & di effe quali che elle fi| fiano pigliarne piacere, raccordandole, ch’io vino & viuero fuo diuoto feruidore, & alla buona gratia

di quella humiltate mi | racomando, & con riuerenza gle bafcio le mani. Di Reggio alli 5. : d’ottobre. M. D. LII. [sic] | D[i) V[ostra] S[ignoria] R[everendissma] | Deuotifsimo Seruidore Gerolamo Carli.

Contents

1. Il Veniet Dominus & non tardabit age Il. Hyerusalem gaude gaudio magno

2. Ill Salve crux sancta

3, VI Tota pulchra es Maria VI IJ. Tu gloria Hierusalem

4. VII Dum medium silentium tenet omnia 5. IX Tu es Petrus & super hanc petram

x II. Quodcunque ligaveris super terram

6. XI Crucem sanctam subiit

7. XII Hodie beatissimus Prosper 8. XII Stephanus autem plenus gratia 9. XV Sic Deus dilexit mundum 10. XVI Da pacem Domine in diebus nostris

tl. XVII O quam gloriosum

12. XVIII Ego sum via veritas & vita XIX II. Si manseritis in me & verba mea

13. XX Convertimini ad me omnes

14. XXI Esto michi Domine turris fortitudinis XXII [II.] Non confundantur omnes qui sperant 15. XXIII Tu es qui venturus es 443

No. 120—1554

16. XXV Hodie beatus Grisantus cum virgine Daria 17. XXVI Haec dies quam fecit Dominus 18. XXVII Hodie Maria virgo celos ascendit 19. XXVIII Quem vidistis pastores dicite

XXIX Il. Genuit puerpera regem

20. XXX Adoramus te Christe & benedicimus tibi 21. XXXI Cum videritis abominationem desolationis XXXII IJ. Amen dico vobis quia non preteribit 22. XXXII O sacrum convivium 23. XXXIII Regina celi letare XXXV II. Resurrexit sicut dixit

Locations and Notes . Milan, Biblioteca del Conservatorio. S.B. 82 ** Vienna, Gesellschaft der Musikfreunde. II. 6285 Bound with 1554'*, 1554'°, and 1554'°.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 2:337; Grigolato and Zecca Laterza, Musiche della Cappella di Santa Barbara, #121.

Modern Editions Carli, Motetti.

age 121 Ciera, Madrigali del Laberinto a quatro voci libro primo C2153 (1554) Ippolito Ciera was a Dominican friar in the choir of Treviso Cathedral in 1546. The title page of his 1561 book of five-voice madrigals identifies him as maestro di cappella at SS Giovanni e Paolo in Venice. He dedicated his Madrigali del Laberinto to the archbishop of Candia (Crete), who was at

that time Filippo Mocenigo. |

Title Page CANTVS | MADRIGALI DEL LABERINTO, | 4 quatro Voci Libro Primo. | Compoft da lo Eccellen[te] Mufico: | DON HIPPOLITO CIERA, | NOVAMENTE POST’IN LVCE, | Et con fumma diligentia corretti. | LA BELLEZZA BONTA ET LEGGIADRIA | de ditti Madrigali Cantandoli Sara manifefta da fi fteffa. | [woodcut of labyrinth] | Venetiis apud Hieronymum Scotum | [rule] | MDLIIII.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [1-2] 3-31 [32]. . Signature title Madrigali d’Hippolito Cieraa 4. Signatures ** A—C*; H-L*; D-G*; M-P?; Signed ij, $2: title pages unsigned.

Headline Ciera Il CANTVS

Technical Notes Music font II; Text fontItalicI; Initials Centaurs; White floral; Ghosts; Putti; Watermarks Crescent with star; Printed area Title page 13.7 x 12.9 cm; Music page 13.4 x 18.4 cm.

Dedication [p. 2] AL REVERENDISSIMO | Monfignor Arciuefcouo di Candia. | [woodcut L]A perfetta armonia di che fempre ho conofciuto compofto il candido | e ferenisfimo animo di. V[ostra] Slignoria| ReuerendifBima m ‘inuita a dedicarli | quefti benche mal conditi frutti, quali dal baffo 444

No. 121—1554

ingegno mio uenendo, | ne {perando altroue ritrouar falute, a lei come a ficurrisfimo Asfil- | lo bramono ridurfi, il che tanto piu uolontieri lor concedo, quanto | che per quelli, parte dell’animo ch’io tengo prontiBimo ad ogni fuo | feruiggio gli verra ad effer palefe. Sotto il nome dunque di Vi ostra] S[ignoria] | Reuerendifima lafciandoli, e con loro dedicando, me fteffo alle | nobellipime fue gli priego felicita e grandezze maggiori. Di Vinetia | il di xxvi. | di Genaio del LIJIT. | D{i] V[ostra| S[ignoria] R[everendissima] | Humil feruitore. F[rate] Hippolito Ciera.

Table of Contents [p. 32] TAVOLA DELLI MADRIGALT D’HIPPOLITO CIERA NVM. 31 | [contents listed] | FINIS.; Italic, alphabetical.

Contents

1. Il Candide rose & voi ben nati fiori 2. Il In biancho letto al’apparir del giorno

3. V O Dio il deggio dire

4. VI Vivo sol di sospir di piant’e doglia 5. VI Fa dunque amor ch’! mio fidel servire 6. VIII Qual falace sentier che ’! cor martira IX II. Soleva con desir in ver la sera

7. X Accetta questo santo sacrificio

8. XI Al dolce fiammeggiar d’un vostro riso 9. XII Deh perche ’! ciel non od’i miei lamenti 10. XIII O dolci parolete o dolce riso 11. XIII Laura suave vita de mia vita 12. XV Come puol star amor & gelosia 13. XVI Anima dove sei ch’ad hor’ad hora 14. XVI ~ Hor che non s’odon per le fronde i venti X VIII [Il.] Forse fia questo aventuroso tempo

XIX [1iJ.] Hor dico che di me si come il sole XxX [IV.] Foco son di desio di tema ghiaccio XXI [V.] Cosi sol per virtu di questo lume [XXII] [ VI.] Et prima fia di stelle ignudo i! cielo

15. XXTl Che val esser nutrita

16. XXIII Hor vedi amor quant’e l’amor mio grande 17. XXV Che amaro piu che piu felice stato 18. XXVI Dunque tu fuggi Aminta, o crud’Aminta XXVII [II.] O pur per via fuggendo 19. XXVIU De magnanimita d’alto splendore 20. XXIX De l’acque scacia fuor tutt’il veleno

21. XXX Luce suav’& bella

22. XXXI O donna scesa dal celeste regno Locations and Notes Vienna, Gesellschaft der Musikfreunde. I. 17176 Cantus: 9, 11: signed B, Bij instead of A (on p. 9, A 1s added by hand). Tenor: 18: signed Gij instead of Fij. Bassus: 3: signed Hij instead of Mjj.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 2:442; Nuovo Vogel #561.

445

No. 122—1554

te

122 Festa, Magnificat tutti gli otto toni a quatro voce F642 (1554) This first edition of Festa’s Magnificats appeared nine years after the composer’s death. While an earlier printed collection included isolated verses of the Vespers canticle (the sixth verse, “Fecit potentiam, of Magnificats IV and V, and the “‘Sicut locutus est” of Magnificats I and II, all scored

for two voices in Gardano’s 1543'; reprinted in 15537°), no known publication before this posthumous one presented Festa’s complete set of eight Magnificats. The earliest manuscript source to contain his Magnificat cycle is Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina MS 18, a choirbook devoted to Festa’s music. Dated 1539-40, the manuscript was prepared by the papal

chapel scribe Johannes Parvus at the composer’s behest (Brauner, “The Parvus Manuscripts,” 123-28). As we have observed with the Morales Magnificats (27), Festa’s cycle does not follow the customary sixteenth-century convention of alternating verses of chant with polyphony. Instead, all verses of the Vespers canticle are set polyphonically, reflecting an unusual performance practice of

the Sistine Chapel, where Festa was a singer from 1517 until his death in 1545. For further information see Main in Festa, Opera omnia 2:1x—xix.

Title Page CANTVS | MAGNIFICAT. | TVTTI GLI OTTO TONI, | A Quatro Voce. | Compolti da Conftantio Fefta, | GIA MAESTRO DELLA CAPELLA, | ET MVSICA DI ROMA, | NOVAMENTE POST’IN LVCE, | & da li fuoi proprij Exemplari corretti. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum. | [rule] | MDLIIII

Collation and Headline ,

unsigned. ] 4 volumes in quarto oblong; 20 leaves, pp. [I] II-XX XIX [XL] [A=XXXX].

Signature title none. Signatures A-E’; A-E*; A-E*; A-E*. Signed Ajj, $2: title pages

Headline verso: PRIMI TONI IT Conftantio Fefta recto: Constantio Fefta il CANTVS

Technical Notes Music font I]; Text font Italic I; Initials Ghosts; Plain Roman; Centaurs; White floral J; Watermarks Oxhead; Crest; Cardinal’s hat; Printed area Title page 13.3 x 12.6 cm; Music page 13.5 x 19.4 cm.

Table of Contents [p. XXXX] TAVOLA DELLI OTTO TONI | Delli Magnificat de Conftantio Fefta. \ [contents listed] | FINIS.; Italic, in order of appearance. Pagination found in cantus, tenor, and bassus follows bassus partbook.

Contents

I. I [Magnificat] Primi toni Constantio Festa

2. VII [Magnificat] Secondi [sic] tont Constantio Festa

3. XI {Magnificat] Tertii toni Constantio Festa 4. XVI [Magnificat] Quarti toni Constantio Festa 5. XX [Magnificat] Quinti toni Constantio Festa 6. XXV [Magnificat] Sexti toni Constantio Festa 7. XXX [Magnificat] Septimi toni Constantio Festa 8. XXXII [Magnificat] Ottavi toni Constantio Festa 446

No. 123—1554

Locations and Notes Vatican City, Biblioteca Apostolica Vaticana. Cappella Sistina 239-42 For a description of the partbooks see Lewis, Antonio Gardano, 1:152.

Venice, Biblioteca Nazionale Marciana. (B) (olim Canal) Musica 1027 ** Vienna, Gesellschaft der Musikfreunde. 11.1717] (iI. 9)

- Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 3:433; Llorens, Capellae Sixtinae codices, nos. 239-42; Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde, 2:6.

Modern Editions Festa, Opera omnia, 2.

af 123 Ghibel, Primo libro de madrigali a quatro voci G1774 (1554) Ghibel dedicated his Primo libro de madrigali a 4 to Roberto Lochatello, who, Larson (“Unaccompanied Madrigal in Naples,” 206 n. 92) speculates, was a member of the Neapolitan popolo. In the dedication Ghibel speaks of his friend Lorenzo Burghini as a talented musician. He mentions Burghin1 again in his De festis introitibus missarum (1565). For further information on the present edition see Larson, 206-11.

Title Page CANTVS | HELISEO GHIBEL | IL PRIMO LIBRO, DE MADRIGALIT, | A QVATRO VOCTI, DI

HELISEO GHIBEL | DA OSIMO, NOVAMENTE | POSTO IN LVCE. | [woodcut of ship and people at port} | Venetiis apud Hieronymum Scotum | [rule] | MDLITEI

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [i-11] I-X XIX [XXX]. Signature title Madrigali d’Helyseo Gibello a quatro. Signatures A-D*; A~D*, A—D*; AD‘. Signed Ajj, $2: title pages unsigned.

Headline I CANTVS [no voice designation on verso] Technical Notes Music font I; Text font Italic IJ; Initials Centaurs; Small Bible; White floral I; Ghosts; Dark floral 1; Watermarks Anchor and circle with star; Printed area Title page 11.4 x 15.5 cm; Music page 12.8 x 18.3 cm.

Table of Contents [p. XXX] TAVOLA DELLI MADRIGALI. | Numero. 30. | [contents listed] | FINIS.; Italic, alphabetical.

Dedication | [p. i] AL MOLTO MAGNIFICO ET VIRTVOSO | Miffer Roberto Lochatello. | HELISEO GHIBELLINO | [woodcutL]E preghiere di molti amici, han fatto, ch’io metta in luce la prefente mia ope- | retta. Ma il comando, che poi m’ha fatto, il ricordo, quale io tengo de la Voftra | virtu,

e ftato cagione, ch’io l’habbi indrizzata al voftro nome medefimo. Siate- | mi dunque Virtuo[si|{s[imo] Giouane, cofi cortefe in accetarla, come folete effere, con | tutti quegli che v’amano; Poiche, per quanto io giudico di quefta mia Mufica, fe | confonanze ci trouarete perfette, faranno fenza dubbio quefte due, & che io | l’-habbi confecrata a voi, che cotanto amate quefta bella {cienza, & che io habbi fodisfatto a i cari | amici, in mandarle fuori, & mafsime al Magnifico M[esser] Lorenzo Burghini, le cui parti fono fi rare | in quefta profefsione, che il fuo 447

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giuditio mi fa ficuro, che se l’opra non fara degna di tutte le orecchie | purgate, non fara al manco indegna de la Gratia Voftra, che meritamente tengo carifsima. Degna- | fi in mio nome falutare il mio M[esser| Nicafio deuefelle. Di Napoli a. 9. di Marzo. 1554.

Contents l. I Hor vedi amor, che giovenetta donna 2. I Se mai foco per foco non si spense 3. I Tre volte ha gia rotato a torno il sole 4. ll Io seguo Amor, et tra li suoi guerrieri 5. V Tra le piu belle del regno d’Amore

6. VI Veramente in amore | 7. Vil Dunque credete ch’io 8. VIII Tra quantunque leggiadre donne & belle Vil IT. Come natura al ciel la luna e ’1 sole

9. IX Clara luce padrona inclita e degna 10. X Vergine a dir de tuoi celesti rai

1]. XI Non poria giamai

12. XII Se invidia nol consente 13. XII O miei dolci pensieri

14. XIII Gli sdegni le repulse, e finalmente 15. XIII Rado fu al mondo fra cosi gran turba 16. XV Fontana di dolore, albergo d’ira 17. XVI Lampeggio non fu dianzi 18. XVI La verginella e simile, a la rosa 19. XVIII Tra questi sacri, allori, olivi & pini 20. XIX Onde spumose d’ Adria che ’| bel nome

21. XX Vago augelletto, che cantando vat 22. XX] Ne assidua servitu ne leggiadria

23. XXII Amor gighi & viole, innamorate ,

24. XXII Nova Angeletta sovra |’ale accorta 25. XXIII Si conferme fu quel ch’apparve fuora 26. XXIII Poscia cor mio, Chaterina 27. XXV Ben furo aventurosi 1 cavallieri 28. XXVI Vidd: la donna mia [incipit only]

29. XXVII Giova nastro d’argento, o de fin oro 30. XXVIII Che dolce piu, che piu giocondo stato XXIX II. Pero, ch’ogni altro amaro, che si pone

XXIX FINIS.

Locations and Notes Vienna, Gesellschaft der Musikfreunde. \1.12061 (II 10) Cantus and Altus: VII: signature title: Cibello instead of Gibello; signed ijA instead of Ajj. Cantus: [X: initial L instead of C; XI: initial N instead of I. Altus, Tenor, and Bassus: XI: n omitted from “non.”

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 4:225, Mandyczewski, Geschichte der K. K. Gesellschaft der Musik- freunde, 2:6; Nuovo Vogel #1183.

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No. 124-——1554

Jacquet of Mantua, Motecta quatuor vocum liber primus J12 A printer’s error in the date of the cantus title page of the 1544 edition (41) has led RISM B to create this ghost edition with the date 1554.

fe 124 Jacquet of Mantua, Primo libro de le messe a cinque voci J15 (1554) Although several Mass collections of the 1540s contained settings by Jacquet, this is the first edition devoted exclusively to his Masses. All four Masses parody preexistent works, as their titles suggest. Missa In die tribulationis is based on Jacquet’s own motet. Jacquet modeled his Missa Anchor che

col partire upon the famous four-voice madrigal by Cipriano Rore, while he borrowed from Arcadelt’s well-known five-part canzon, Chiare fresch’e dolci acque, for his Missa Chiare dolce e fresche acque. Interestingly, the earliest known publication containing Arcadelt’s madrigal cycle, //

primo libro delle Muse a cinque voci (1555*°), was issued in Rome a year after the present publication. For the final work, Missa Peccata mea Domine, Jacquet used the four-voice motet by Jean Mouton. Perhaps because of the antiquity of the piece, Scotto printed the motet alongside Jacquet’s Mass setting. The woodcut on the title page does not depict a printer’s mark, but is an illustration used by Scotto in non-music books dating from the mid-1540s (see chapter 3). It probably depicts scenes from the abduction of Helen by the Trojans in the background, with the Greeks

assembling in the foreground. Title Page |

CANTVS | IL PRIMO LIBRO. | De le Meffe a Cingue Voci. | Compolte da Iachet da Mantoa. | MVSICHO ECCEL[LENTE]: ET MAESTRO | Della Capella Del Domo Di Mantoa. | Meffa prima fopra. \n die tribulationis. | Meffa feconda fopra Giare [sic] dolce e frefche acque. | Meffa Terza fopra peccata mea. | Meffa quarta fopra anchor che col partire. | MVSICHA NON PIV STAMPATA | Nouamente Correte & pofte in Luce. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum. | [rule] | MDLIII

Tenor, Bassus, and Quintus have: ...De/e MESSE a Cinque Voci. . .

Collation and Headline 5 volumes in quarto oblong; 16 leaves [ATB5 = 18 leaves], pp. [I] II-XXXII [ATBS: [I] I-

XXXII]. Signature title none. Signatures A-D*; A-D*E’*; A-D‘E’?; A~D‘*E’; A-D‘E?._ Signed Aii, $2 (A-D), $1 (E): title pages unsigned.

Headline recto: lachet da Mantoua il CANTVS

verso: Iachet da Mantoua IV A Quinque Vocibus

Technical Notes Music font I]; Text font Italic I; Initials White floral I; Plan Roman; Watermarks Castle; Cardinal’s hat; Printed area Title page 14.1 < 12.3 cm; Music page 13.3 x 19.1 cm.

Table of Contents p. XXXVI [B5 only] TAVOLA DELLE SACRE ET SANTE MESSE | DI [ACHET DA MANTOA. | [contents listed] | FZNZS.; Roman, in order of appearance [follows numbering for cantus part only]. The contents does not list the Mouton motet Peccata mea Domine.

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Contents

l. Il {Messa sopra] In die Tribulationis Iachet da Mantoua

2. X Messa sopra chiare dolci e fresche acque 3. XIX Messa sopra peccata mea

4. XXVI Peccata mea Domine Io. Mouton 5. XXVII Messa sopra anchor che col partire

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (A) R 404 Milan, Biblioteca del Conservatorio. §.B. 149.a Cantus: XXXI instead of XXIX; XXX instead of XXXI; VIII: initial O sideways; XVI: initial p lower case. Tenor: VIII Initial: O sideways; IX: initial a lower case; XIII: initial d lower case; XXX instead of XXXII. Bassus: XXXI instead of XXIX; XXX instead of XXXI; XXXII ink blot? in BASSVS headline. Quintus: XXX instead of XXXI.

All copies: Altus: XXX instead of XXXI; XIII: initial “d” Roman lower case.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 5:260; Gaspari, Catalogo... Bologna, 4:86; Grigolato and Zecca Laterza, Musiche della Cappella di Santa Barbara, #188.

Modern Editions Jachet, Opera omnia, |.

a

125 Hoste da Reggio, Primo libro delli madrigali a cinque voce L2321 (1554) Presumably from the northern Italian town of Reggio Emilia, Hoste identified himself on the title pages of his 1554 editions as maestro della musica to Ferrante Gonzaga. Ferrante was co-regent of Mantua. He had a distinguished military career in the Imperial service under Charles V, who conferred upon him the Order of the Golden Fleece, and named him viceroy of Sicily and imperial supreme commander. In 1539 Ferrante became count of Guastalla and upon the death of Alfonso D’ Avalos in 1546 was appointed governor of Milan. Hoste’s madrigal, Se altra ragion ti mosse al

canto e al suono (no. 11) pays tribute to Milan. The woodcuts of soldiers and horses at an encampment on the title pages of the cantus, altus, and quintus partbooks and the ship in port on the title pages of the tenor and bassus partbooks are not printer’s devices, but illustrations Scotto used in previous non-music books dating from the mid-1540s (see chapter 3).

Title Page CANTVS | De I’Holte da Reggio, | MAESTRO DELLA MVSICA, | DELLO ILLVSTRISS[IMO]

ET ECCELLENTISS[IMO] | DON FERRANTE GONZAGA. | IL PRIMO LIBRO DELLI MADRIGALT, | A CINQVE VOCE. | NOVAMENTE DA LI SVOI PROPRIT EXEMPLARI, | CORRETTI, ET POSTI IN LVCE. | [woodcut of ship in port] | Venetiis apud Hieronymum Scotum | [rule] | MDLITII

Tenor and Bassus partbooks have woodcut of tent and horses instead of ship 1n port.

Collation and Headline 5 volumes in quarto oblong; 16 leaves, pp. [I-III] III—XXXI [XXXII]. No quintus partbook 1s known to survive. Signature title none. Signatures (S) A—-D*; (A) A-D*; (T) A-D‘; (B) A-D*. Signed Ajj, $2: title page unsigned.

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Headline recto: Il CANTVS verso: Acinqueuoci _ IIII Technical Notes Music font IJ; Text font Italic I; Initials White floral I and II; Ghosts; Small Bible; Centaurs;

Putti; Watermarks Anchor and circle with and without star; Printed area Title page 13 x 15.1 cm; Music page 13.2 x 18.4 cm.

Table of Contents p. XXXII; TAVOLA DELLI MADRIGALI DE L’HOSTE | da Reggio a cinque voci. | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication p. Il; ALL’ILLVSTRISS[IMO] ET ECCELLENTISS.[IMO] SIGNOR | Prencipe, Don Ferrando

Gonzaga, gran Capitano. | [woodcut DJA quell’hora in qua, che l’Eccelllenza| voftra mi annouero tra feruitori fuoi, mi fono fem | pre ne la mia vocatione affaticato con tutte le forze, per far cofe, onde il giudicio fuo | foffe commendato del darmi quel pane, che mi da, & ch’io {pero che m’habbia a dare | piu copiofo nel’auenire, nel che certo ho trouate effe mie forze deboli affai. Non, di | meno accioche appaiano le vigilie mie, quali elle fi fiano, ne fi perdano in tutto, le ho | raccolte, & date ala ftampa, (com’ella vede) fotto 'l fuo gloriofisimo nome fperan- | do che fe quelle non faranno l’Eccell[enza] voftra lodata del vitto che ella mi da, fodisfaranno almeno ad vna | certa ambitione, che io ho, che s’intenda per tutto, com’io mi ho saputo procacciare un Padrone di tanta | grandezza. V{ostra\ Eccelllenza| adunque degni di riceuere in grado il buon uoler mio, che tuttauia quando ella ba | gnata di fudore & di fangue, fi fara fpogliate l’armi uittoriofe, & da le cofe graui, & alte le fara lecito | f[cendere a le baffe, & leggiere, non difpero che ella tra quefte mie fatiche non fia per ritrouare dolce, & | honeftifsimo alleuiamento a l’animo fuo generofo, & inuitto. Humilmente m’inchino a I'Eccell[enza] voftra | & le bacio le valorofe mani. | D[i] V[ostra] E[ccellenza] | DeuotiBimo feruo. | L’Hofte da Reggio.

Contents 1. Il Iddio gli angellie °1 cielo

| 2, TI Quando da no! ne brevi giorn’il sole

3. V Eran’i capei d’or’in rethe d’oro 4. VI O quante volt ’] sole

5. VII Deh perche non poss’ io dal tristo core

6. VIII Chi vol veder a pieno

7. IX Se a mille segn’il ver’amor vedete lhoste da Reggio Xx II. Non havet’a temer che nuov’ardore

8. X Come poss’lo se non m’insegn’ amore L’hoste da Reggio 9. XII Come diro piu vita a la mia vita. 10. XIII lo gridai sempre e grido forte anchora l’hoste da Reggio

11. XI Se altra ragion ti mosse al canto e al suono Phoste da Reggio 12. XVI Da le gelate parti ove la Mossa.

13. XVII. Se amor non e che dunqu’e quel ch’10 sento l’hoste da Reggio XVIII II. E s’io ’] consento a gran torto mi doglio

14. XVIII Lalto splendor ch’in noi sovent’infonde. L’hoste da Reggio

15. XX Fian pur le stelle pront’e gl’elementi.

16. XXI Passa la nave mia colma d’oblio lhoste da Reggio XXII II. Pioggia di lagrimar nebbia di sdegni 17. XXII O dolce notte o ben nati pensiert L’hoste da Reggio

18. XXII Chi vi parla e felice

19. XXV Mentre mira verun novella Ninfa 20. XXVI Donna se voi vedeste

21. XXVII Quand’amor fia ch’il vag’e sopr’humano V’hoste da Reggio 45]

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XXVIII II. Io potro dir’o de la propria vita

22. XXVIII Vaghi lumi leggiadr’ & amorosi L’hoste da Reggio 23. XXX Alma candid’& chiara piu ch’el sole I’hoste da Reggio Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (SATB) T 253

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:162; Nuovo Vogel #1325; Gaspari, Catalogo... Bologna, 3:138-39; Hoste da Reggio, Primo libro, xi.

ate 126 Hoste da Reggio, Secondo libro delli madrigali a quattro voce 2322 (1554) In 1547 Hoste dedicated his Primo libro delli madrigali a 4 to Cardinal Ercole Gonzaga, who may have introduced him to his brother Ferrante. In the dedications to his four madrigal publications, all dating from 1554, Hoste honors various people connected with Ferrante Gonzaga’s court. // primo libro delli madrigali a 5 is addressed to Ferrante (125). The present edition pays respect to Ferrante’s wife, Isabella di Capova Gonzaga. The last piece (no. 20) is an eight-part canzona set to “Stanze recitate dalla Illustriss. S. Ippolita Gonzaga,” daughter of Ferrante and Isabella.

Title Page CANTVS | DE LHOSTE DA REGGIO | MAESTRO DELLA MVSICA, | DELLO ILLVSTRISS[IMO] ET ECCELLENTISS|IMO] | DON FERANTE GONZAGA. | JL SECONDO

LIBRO DELLI MADRIGALI | A QVATTRO VOCE, | NOVAMENTE DA LVI FATTI, |

Scotum | [rule] | MDLITII }

CORRETTI, ET POSTI IN LVCE. | [woodcut of horses and tent] | Venetiis apud Hieronymum

Collation and Headline 4 volumes in quarto oblong; 16 leaves [T= 18 leaves] pp. [Ij I-XXXI [XXXT]] [T: pp. [I II-XXXITIT [XXXV—-XXXVI]].

Signature title Li Madrigali del’Hoste da Reggio a quatro. Signatures A-D*; A-D*; A-C*D*°; A-D*. Signed Aij, $2 (A—D) $1 (Tenor D): title pages unsigned; Tenor: last leaf blank.

Headline Il CANTYVS [no voice designation on verso] Technical Notes Music font II; Text font Italic]; Initials Small Bible; Centaurs; White floral I; Dark floral ]; Ghosts; Watermarks Anchor in circle with cross; Printed area Title page 13.5 x 14.9 cm; Music page 13.5 x 18.5 cm.

Table of Contents [p. XXXII; lacking in AJ TAVOLA DELLI MADRIGALI DE L’HOSTE | da Reggio a quattro voce. | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication p. I]; ALLA ILLVSTRISSIMA ET ECCELLENTISSIMA | Signora la Principeffa lfabella di Capoua Gonzaga. | [woodcut LIANIMO di voftra Eccellentia e cofi candido, & cofi bello, che non e de- | gno, che egli giamai fia lafciato in preda a penfieri noiofi. Il che nondimeno | molte volte veggio auuenirgli, fecondo che i diuerfi accidenti del mondo diftra- | hono hor qua, hor la, lontano da lei il gloriofo, & inuitto Prencipe fuo amatif- | fimo fignore, il quale per lo fuo infinito valore, ordinariamente e occupato in co- | fe altiBime, & graui di guerra & di Pace. La onde io per moftrarmi in qualche | parte meriteuole de beneficiti, & honori, che tutto di riceuo da le voftre 452

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Eccell[enze] ho raccolte quefte | mie poche fatiche, & datele (com’ella vede) a la ftampa, fotto 1 fuo honoratifsimo nome, accioche | mentre che V{ostra| Eccelllenza] fe ne ftara confufa amando, temendo, {perando, effe le facciano parere quelle | hore meno increfceuoli, & noiofe, fe pur elle tanto haueranno in fe di gratia, & di virtu, fupplico | V[ostra] Eccelllenza] che tall’hora degni godere di quefti miei frutti, quali fi fiano che effendo efsi nati fotto | l’ombra felice di lei, forfe le n’auuerra quello che fuol auuenir de frutti, che nafcono ne proprii giar- | dini, i quali al gufto de Padroni loro fogliono effer affai piu di tutti gli altri diletteuoli, & faporofi. | Con quefto fine a l’Ecell{enza] voftra m’inchino, & le bacio le belifsime mani. | D[i] V[ostra] E[ccellenza} | Deuotifsimo Seruo | 1’Hofte da Reggio.

Contents

l. Wl Guardatevi da questi che sul fiore II IJ. Cosi fan questi giovani che tanto

JIT] III. Non vi vieto per questo ch’avre1 torto

2. V Io ard’e ’1 foc’e tale

3. VI Col chiaro viso e col soave sguardo 4. VII Gli sdegni le repuls’e finalmente 5. VIII Qual donna piu di me vive felice IX II. Ben si puo dir si com’al mio bel sole

6. X La virginella e simil’a la rosa

XI II. Ma non si tosto dal materno stelo

7. XI Nasce la pena mia 8. XII Nasce la gioia mia

9. XII Press’un alpestre riva 10. XV Vol volete ch’io moia

ll. XVI Per divina bellezza indarno mira 12. XVII 'Gravi pene in amor si provan molte 13. XVIII Ogni stato d’amor liet’e gioioso XVI If. Che non pur dentr’a lui amor’o fede

14. XIX E poi che nota l’impieta vi fia XxX II. I giuramenti e le promesse vanno 15. XX] Rendete alma gentile a vostra patria 16. XXI Erasi al sole il mio bel so] assiso 17. XXII Io vegio tante gratie in quel bel viso 18. XXIII O dolorosa vita de gli amanti

19. XX Crin leggiadro ch’un raggio

20. XXV Dal di che conobb’io quanto sia bella! XXVI [II.] O dea ch’el sesso nostro sola honori XX VII [III.] Amor piu volte di piegarm’il seno XXVIII [IV.] Poi che sento di me |’anima accesa [3 vv] XXVIII [V.] Quel pudico desio che ’] cor m’infiamma [3 vv]

XXIX [VI.] O dea ch’ogni pudic’altera donna XXX [VII.] Se pur mai van desio piegomm’tmparte XXXI [ VUI.} Poi che belta de Palma sempre dura [5 vv] Locations and Notes Verona, Accademia Filarmonica. N. 21, Il For a description of partbooks see Lewis, Antonio Gardano, 1:156. Altus and Tenor: XXX instead of XXXII.

Bibliographical Listings and Literature Turrini, Catalogo... Verona, 13; Nuovo Vogel #1323; Hoste da Reggio, Secondo libro, ix.

1. Headline: Stanze recitate dalla Illustriss.& Eccell. S. lppolita Gonzaga.

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Modern Editions Hoste da Reggio, Secondo libro.

__ate__

127 Hoste da Reggio, Terzo libro delli madrigali a quatro voci L2323 (1554) Hoste dedicated his third book of madrigals to Cristoforo Fornaro, the Imperial paymaster in Piedmont. Hoste presumably met Fornaro through his patron, Ferrante Gonzaga. No other edition of this work is known.

Title Page CANTVS | IL TERZO LIBRO. | Delli madrigali a quatro uoci. | Compolti da lholte da Reggio | MAESTRO DELLA MVSICHA, | DELL’ILLVSTRIS[SIMO] ET ECCELLEN[TISSIMO] | Don Ferrante Gonzaga. | Nouamente da li {uoi proprii exemplari. | Corretti & post’in luce. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum. | [rule] | MDLIII

Altus has: ... lhofte da, Reggio... Collation and Headline 4 volumes in quarto oblong; 14 leaves, pp. UW] NI-XXVII [XXVI}.

Signature title none. Signatures A-C4D*; A-C‘D?; A-C‘D’*; A-C‘D?. Signed Aii, $2

(A-C) $1 (D): title pages unsigned.

Technical Notes |

Headline De l’hoste da Reggio Ill CANTVS [no voice designation on verso]

Music font II; Text font Italic I; Initials Small Bible; Ghosts; White floral I; Dark floral I; Watermarks Cardinal’s hat; Ox head with star; Printed area Title page 13.2 x 14.8 cm; Music page 13.2 x 19 cm.

Table of Contents [p. XXVIII] TAVOLA DELLI MADRIGALLT | del’Hofte da Reggio a quattro Voci. Libro terzo. | [contents listed] | FINIS.,; Italic, in order of appearance.

Dedication p. Il; AL STIGNOR CHRISTOFORO FORNARI \ Theforiero del Efsercito del’Impe[ratore| in Piemonte, | mio ofseruandif[imo] Signore. | [woodcut L]A Nobilta, & grandezza de l’animo di Vl ostra| S[ignoria| molto maggiore di | quella, che ho trouato in perfone di principale ftato, & _ auttorita, mi | ftrigne di maniera con uoi che mentre non pofso darui ftato, & ric- | chezze degne de l’animo che hauete defidero al meno fomamente di | far a mia pofsanza, nota la uoftra cortefia, & il uoftro fplendore. | Per tanto ui degnarete di accettar quefto prefente piu conueniente | a la mia picciola fortuna, che al uoftro gran merito. Ben m’aueggo che quefte mie fatiche | come che a uoi fi conuengano tanto, & per le cofe gia dette & per la intelligenza & gufto | che de la Mufica hauete molto piu fi doueuano a la Signora Anna D’oria, uostra Con- | forte, & bellifsima & felicifsima, a la quale tra le uirtu che ella ha (che fono molte) | quefta in tanto le abbonda, che fi puo annouerar tra le rare. Ma io ho uoluto che ella le | riceua da la man uostra accioche cofi Vhabbia per piu accette, & piu care. Vi bacio le meni, [sic] | & prego Dio, che ui accrefca, & efsalti, & ui conferui con fi rara compagnia molti anni | in fuprema felicita. | D[i] V[ostra] _S[ignoria] | L’hofte da Reggio.

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No. 128—1554

Contents

1. Il La belta rara dell’amato viso l’hoste da Reggio

2. Ill Chi non sa che chi v’ama l’hoste da Reggio

3. V Gli occhi che m’impiegar’il manco lato Vhoste da Reggio 4. VI Amor per che m’insegn’andar al foco ’hoste da Reggio

5. VI Se ricchez’e beltade l’hoste da Reggio

6. VIII Donna gentil per farv1 piu perfetta Hoste da Reggio 7. IX Occhi mei ch’al mirar foste si pronti l’hoste da Reggio 8. X Hor ch’ ne |’occean’il sol s’asconde l’hoste da Reggio Xx IT. Sa ben il mio secret’ alt’e pensoso

9. XI Signor svilupp’homai quest’ afflitta alma Phoste da Reggio XII II. Sgombra signor la nebbia ch’en me adhugge 10. XIII Voi che ascoltat’1n rime spars’il suono Phoste da Reggio 11. XII Son i vostr’occhi archi bugett’a ruota l’Hoste da Reggio

12. XIlil Se pur di saettarme ’hoste da Reggio 13. XVI Felice sasso ch’el bel viso serra l’hoste da Reggio

14. XVII Miser’a chi mai piu creder debb’1o0 l’hoste da Reggio XVIII II. Crudel di che peccat’a doler t’hai [3 vv] XIX III. Tu m’hai crudel lassat’io te non voglio

15. XX Stavassi all’ombra d’un frondoso faggio l’hoste da Reggio

16. XXI Le donne i cavalier l’arme glamor Vhoste da Reggio 17. XXII Fuggite scioch’il venerar cupido lHoste da Reggio 18. XXIII Mia benigna fortun’e ’1 viver lieto l’hoste da Reggio 19. XXIII Qual vi move pensier fallac’e rio l’hoste da Reggio 20. XXV Chi lasso piangeria se non piang’io’ l’hoste da Reggio 21. XXVI Qual donn’attend’a gloriosa fama Hoste da Reggio XXVI ~ JI. Ivi ’] parlar che nullo stil’aguaglia

22. XXVII Nessun visse giamai piu di me lieto! l’hoste da Reggio Locations and Notes

Bologna, Civico Museo Bibliografico Musicale. T 252 , Cantus: XI instead of IX; XXVII: initial N backwards. Altus: III instead of VIII. Tenor: XX VII: manuscript correction (1 6th-c. hand?). Altus and Tenor: XXVI: headline /’hofte instead of /'Hoste.

** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. prat. R 840

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:162; Gaspari, Catalogo... Bologna, 3:139; Nuovo Vogel #1324.

ate 128 Alessandro Romano, Le Vergine a quattro voci M2321 (1554) Alessandro Romano has been mistakenly identified in nearly all secondary sources as Alessandro Merlo, a singer in the Cappella Giulia in Rome (he 1s listed as such in RISM, Nuovo Vogel, New Grove, and MGG). When Le Vergine appeared in 1554, Merlo was only a choirboy at the Cappella Giulia. During this same year, Romano was the maestro di musica at the Accademia Filarmonica in Verona. In the dedication to his Le Sirene (1577), Romano mentioned that he was a disciple of both Willaert and Rore, placing him in the circle of Veneto composers. Furthermore, in setting the two

1. Headline: A VYoci pari

455

No. 128—1554 madrigal cycles, Vergine bella and A la dolc’ombra dele belle frondi, Romano was clearly emulating his mentor Rore, who was the first composer to set both these Petrarchan poems in their entirety. Romano dedicated Le Vergine to the bishop of Rossi. In the dedicatory letter, he mentioned the kindness shown him by the bishop the first day that he arrived in Venice. Three later editions survive: Gardano (M2322,1562); Gardano (M2323,1585); and Tini (M2324, 1587).

Title Page CANTVS | LE VERGINE | DI ALESSANDRO ROMANO | A QVATTRO VOCI. | CON LA GIONTA DI ALCVNI ALTRI MADRIGALI | NOVAMENTE DA LVI COMPOSTI CORETTI | Et da li f{uoi propry effemplari {tampati. | [woodcut of ship in port ] | Venetiis apud Hieronymum

Scotum | MDLIIII :

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [1-2] 3-31 [32].

Signature title none. Signatures A-D*; A~D*; A-D*; A-D*. Signed Ajj, $2: title page unsigned.

Headline Vergine prima. jeg CANTVS [no voice designation on verso]

Technical Notes Music fontI; Text fontItalicI; Initials; Watermarks Anchor in circle with star; Printed area Title page 12.7 x 13.3 cm; Music page 12.9 x 18.4 cm.

Dedication p. Il; AL REVERENDISSIMO MONSI- | gnor Il Vefcouo de Rofsi. | [woodcut T]ANTA fu la , gentilezza & cortefia di V[ostra| S{ignoria] Re- | ueren{dissima] qual mi moftroe quel primo giorno che uenendo a Ve | netia la uifitai, ch’io mai ho poffuto l’animo mio quietare, | fin tanto non mi

e ftato conceffo in qualche parte manifeftar | quanto gli debbo, Per fegno donque della mia perpetua | feruitu (quantunque picciol fia) gli dedica quefti miei ma= | drigali, li quali fi come efcono dall’intimo cuore e mente mia, cofi, V[ostra] S[ignoria] Re- | uerendifsima di cuore gli accetti, laqual prego mi tenghi uiuo nella fua fem- | pre felice memoria. | Di V[ostra] S[ignoria]| R[everendissima] | Alefsandro Romano.

Table of Contents [p. 32] TAVOLA DELLE VERGINE A QVATTRO VOCI | Con la gionta di alcuni altri Madrigali. | [contents listed] | FINIS.; Italic, in order of appearance.

Contents

1. Ill Vergine bella che di sol vestita Il Il. Vergine saggia & del bel numero una V ITI. Vergine pura d’ogni parte in tera VI IV. Vergine santa d’ogni gratia piena

VII V. Vergine sola al mondo senza essempio VIII VI. Vergine chiara e stabile in eterno IX VII. Vergine quante lagrime ho gia sparte

X VII. Vergine ben sai tu quant’aspra doglia XI IX. Vergine in cui ho tutta mia speranza XII X. Vergine humana & nemica d’orgoglio

XIll XI. Il di s’appressa & non puote esser lunge 2. XIU A la dolc’ombra delle belle frondi = Canzon spirituale XV [II.] Non vide alcun mai si leggiadri rami XVI [IlI.] Se ben discorro sotto l’alto cielo XVII [IV.] Pero piu ferm’hogni’hor di tempo in tempo XVIII [V.] Selve sassi campagni e fiummi & poggi XIX [VI.] Dunque seguendo il raggio del bel lume 456

No. 129—1554

3, XX Ahi quante volte per pieta vid’io 4, XX] Le lagrime |’angoscia & gli sospiri 5. XXII Vid’1io con gl’occhi miei il sol firmarse 6. XXIII Per paesi diversi aspri e lontani 7. XXIII Anchor che col partire! 8. XXV Qual sara mai si miserabil pianto 9. XXVI Lasso ch’i ardo & altri non me ’| crede 10. XXVII Ite rime dolenti al duro sasso J1. XXVIII Discolorato hai morte il piu bel volto 12. XXVIII Cesare poi che ’] traditor d’Egitto 13. XXIX Quando il soave mio fido conforto

14. XXX Sarra se la mia vita

15. XXXI Rotta e l’alta colonna e ’[ verde lauro Locations and Notes Vienna, Gesellschaft der Musikfreunde. I\.17173/37 Cantus: X: C2 clef crossed out and changed to C1 clef.

Bibliographical Listings and Literature Nuovo Vogel #1818.

_

See 28. . Title Page

129 Rore, Primo libro de madrigali cromatici a cinque voci: R2482 (1554)

CANTVS | DI CIPRIANO RORE | JL PRIMO LIBRO DE MADRIGALI | CROMATICI, A CINQVE VOCI, NOVAMENTE | CON OGNI DILIGENTIA RISTAMPATO. | [pr. mk. Fame I] | Venetiis, apud Hieronymum Scotum. | [rule] | MDLIIII

Collation and Headline 5 volumes in quarto oblong; 20 leaves, pp. [i] 1-39. Signature title Madrigali Primi di Ciprianoa 5. Signatures A—E*; L-P*, F-K*; Q-V*; X-BB’. Signed Aij, $2: title pages unsigned.

Headline Seconda Parte Ill CANTVS Technical Notes

Music font I; Text font Italic II; Initials White floral 1; Centaurs; Small Bible; Plain Roman; Watermarks Cardinal’s hat; Ox head with quatrefoil; Printed area Title page 12.6 x 16.5 cm; Music page 13.5 x 18.5 cm.

Table of Contents [p. 1] TAVOLA DELLI MADRIGALI DE CIPRIANO | Rhore. Numero. 21 Senza le feconde Parte. | [contents listed] | FINIS.; Italic, alphabetical.

Contents

1. I Cantai mentre ch’i arsi del mio foco 2. Ill Hor ch’el ciel & la terra e ’| vento tace 1. Headline: a voci pari

457

No. 129—1554

Hil II. Cosi sol d’una chiara fonte viva 3. V Poggiand’al ciel coll’ali del desio VI IJ. Tal si trova dinanzi al lume vostro 4. VII Strane ruppi aspri monti alte tremanti

Vill IT. A guisa d’hom che da soverchia pena

5. IX La vita fugge & non s’arrest’un’hora Xx II. Tornami avanti s’alcun dolce mai 6. XI Altiero sasso lo cui gioco spira 7. XII Tu piangi & quella per chi fai tal pianto XIII II. Lei tutta intent’al lume divo e santo

8. XIII Da quei bei lumi ond’io sempre sospiro

9. XV Solea lontana in sonno consolarme XVI II. Non ti soven di quell’ultima sera

10. XVH Quand’io son tutto volt’in quella parte XVII IT. Cosi davanti ai colpi de la morte 11. XIX Il mal mi preme & mi spavent’il peggio XX II. Bench’ non sia di quel grand’honor degno 12. XXI Per mezz’i bosch’ inhospiti e selvaggi XXII II. Parmi d’udirla udendo i rami e |’ore 13. XXIII Chi vol veder quantunque po natura XXII II. Vedra s’arriva tempo ogni virtute 14. XXV Far potess’io vendetta di cole XXV IT. Cosi gli afflitti e stanchi pensier miei 15. XXVII Quel sempr’acerbo et honorato giorno XXVII IT. L’atto d’ogni gentil pietate adorno

16. XXIX Sil dissi maidissi fortun’a me superba . XXX II. Ma s’io nol quell’ardente face 17. XXXI Amor che vedi ogni pensiero aperto , XXXII II. Ben veggio di lontano il dolce lume ,

18. XXXIII Perseguendom’amor al luogo usato XXXII IT. Io dicea fra mio cor perche paventi 19. XXXV Ben si convien’a voi cosi bel nome 20. XXXVI Hor che !’arta et la terra XXXVI II. Sol nel mio pett’ogn’hor lasso si serra 21. XXXVII Quanto piu m’avicino al giorno estremo XXXIX II. Perche con lui cadra quella speranza

Locations and Notes Verona, Accademia Filarmonica. N. 156; copy 2: (5 only) N. 157, I For a description of the partbooks of N. 157 see Lewis, Antonio Gardano, 1:160. Cantus: XV: corsolarme instead of consolarme; XVII: Qua[n]d’iot instead of Quand’io; XXI: inhosptti instead of inhospitt. Tenor: XV: corsolarme instead of consolarme.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:306; Turrini, Catalogo... Verona, 27; Nuovo Vogel #2394.

Modern Editions Rore, Opera omnia, 2.

458

No. 130—1554

__sfe

130 Rore, Primo libro de madrigali a quattro voci R2503 (1554) Buglhat and Hucher issued the first edition in Ferrara in 1550 (R2500), but seven of the madrigals had already appeared in previous collections (nos. 7, 9, and 11 in C553=1547"*; and again with nos. 5, 6, 12, and 18 in 1548’ and 72). One year later Gardano released another edition (R2501) with minor changes in the order of the contents and an added madrigal (Quel foco che tant’anni). He did not mention on his title page that he reprinted the work (“‘ristampati’’), probably because his was the first edition issued in Venice. At least thirteen further editions appeared by Gardano, R2502 (1552); Scotto, R2503 (1554); Gardano, R2504 (1557); Rampazetto, R2505 (1563); Gardano, R2506 (1564); Gardano, R2507 (1565); Gardano, R2508 (1569); Angelieri, R2509 (1573); Gardano, R2510 (1574); Gardano, R251] (1582); and Vincenti, R2512 (1590). Angelo Gardano printed a one-volume edition containing al] four parts in score or partitura notation in 1577 (Tutti i madrigali di C. di Rore a 4, R2513). An edition by the Scotto firm dated 1586 no longer survives (Nuovo Vogel #2386). Eitner mistakenly dated the copy of the 1563 Rampazetto edition in Florence, Biblioteca Ricciardiana as 1554.

The contents of the present edition for the most part follow the same order as Gardano’s 1551 publication, including the added madrigal (no. 11).

Title Page CANTVS | DI CIPRIANO DE RORE | JL PRIMO LIBRO DE MADRIGALI | A quattro Voci Nouamente con ogni diligentia | Corretti & Ristampati. | [pr. mk. Anchor III] | Venetiis apud Hieronymum Scotum | [rule] | MDLIUI Tenor and Bassus have Fame I instead of Anchor III as printer’s mark and a comma after Venetiis.

Collation and Headline 4 volumes in quarto oblong; 12 leaves, pp. [i] I-X XII [XXIII]. No altus partbook is known to survive. Signature title Madrigali di Cipriano a 4. Signatures (S) A—C*; (T) D-F*; (B) K-M*._ Signed Aij, $2: title pages unsigned.

Headline CANZONE I CANTVS

Technical Notes Music fontl; Text font Italic IJ; Initials Centaurs; White floral 1; Small Bible; Watermarks Anchor and circle with star; Cardinal’s hat with star; Printed area Title page 11.5 x 18.5 cm [TB: 13.3 x 18.3 cm]; Music page 13.1 x 18.1 cm.

Table of Contents [p. XXIII] TAVOLA DELLI MADRIGALI DE CIPRIANO | Rhore. Numero. 26; Italic, alphabetical.

Contents

l. I | A la dolc’ombra de le belle frondi I II. Non vid’il mondo si leggiadri rami I] III. Un lauro mi diffese allhor del cielo Il IV. Pero piu ferm’ogn’hor di temp’in tempo I V. Selve sassi campagne fiumi & poggi Il VI. Tanto mi piacque prim’il dolce lume 2. V Signor mio caro ogni pensier mi tira VI II. Charita di signore, Amor di donna

3. VII lo canterei1 d’amor si novamente 4. VIl Non e ch’il duol mi scem’o 1! fuoc’alenti 459

No. 130—1554

5. XI La bella netta’ignud’e bianca mano

6. X La giustitia immortale 7. XI Anchor che col partire 8. XII Amor ben mi credevo

9, XIII Com/havran fin le dolorose tempre

10. XIII Io credea ch’el morire 11. XII Quel foco che tanti’anni

12. XV L’inconstantia che seco’han le mortal

13. XVI Donna ch’ornata sete

14. XVII Di tempo in tempo mi si fa men dura 15. XVII Se ’1 mio sempre per voi donna languire

16. XIX Non gemme non fin oro 17. XIX Qual’e piu grand’o’amore

18. XX Chi con eterna legge

19. XXI En voz adieux dames cesses voz pleurs 20. XXII Hellas coment voules vous Locations and Notes London, British Library. (TB) A.70.z ** Paris, Collection André Meyer. (S) Not available for examination. Venice, Biblioteca Nazionale Marciana. (olim Canal) (STB) Musica 1028

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:307; Lesure and Bridgman, Collection musicale André Meyer, 61; British Union

Catalogue, 899; Nuovo Vogel #2376; Squire, Catalogue of Printed Music... British Museum, 2:428.

Modern Editions Rore, Opera omnia, 4: 1-18; vol. 8: 19 and 20.

age 131 Ruffo, Madrigali a sei a sette et a otto voce R3076 (1554) Vincenzo Ruffo’s Madrigali a 6, 7, & 8 was dedicated to the members of the Accademia Filarmonica in Verona, where Ruffo served as maestro di musica in 1551. He held this position for only one year. The dedication was written not by Ruffo, but by Agostino di Negro Groppalo, a Genoese nobleman,

who saw this edition and Ruffo’s Motetti a sei voci of 1555 (145) through the press. Ruffo presumably met Groppalo while he worked in Genoa as maestro di cappella in the household of Andrea Doria from 1545 to possibly 1547. The incomplete copy in Cracow is not noted in RISM or in Nuovo Vogel.

Title Page CANTVS | MADRIGALI A SEI A SETTE ET A OTTO VOCE, | Con la Gionta de Cinque Canzone a diuerfe Voce. | Compofti da Vincentio Ruffo. | MAESTRO DELLA CAPELLA, | DEL

DOMO DI VERONA. | Dedicati alli Iluftrifs[imi] Signori, | Academici di Verona. | NOVAMENTE DA LI SVOI PROPRIL, | Effemplarij Corretti & poft’In Luce, | Con la fua Tauola nel Fine. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum. | [rule] | MDLITII

Septima pars has the following: LA SETTIMA PARTE | Delli Madrigali A Sei a Sette e a Otto voci. | DE VINCENTIO RVFFO | NOVAMENTE POST’IN LVCE. | Et con Somma Diligentia | Stampati & Correti. | [woodcut of horses and tent} | Venetiis apud Hieronymum Scotum. | {rule} | MDLIIII

, 460

No. 131—1554

Collation and Headline 7 volumes in quarto oblong; 18 leaves [A=20 leaves, 5=16 leaves, 6=12 leaves, 7=2 leaves] pp. [1-IT] WI-—XXXVI [A: pp. (I-II] IN1-X XXX; 5: pp. [I-III] HI-X XXII (misprinted as XXXII); 6: pp. [I-III] WI-XVI, XXV—XXXIU; 7: pp. J-IDT].

Signature title none. Signatures A-D‘E’; A-E*; A-D‘E?; A-D*E?; (5) A~D*; (6) A—-C’%; (7) none. Signed Aii, $2 (A—D) $1 (E): title pages unsigned.

Headline Vincentio Ruffo A Sei Ill CANTVS [no voice designation on verso] Technical Notes Music font II; Text font Italic I; Initials White floral I; Small Bible; Centaurs; Ghosts; Dark floral II; Watermarks Mounts with cross; Printed area Title page 13.4 x 12 cm; Music page 13.4 x 19.2 cm.

Table of Contents [A: p. XXXX; T: p. XXXXVI [sic]; B: p. XXXVI; 6: p. XXXII; lacking in S, 5, and 7] Tauola delli madrigali a fei, | Et delli Canzoni de Vincentio Ruffo. | [contents listed] | CANZON. | {contents listed] | FINIS.; Italic, in order of appearance.

Dedication [p. Il, lacking in 7] ALLI ILLVSTRIS[SIMI} SIGNORI ACADEMICI, | Philharmonici Di , Verona. | [woodcut Q]Vella chiara, & uiua luce, laquale dalle alte Virtu di V[ostre] Slignorie] Honoratfissime] rifplende, & che co raggi fuoi ha forza di accendere d’ogni | honefto difio i piu gelati cuori d’altrui, ha deftato ne'l mio un’offeruanza fi grande uerfo di V(ostre| S{ignorie] Iluftr[issime] ch’altro penfiero in me | non pote, che di honorarle facendomi uedere, che tanto é in me di honore, quanto honoro loro, & che tanto i fare d’altrui {timato, | quanto li faro quefto animo mio palefe, per la qual cofa andaua confiderando come potefs’io {coprire, & a loro, & al mondo al men | qualche parte di lui, quando fuori di fperanza di poterlo mai fare con la propria induftria, deliberai di farlo con I’altrui. Onde ha= | uend’io doppo una longa fatica liberati e prefenti componimenti, d’il mio Eletto in padre M. Vincentio Ruffo, dalla feruitu, oue erano di certi partico= | lari, & fattili imprimere come ne quefti libri fi moftrano, li confecro infieme con l’animo mio tutto humile al chiarisfimo nome di V(ostre] S[ignorie] Honoratlissime] & a cui | poteua io dedicarli, che piu fi conueniffero, fe oltre che quefte fono di uno di quefta Virtuofisfima Academia, tutti e profeffori di Mufica le deueno le fa= | tiche loro, come a quelle, per cui quefta

fcienza, la quale gia alcuni anni in anzi nuda, & pouera fen’andaua, hora ricca, & ornata non men bella fi mo= | {tra di qual fi uoglia altra difciplina. V(ostre] S[ignorie] Adunque accettino quefto mio duono in fegno dell’infinita offeruanza, & affettion mia uerfo di loro, la quale, | per effere ella fi grande ch’imaginare no[n] la poffo, no[n] procedero in dimoftrar con parole, ma folo la diro uguale alla grandezza delle Virtu loro, | pregandole che non le fia difcaro, che co’l Nome de fuo feruitore mi honori. | Di V[ostre] S[ignorie] Uluftr[issime] | Humil Seruitore. | Agoftino di Negro Groppalo.

Contents

l. [IY] Vergine bella che di sol vestita 2. Ill O passi sparsi 0 pensier vaghi e pronti Vv. IJ. O bel viso ove amor insieme pose 3. VI Italia mia ben che ’| parlar sia indarno 4. VII D’alta cagion da gran princip’havrai 5. VU Valor preggi’et honor in te s’informi 6. VII Gravi penn’in amor si provan molte

7. X Madonna s’i sospiri che per voi

8. XI Sia benedett’amore 9. XII Amor io moro morte

10. XII Sa questo altier ch’io l’amo e ch’to l’adoro Lt. XU Mentre pasceva il gregg’al Ren’intorno [4 vv] 461

No. 131—1554

XV II. Cari rami dicea ch’havette in dono [5 vv] XVI III. Cosi tronco dal suo materno stello [6 vv] 12. XVII Su la fiorita riva [4 vv] XVIII Il. Fiume cui gia contanto Jach[r]imando [5 vv]

XIX UI. Et tu crudel’e ria [3 vv]

XX IV. Cosi disse e di speme al tutto privo (6 vv] 13. XXI Sei °| dissi mai ch’i venga in odio a quella [5 vv] XXII IY. Sei ’[ dissi amor |’aurate sue quadrilla [5 vv] XXIII Ill. Se 1°] dissi mai di quel ch’1 men vorrei [3 vv] XXII IV. Sei’ dissi coi sospir quanto mai fei [4 vv]

XXV V. Ma s’io no ’] dissi che si dolc’apria [5 vv]

XXVI VI. Io nol dissi giamai ne dir poria [6 vv] XXVII VII. Per Rachel ho servito e non per Lia [7 vv] 14. XXVIII Che debb’io far che mi consigli’amore [5 vv] XXVIII IT. Madonn’e morta & ha seco il mio cuore [4 vv] XXIX UI. Amor tu’il senti ond’io teco mi doglio [4 vv]

XXX IV. Cadut’e la tua gloria a tu nol vedi [3 vv] XXXI V. Oyme terra e fatt’il suo bel viso [4 vv] XXXII VI. Piu che mai bella e piu leggiadra donna [5 vv] XXXII VII. Donne voi che miraste sua beltade [6 vv] XXXII VIII. Pon fren al gran dolor che ti trasporta [7 vv] XXXV IX. Fugg’il seren’el verde [8 vv] XXXVI IL FINE DELLI MADRIGALI | DE VINCENTIO RVFFO A SEI.

Locations and Notes ** Cracow, Biblioteka Jagiellonska. (B) (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. R 840 Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 187/2 For a description of the partbooks, see Lewis, Antonio Gardano, 2:162. Verona, Accademia Filarmonica. (SAB567) N. 166 Cantus: XX XIII and XXXIIII printed on slant cutting off headline on top edge.

All coptes: Cantus: no. 15, parts 'V-IX misnumbered as HI—VIIT; XX XHIE instead of XXXH.

Altus: XXIII instead of XVIII; XXXIIII instead of XXXII. Tenor: XXXIIII instead of XXXII; XXXXVI instead of XXXVI. Bassus: XXXII] instead of XXXII. Quintus: XX XIII instead of XXXII. Sextus: XXV: signed D instead of C (corrected by hand); XX VII: signed D instead of Cij; XX VII instead of XXVI; XXVIII instead of XXVII.

Bibliographical Listings and Literature Turrini, Catalogo .. . Verona, 30; Nuovo Vogel #2490; Eitner, Quellen-Lexikon, 8:354; Bayerische Staatsbibliothek, Katalog, 13:5515.

Modern Editions Ruffo, Madrigal.

___efe

132 Ruffo, Madrigali a cinque voci, scielta seconda —_R3077=1554”” No dedicatory letter appears in this edition, but the title page does mention that the collection is dedicated to ‘“signor Lucha Grimaldi.” Grimaldi was a Genoese nobleman whom Ruffo undoubtedly met in 1545 when he worked in Genoa as maestro di cappella in the household of Andrea Doria. The first edition of Ruffo’s Motetti a sei voci printed by Scotto in 1555 (145) was also dedicated to Luca 462

No. 132—1554

Grimaldi by another Genoese nobleman, Agostino di Negro Groppalo. Furthermore, Grimaldi is

named as the dedicatee for an anthology of poetry published by Andrea Arrivabene in 1550 (Gambara, Le rime, 5). Gardano brought out his own second and third books; both are undated, but Lewis has assigned them to the year 1554. Gardano’s second book is completely different from Scotto’s, while his third book ([1555]*”) turns out to be a reprint of Scotto’s Scielta seconda. It contains all but one of the madrigals (no. 13) from the Scotto edition with eight more works by Ruffo and other composers to fill out the standard four-gathering edition. Another edition printed by Bartolomeo Cesano in Pesaro (1555>') has the same contents as Gardano’s Terzo libro. For more details about these editions see

chapter 9.

The copy of the quintus partbook in Bologna, Civico Museo Bibliografico Musicale mentioned in RISM and Nuovo Vogel does not exist.

Title Page ALTVS | Di Vincentio Ruffo nobile Veronefe, | ET DIGNISSIMO MAESTRO, DELLA | CAPELLA DEL DOMO DI VERONA, | LI MADRIGALI A CINQVE VOCI, | Dedicati al Magnifico Signor Lucha Grimaldi, | SCIELTA SECONDA. | Da li fuoi proprii exemplari fatta, | Nouamente Con Som[m]a diligentia | Corretti & pofti in Luce. | [woodcut of circular labyrinth] | Venetiis apud Hieronymum Scotum | [rule] | MDLIII

Collation and Headline 5 volumes in quarto oblong; 12 leaves, pp. [I] II-X XIII. No cantus or quintus partbook is known to survive. Signature title Madrigali di Vincentio Ruffo Con la gionta de diuerfia Cinque. Signatures (A) A-C‘; (T) A-C*; (B) A-C*. Signed Aij, $2: title pages unsigned.

Headline il ALTVS [no voice designation on verso] Technical Notes Music font I]; Text font Italic I; Initials Ghosts; White floral I; Centaurs; Dark floral I;

13.4 x 18.4 cm.

Watermarks Crossed arrows with crown; Printed area Title page 13.5 x 14.6 cm; Music page

Table of Contents p. XXIII; TAVOLA DE LI MADRIGAL] | De Vincentio Ruffo con la gionta de diuerfi | Auttori a cinque voci, Scielta feconda. | [contents listed] | FINIS.; Italic, in order of appearance.

Contents

t. I Quella belta maggiore

2. Til Ben mille volte fra me stesso giuro 3. Il Di voi sempre mi doglio e ’n quest’ Amore

4. il Qual possanza fia mai 5. TI Io moro il suo bel viso

6. V Io che di viver sciolto havea pensato VI Il. Nacque nell’alma intant’un fier ardore 7. VII Veggio ben quanto I’odio si rinforza Vill II. Se io vi son importun’ad’ hora 8. IX Vergine santa d’ogni grazia piena 9. X Vergine sola al mondo senza esempio 10. XI D’amor le generose et alte imprese 11. XII Ben mio chi mi ti coglie 12. XII Ditemi aure tranquille 13. XIU O desir di quest’ochi almo mio sole

14, XV Quando pens’al gravoso mio martire Francesco Rosello 15. XVII Valle che de lamenti mei sei piena 463

No. 133—1554

16. XVIII Dunque morte crudel mort’empi’e dura Gioan Pionnieri

17. XXI Pianget’occhi mei lasci Andreas Gabrieli!

18. XXII Io ch’ con mille frodi m’ho diffeso Francesco Rosello* Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (ATB) U 173 Altus: XI: signed A instead of B. Tenor: III: TENO (R missing); XII]: CANTVS instead of TENOR.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:354; Nuovo Vogel #2485; Mischiati, Bibliografia musicisti .. . dei Veronesi, #368; Gaspari, Catalogo ... Bologna, 3:166.

Modern Editions Gabrieli, Complete Madrigals, 5: no. 17; Roussel, Opera omnia, 3: nos. 14 and 18.

sf 133 Tudino, Madrigali a note bianche & negre cromatichoa4 T1334 (1554) Cesare Tudino, who came from Atri in the Abruzzo, dedicated his earliest edition to Giovanni Jacopo Trivulzio, the marquis of Maleo. While Tudino referred to Giovanni Jacopo as marquis of Vigevano, that title actually belonged to his father, Gianfrancesco (Litta, Le famiglie celebri italiane, 4: fasc. 4,

pl. 3). Giovanni Jacopo Trivulzio was married to Antonia d’Avalos, the daughter of Alfonso d’Avalos, marquis of Vasto and governor-general of Milan. Tudino’s edition is carefully arranged according to the variety of secular genres advertised on the title page. It more or less divides into three parts. The first eight pieces, traditional common-time madrigals, end with two chromatic works (nos. 7~8). These are followed by. seven “black-note” madrigals (nos. 9-15) with two further works (nos. 16 and 17), one note bianche and one note nere

madrigal, respectively. The last section of the book contains seven canzoni villanesche alla napolitana (nos. 18—23, 26) and two eight-voice dialogues (nos. 24-25). Scotto printed the extra

stanzas of the Napolitane at the bottom of the page. For further discussion see Larson, “Unaccompanied Madrigal in Naples,” 244-48.

Title Page CANTVS | Cefare Tudino de Atri. | Li Madrigali a Note Bianche, | ET NEGRE CROMATICHO,

| ET NAPOLITANE A QVATRO. | Con la gionta de dui madrigali a otto uoci. | DA LVI NOVAMENTE COMPOSTI, | Et Da li Suoi proprii Exemplari Corretti | Et Poft’In Luce. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum. | [rule] | MDLIUI

Collation and Headline - 4 volumes in quarto oblong; 16 leaves, pp. [I] N—XXXXII.

Signature title none. Signatures A-D*; A~D*; A-D*; A~D*. Signed Aii, $2: title pages unsigned.

Headline Cefare Tudino d’Atri Ii CANTVS [no voice designation on verso] Technical Notes Music font II; Text font ItalicI; Initials Small Bible; Ghosts; Centaurs; White floral I; Tree; Dark floral I; Watermarks Ox head; Printed area Title page 13.2 x 12.3 cm; Music page 13.3 x 19.2 cm.

1. Attribution found in tenor and bassus partbooks only. 2. Attribution found in Tavola only.

464

No. 133-—-1554

Dedication [p. HI] Allo Iluftrifs[imo] & ualorofisfimo marchefe, | Di Vigeuano, il Signor Giouani Iacoppo Triulci. | [woodcut I]Lluftrifsimo Signor mio, quelle {tefse uirtuti, & quello medefmo ualore che mi fpingeua, & ti- | raua, a far fegno a V(ostra] Signoria della deuotion mia, con quefti miei primi frutti di Mufica, ad | un tempo ftefso anco mi ritiraua & impauriua a douerlo fare, per cio che mifurando io la | grandezza del merito di cofi raro & ualorofo fignore, con la bafsezza di cofi humile prefente, | mi pareua a guagliare il nulla a l’infinito: alla fine poi confiderando che non a uoti d’oro | o d’argento, piu che di cera o di legno, ma fi bene alla fincerita del cuore rifguarda Dio, m’afsicurai che ella in | tutte le altre parte fimile al fuo grandifsimo fattore, anco in quefta douefse fimigliarfigli, & cofi con quello | animo piu finciero & piu deuoto ch’io pofso, a lei porgo quefto picciolo fegno della mia infinita affettione & | riuerenza uerso di lei, con ferma fperanza ch’ella non habbia a fdegnare cofi bafso tributo al’altifsimo fuo ua- | lore, uenendo da mano di

pouero & amoreuole fuo feruitore, & a lei con ogni riuerenza m’inchino. | D[i]) V[ostra] S[ignoria] IluftriBima. | Perpetuo Seruitore | Cefare Tudino.

Contents

1. I Se de signor de cavalier mai detto Cesare Tudino d’Atn Wf II. De la tromba 11 bel suon s’udir a intorno

2. V Quanto a potuto il ciel l’industria e l’arte Cesare Tudino d’Atri

3. VI Corro la fresca e matuttina rosa Cesare Tudino d’ Atri

4, VI Vaghi, e leggiadri fiori etade Cesare Tudino d’ Atri 5. VIII Qual si perfetto stil diria mai tanto Cesare Tudino d’Atri

6. IX Chi desia di veder’ fiorita Cesare Tudino d’ Atri

7. X Altro che lagrimar gli occhi non ponno! 8. XI Piango cantand’ogn’hora del mio felice'

9. XI Donna leggiadra dalla vostra luce Cesare Tudimo d’Atri

10. XII ' Chi vi contempla fiso gentil Francesca Cesare Tudino d’Atri 11. XI Da gli occhi vostri piu che ’! sol lucenti Cesare Tudino d’Atri

12. XV Chi vide mai congionta a nobiltade Cesare Tudino d’ Atri

13. XVI Come da quieta riva Cesare Tudino d’Atri 14. XVII Se la mia donna dorme Cesare Tudino d’Atri 15. XVIII Crudel mia donna 10 sento ardersi 1] core Cesare Tudino d’ Atri

16. XIX Amor che con pietosi occhi mirasti Cesare Tudino d’ Atri 17. XX Nella stagion del verdeggiante Aprile Cesare Tudino d’Atri XXI I]. Pien di tremante gielo me n’andai

18. XXII Madonna con chiss’occhi m’hai ucciso Napolitane 19, XXIII Son morto e moro e non posso morire Napolitane 20. XXIII Beato chi d’amor non sente pene Napolitane 21. XXV O bella sopra tutte l’altre bella Napolitane 22. XXVI Chi non prova d’amor l’acerba pena Napolitane 23. XXVII Tu dormi et amor veglia e non mi senti Napolitane 24. XXVIII Se amor none mas’eglie amor [8 vv] Dialogo 25. XXX Stiamo Amor a veder la gloria nostra 26. XXXII Dolci sospir che m’uscite dal petto Napolitane XXXII Il fine delli madrigali de Cefare tudino | D’ATRLI.

Locations and Notes Vienna, Gesellschaft der Musikfreunde. 1.17178 (II 42) Cantus and Altus: XXX instead of XXIX. Cantus: XXVI, XXVIII, XXX, XXX: headline on right side; XX VII: first note (a’) struck out twice and printed over

blank spacer between second and third notes. Altus: XV instead of XIII]; XIII instead of XV.

1. Headline: CROMATICHO.

465

No. 133—1554

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:468; Mandyczewski, Geschichte der K. K. Gesellschaft der Musik- freunde, 2:11;

| Nuovo Vogel #2768; Cardamone, Canzone villanesca, 1: 204-5.

ate 134 Motetti del Laberinto a quatro voci libro secondo 1554'4 This collection of motets mainly by Netherlandish composers such as Clemens non Papa, Crecquillon, Canis, and Manchicourt, was brought out as books two, three, and four of the Motetti del Laberinto series. Many of the pieces appeared in earlier editions printed by Susato and in Augsburg by Ulhard from 1546 to 1553. A comparison of readings reveals significant variants between the Laberinto volumes and the earlier transalpine publications, suggesting that Scotto’s editions emerged from a divergent source tradition. Though none of the three books in the Motetti del Laberinto collection contains a formal dedicatory page, they all have embedded in their titles a statement of dedication by Paulus Caligopoeus addressed to the choir of Cardinal Cristoforo Madruzzo, prince-bishop of Trent and Bressanone. The dedication naming Madruzzo, who was closely linked with the Gonzagas, and the Netherlanders in the anthologies point to strong connections with Mantua and the Imperial court. For more details on the edition see chapter 9; on Madruzzo see 177. RISM incorrectly lists a complete copy in Vatican City, Biblioteca Apostolica Vaticana.

Title Page CANTVS | MOTETTI DEL LABERINTO, | A quatro Voci Libro Secondo. | Sacrarum Cantionum siue Motettorum, | THOME CRICQVILLONIS: | CLEMENTIS NON PAPA, |

Aliorumque Prestantifsimorum Auctorum. | CHORO. | ILLVSTRISSIMI AC REVERENDISSIMI DOMINI, | D[omini] Chriftophori Madrutij S[anctae] R[omanae] E[cclesiae]

Cardinalis, Epifcopi, | Principis Tridentino, & Brixienfis. | Paulus Caligopceus dedicauit. | [woodcut of circular labyrinth] | Venetiis apud Hieronymum Scotum | [rule] | MDLIIL.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [I] T-XXXI [XXXH]. Signature title Motetti del Laberinto a quatro. Signatures A-D*; A-D*; A—-D*;, A-D*. Signed Ajj, $2: title pages unsigned.

Headline Clemens XII CANTVS [no voice designation on verso] Technical Notes Music font I]; Text font ItalicI; Initials Small Bible; White floral I; Centaurs; Putti; Ghosts; Watermarks Crescent with star; Printed area Title page 13.8 x 15 cm; Music page 13.6 x 18.5 cm.

Table of Contents [p. XXXII; lacking in T] TAVOLA DELLE MOTETTE [sic] DEL LABERINTO. | [contents listed] | FINIS.; Italic, alphabetical.

Contents

1. I Tristitia et anxietas Clemens!

II II. Sed tu Domine qui non derelinquis ,

2. V Verbum caro factum est Thome Cricquillonis! 3. VI Quis dabit mihi pennas Thome Cricquillonis! 1. Attribution found in ATB.

466

No. 134—1554

4. VIII Cor mundum crea in me Deus Thome Cricquillonis! 4 II. Averte faciem tuam

5. X Exaudi Domine orationem meam Clemens XI Il. Contristatus sum in cogitatione [3 vv]

III. Deduc me Domine 6.XIIXII Beata es virgo Maria Clemens Il. Ave Maria, gratia plena

7. XV Erravi sicut ovis quae periit Clemens XVI ITI. [sic] Delicta juventutis meae

8. XVII Lapidabant Stephanum invocantem Clemens II. Impetum facerunt

9. XIX Salvator mundi salva nos [no attribution]? II. Suppliciter te petimus 10.XXXX] Lux de coelo adveniens Pet. Manchicourt XXII II. Te expectat chorus angelorum 11. XXIU Delectare in Domino Thome Cricquilloni XXIII II. Et educet quasi lumen

12. XXV Hei mihi Domine quia peccavi nimis Clemens XXVII IJ. Anima mea turbata est valde

13. XXVII Tristitia obsedit me [no attribution}? 14. XXVIII [1I.] Quid igitur faciam

1S. XXIX Verbum iniquum dolosum Clemens*

16. XXX Qualis est dilectus meus Clemens XXX] II. Veni dilecte mi egrediamar

Locations and Notes ** Vienna, Gesellschaft der Musikfreunde. 11.6285 Bound with RISM 1554", 1554!° and C1224 (1554).

Vienna, Osterreichische Nationalbibliothek. SA.76.F.47 See appendix C. Cantus: XVI: Tertia instead of Secunda pars; signed B instead of C.

Altus: XI: in signature Bij “j” upside down.

All parts: pages of last gathering were reversed in forme: XXVIII begins with secunda pars (Anima mea) of previous piece (Hei mihi); next piece (Tristia obsedit me) continues on XX VII, but printer’s leaf refers reader to previous page (XXVI) for rest of piece. Table of contents indicates that Anima mea should be on XX VI.

A copy was once in the Herwart Collection.

Bibliographical Listings and Literature Lincoln, Latin Motet, 769-70; Slim, “Music Library of Hans Heinrich Herwart,” # 90; Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde, 2:5.

Modern Editions Clemens, Opera omnia, 12: nos. 1, 5, 7, 8, and 12; vol. 15: nos. 6, 15 and 16; Crecquillon, Four-Voice Motets: no. 11; Manchicourt, Opera omnia, 6: no. 11.

2. Attributed to Clemens in 1553!°. 3. Attributed to Clemens in 15538 and [15567]. 4. Conflicting attribution to Crecquillon in 1559? and to Clemens in 1553'4 and 1564°.

467

No. 135—1554

«fe 135 Motetti del Laberinto a quatro voci libro terzo 1554!5 See 134.

Title Page CANTVS | MOTETTI DEL LABERINTO, | A quatro Voci Libro Terzo. | SACRARVM CANTIONVM SIVE MOTETTORVM, | THOM CRICQVILLONIS, | CLEMENTIS NON

PAPA, | Aliorumque Preeftantifsimorum Auctorum, | CHORO. | IZLVSTRISSIMI AC REVERENDISSIMI DOMINI, | D[omini] Chriftophori Madrutij S|anctae| R[omanae] E{ccelesiae}]

Cardinalis, Epifcopi, | Principis Tridentino, & Brixienfis, | Paulus Caligopeus dedicauit. | [woodcut of circular labyrinth] | Venetiis apud Hieronymum Scotum | [rule] | MDLIII.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [I] I-XXXI (XXII.

Signature title Motetti del Laberinto a quatro. Signatures A-D’; A-D*; A-D*; A-D*. Signed Aij, $2: title pages unsigned.

Headline Clemens VII CANTVS [no voice designation on verso] Technical Notes Music font fl; Text font Italic I; Initials Small Bible; Centaurs; Dark floral I; White floral I; Ghosts; Watermarks Anchor and circle with star; Crescent and star; Printed area Title page 13.3 x 13.2 cm; Music page 13.4 x 18.4 cm.

Table of Contents [p. XXXII; lacking in TB] TAVOLA DEL LIB. TERZO DEL LABERINTO | [contents listed] |

FINIS.; Italic, in order of appearance. | Contents

lL. W Adjuro vos filiae Jerusalem Clemens IT] II. Dilecte mi apprehendam te

2. Il Confundantur omnes qui me persequuntur Clemens VI IH. Quoniam tribulatio proxima est 3. VII Vidi Jerusalem descendentem de coelo Clemens non Papa

4, VIII Ceciliae laudes celebremus Ant Galli

[IX II. Praeses atrox illi ferrum 5. XI Cognoscimus Domine quia peccavimus Thomae Cricquillonis! XII II. Vita nostra tn dolore

6. XIII Vox in Rama audita est’ Clemens

7. XT Caligaverunt oculi mel Clemens II. O vos omnes qui transitis per viam 8. XVI Gaudent in coelis Clemens IJ. Ideo cum Christo

9. XVIII Fuerunt mihi lachrimae meae Clemens XIX II. Quare tristis es anima mea

10. XX Veni ad liberandum nos Corneli Canis XXI II. Ostende nobis Domine

11. XXII Domine da nobis Cornelij Canis XXII II. Tibi subjecta sit anima mea

1. Attribution found in A and B only. 2. Cantus has “Roma” instead of “rama.”

468

No. 136—1554

12. XXIII Angeli archangeli troni dominationes Corneliy Cants XXV II. Vidi turbam magnam

13. XXVI Ceciliam intra cubiculum Cornelij Canis XXVII II. Cecilia virgo almachium

14. XXVIII Virgo gloriosa semper evangelium Cornelij Canis XXIX I. Cilicio Cecilia membra domabat

15. XXX Clama ne cesses quasi tuba Cornelij Canis* 16. XXX] Sancta Maria succurre miseris* [no attribution] Locations and Notes Vatican City, Biblioteca Apostolica Vaticana. Cappella Sistina 239-42 (11) For a description of the partbooks, see Lewis, Antonio Gardano, 1:152—-53.

** Vienna, Gesellschaft der Musikfreunde. 11.6285 Bound with RISM 1554'4, 1554!® and C1224 (1554).

Vienna, Osterreichische Nationalbibliothek. SA 76.F.47 See appendix C.

All copies: Cantus, Altus, Tenor and Bassus: IJ: Aduiro instead of Adiuro. Cantus, Altus, and Tenor: I] extra A in Ad. Cantus: III: signed A missing instead of Aij; XI: composer name (Crequillon) missing from headline; XIII]: Vox in Roma instead of Rama. Altus and Tenor: XX: C missing from headline Cornelij. Tenor: Ill: extra D in Dilecte; XI: Thomae missing from composer’s name in headline; XVII: signed ...a@ quat. Bassus: X XI: initial O instead of S.

A copy was once 1n the Herwart Collection.

Bibliographical Listings and Literature Lincoln, Latin Motet, 770; Llorens, Capellae Sixtinae codices, nos. 239-42; Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde, 2:5; Slim, “Music Library of Hans Heinrich Herwart,” # 91.

Modern Editions

Voice Motets, 2: no. 5. |

Clemens non Papa, Opera omnia, 9: nos. 6-8; vol. 12: nos. | and 2; vol. 15: nos. 3 and 9; Crecquillon, Four-

__ ste

136 Motetti del Laberinto a cinque voci libro quarto 1554'° The three penultimate motets by Jacquet of Mantua suggest a strong Mantuan connection for the series. Two of them are celebratory works. Hesperiae ultimae commemorates the visit of Philip IT to Mantua in January 1549 (Dunning, Staatsmotette, 265—67), and Dum vastos Adriae fluctus pays homage to Josquin as well as to the city of Mantua (Dunning, “Josquini antiquos, Musae, memoremus amores ). For more details about the series see 134. The copy in Munich, Bayerische Staatsbibliothek is not listed in RISM.

Title Page | CANTVS | MOTETTI DEL LABERINTO, | A Cingue Voci Libro quarto. | Sacrarum cantionum

fiue Motettorum, | THOMA! CRCQVILLONIS, [sic] | CLEMENTIS NON PAPAE, | Alioru[m]q[ue] Praftantifsimoru[m] Auctoru[m], | CHORO. | ILLVSTRISSIMI AC REVERENDISSIMI DOMINI, | Domini) Chriftophori Madrutij S[ancta] Rjomanae] E{cclesiae}]

3. Conflicting attribution to Benedictus in 1547° and 1559? (Clama ne cesses et annuntia), and to Canis in 1548?

and 1554', 4. Headline: Canon: “Si ascendero in coelum tu illic es, Si descendero in Infernum ades.”

469

No. 136—1554

Cardinalis, Epifcopi, | Principis Tridentino, Et Brixienfis, | [woodcut of circular labyrinth] | Venetiis apud Hieronymum Scotum | [rule] | MDLIIII

Collation and Headline 5 volumes in quarto oblong; 16 leaves, pp. [I] T]—-XXCXT [XXX]. Signature title Motetti del Laberinto a Cinque. Signatures A—D*; I-M*; E-H*; N—Q*; R-V‘*. Signed Aj/, $2: title pages unsigned.

Technical Notes , Headline Clemens V QVINTVS [no voice designation on verso]

Music font II; Text font Italic I; Initials Small Bible; Ghosts; White floral I; Watermarks

Crown with trefoil; Crown without trefoil; Two crossed arrows with crown; Printed area Title page 13.7 x 14.7 cm; Music page 13.5 x 18.4 cm.

Table of Contents [p. XXXII] TAVOLA DEL QVARTO LIB. DELL’MOTETTE DEL LABERINTO, | [contents ~ listed] | FINIS.; Italic, in order of appearance. [ATBS: “. .. DELLI MOTETTI DEL” ]

Contents

!.IllIIII. Solve Avevincla maris stella Clemens reis [3 vv] Hil III. Virgo singularis

2. V Sancta Maria succurre miseris Clemens 3. VI Sana me Domine & sanabor Clemens Vil If. Omnia judicia tua 1usta sunt

4. VIII O virgo generosa [5: Sancta Christina ora pro nobis} Cricquillonis IX II. O virgo felix [5: Sancta Christina ora pro nobis]

5.xX Mane nobiscum Domine Cricquillon IJ. Et intravit cum illis

6. XII Venit vox de coelo Clemens

Respondens miles 7.XII XIIT.Creavit Deus hominem Clemens XV II. Crescite et multiplicamin1

8. XVI Ne projicias me in tempore Cricquillon XVII II. Annos aeternos in mente habeam

9. XVIII Nihil proficiet inimicus in co Cricquillon XIX II. Et concidam a facie eius

10. XX Memento salutis auctor Cricquillon XXI II. Maria mater gratiae

11. XXII O constantia martyrum laudabilis Cricquillon XXIII If. Nobis ergo petimus 12. XXV Rex Babilonis venit ad lacum Tachet da Mantua 13. XXVII Hesperiae ultimae invicto regi Iachet da Mantua

AXXVI II. Tune ait rex : XXVIII IJ. Philippe te discedente

14. XXIX Dum vastos Adriae fluctus rabiem Jachet da Mantua 15. XXIX [II.] Josquini antiquos musae memoremus

16. XXX] Hic est beatissimus Hippo. Ciera Locations and Notes ** Chantilly, Bibliotheque du Musée Condé. (5) Munich, Bayerische Staatsbibliothek. (STBS) Tresor 4° Mus. pr. 59554/13

, 470

No, 137—1554 See appendix C.

Regensburg, Proskesche Musikbibliothek. (STB inc. 5) B.128 Original binding missing; leather tabs; Bassus lacks second gathering (pp. 9-16).

** Vienna, Gesellschaft der Musikfreunde. Bound with RISM 1554"*, 1554'°, and C1224 (1554).

Vienna, Osterreichische Nationalbibliothek. SA.76.F.47 All copies: Cantus: title page CRCQVILLONIS instead of CRICQVILLONIS [correct in other partbooks]. Altus: XVII: signed G instead of L. Bassus: [X: signed K instead of O. Quintus: tavola: LIB. DELLI misaligned.

Bibliographical Listings and Literature Bayerische Staatsbibliothek, Katalog; Lincoln, Latin Motet, 770-71; Mandyczewski, Geschichte der K. K. Gesellschaft der Musikfreunde, 2:5; Dunning, Staatsmotette, 265-67; Dunning, “Josquini antiquos, Musae, memoremus amores.”

Modern Editions Clemens non Papa, Opera omnia, 13: no. 1; vol. 14: no. 6; vol. 15: nos. 2, 3, and 7; Bernet Kempers and Maas, De Leidse koorboeken codex A: no. 10; Dunning, Vier Staatsmotetten: no. 13.

a

137 Rore and Jacquet, Sacri et santi salmi di David a quatro voci 1554!” As the title page states, this liturgical publication contains psalm and Magnificat settings by Rore and Jacquet for three Vespers services. The Rore psalms are intended specifically for the second Vespers of Christmas. While Jacquet’s settings account for two-thirds of the edition, pride of place is reserved for Rore’s five psalms and Magnificat settings at the front of the volume. Both Rore and Jacquet follow the sixteenth-century convention of setting every other verse of the psalm text in polyphony (in this case the odd-numbered), leaving the alternating verse to be sung in chant. Each polyphonic strophe begins with a chant incipit, placed in brackets in the contents. If the formulaic “Nuovamente post’in luce”’ is to be believed, then Rore’s liturgical pieces were printed here for the first trme. Most of the Jacquet psalms, however, first appeared in Gardano’s wellknown edition, Di Adriano et di lachet. I Salmi appertinenti alli Vesperi per tutte le feste dell’anno, parte a versi, & parte spezzadi (1550'), where all the psalms in the first Vespers group (nos. 7~11) occurred in alternation with even-numbered verses set by the composer or by Willaert. The Gardano edition also included nos. 17 and 19 from the second vespers group in a section devoted only to oddnumbered verse settings. Merulo reprinted the Scotto edition in 15707.

Title Page TENOR | I SACRI ET SANTI SALMI DI DAVID PROFETA, | Che fi Cantano nella Santa Romana Chiefa all’hora | di Vefpero, in Canto Figurato. | Compolti da li Eccellentifsimi Mufici, | CIPRIANO RHORE, E IACHET DA MANTOA. | CON LI SVOI MAGNIFICAT. | A VNO CHORO. | A VERSI A QVATRO VOCT, | Nouamente Post’in Luce & Con Somma | Diligentia Stampati & Corretti. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum | [rule]

| MDLII Collation and Headline 4 volumes in quarto oblong; 14 leaves, pp. [J] II-XXIX [sic]. No cantus, altus, or bassus partbook is known to survive.

Signature title none. Signatures (T) A—C *D?. Signed Ajj, $2 (A-C). $1 (D);: title page unsigned.

Headline recto: Ciprian Rhore Il TENOR

verso: PRIMI TONI Ciprian Rhore II Vefper primo 47]

No. 137—1554

Technical Notes Music font II; Text font Italic I; Initials Ghosts; Centaurs; White floral I; Plain Roman; Small

Bible; Dark floral I; Watermarks Ox head with star; Anchor and circle with star; Printed area Title page 13 x 14.7 cm; Music page 13.8 x 18.5 cm.

Table of Contents p. XXIX [sic] TABVLA DI SACRI ET SANTI | Salmi di Dauid propheta. Che fi cantano | ne la Romana Chiefa. | FINIS.; Italic, in order of appearance.

Contents 1. I [Dixit Dominus] Sede a dextris Primi toni. Vespero primo Ciprian Rhore

2. I [Confitebor tibi] In consilio justorum Septimi toni Ciprian Rhore

3. III [Beatus vir] In mandatis eius Septim: toni Ciprian Rhore

4.V (De profundis clamavi] Domine exaudi Quarti toni Ciprian Rhore 5. VI [Memento Domine David] Et omnis Octavi toni Ciprian Rhore

6. VII [Magnificat] Et exultavit Ciprian Rhore

7. XI [Dixit Dominus] Sede a dextris meis Jachet da Mantoa 8. XIII [Confitebor tib1] In consilio justorum Iachet da Mantoa

9. XIIII [Beatus vir] In mandatis eius Iachet da Mantoa

10. XVI {Laudate puer1 Dominum] Laudate nomen Domini Iachet da Mantoa

11. XVII [Laudate Dominum omnes] Laudate eum Iachet da Mantoa

12. XVII [Magnificat] Et exultavit Iachet da Mantoa 13. XX [Dixit Dominus] Sede a dextris mets Vespro secondo Jachet da Mantoa

14. XX] {Confitebor tibi] In consilio justorum Jachet da Mantoa

15. XXII‘ [Beatus vir] In mandatis eius Iachet da Mantoa | 16. XXIII [Laudate pueri Dominum] Laudate nomen Domini Iachet da Mantoa

17. XXIII [Laudate Dominum omnes] Laudate eum Iachet da Mantoa

18. XXIIY [Credidi propter] Ego autem humiliatus sum [achet da Mantoa 19. XXV__ [In convertendo Dominus] Facti sumus sicut Iachet da Mantoa

20. XXVI_ [Beati omnes qui timent Dominum] Qui ambulant Iachet da Mantoa

XXVII FINIS.

Locations and Notes London, British Library. (Y) A.70.p Tenor: XVIII instead of XVI.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:306; Squire, Catalogue of Printed Music... British Museum, 2:429; Rore, Opera omnia, 8:1X—X.

Modern Editions Rore, Opera omnia, 8: nos. 1-6; Willaert, Opera omnia, 8: nos. 7-11, 17, and 19.

__sfe

138 Phinot, Sacri et santi salmi di David a quatro voci (1554) Scotto brought out the earliest extant and probably the first edition of Phinot’s psalms in the same year as the collection of psalm settings by Rore and Jacquet of Mantua. As was common for the period, Phinot set every other stanza of the psalm texts (i.e., the odd-numbered strophes), which were

then performed in alternation with the even-numbered strophes sung in chant. The psalms are arranged liturgically, as stated on the title page, into three Vespers, the last of which 1s the Marian Vespers. The polyphonic settings of Dixit Dominus and Laudate pueri Dominum for the first and third 472

No. 138—1554

Vespers are identical. The volume concludes with a Magnificat setting, which is intended to go with the third Vespers. Scotto and Gardano issued separate editions in 1555 (P2022 and 144). Both of them contain two additional Magnificat settings. Gardano published another edition in 1563 (P2023). The present edition is not listed in RISM.

Title Page CANTVS | I SACRI ET SANTI SALMI DI DAVID PROFETA, | Che fi Cantano nella Santa Romana Chiefa all’hora | di Vefpero, In Canto Figurato. | Compofti da lo Eccellen[te] Mufico, | DOMINICO PHINOT, | A VNO CHORO. | A VERSI A QVATRO VOCTI, | Nouamente Poft in Luce & Con Somma | Diligentia Stampati & Corretti. | [woodcut of circular labyrinth] | Venetiis apud Hieronymum Scotum | [rule] | MDLITII

Collation and Headline 4 volumes in quarto oblong; 12 leaves, pp. [I] II-X-XIIIL.

Signature title Psalmi di Dauid a quatro Signatures A-C*; A-C*; A-C*; A-C*; Signed Aii, $2: title pages unsigned.

Headline PRIMI TONI Vespero primo Dominico Phinot Il Technical Notes Music font Il; Text font Italic I; Initials White floral IJ; Dark floral I; Plain Roman; Watermarks Ox head with cross; Printed area Title page 13.7 x 12.6 cm; Music page 13.5 x 18.6 cm.

Contents 1. Il [Dixit Dominus] Sede a dextris Primi Toni Vespero Primo Dominico Phinot 2. Il [Confitebor tibi] In consilio Tertii Tont 3. V [Beatus vir] In mandatis Secundi Toni 4. VI [Laudate puer!t Dominum] Laudate nomen Domini Octavi toni

5. IX [Laudate Dominum] Laudate eum , : Secondi Toni 6. IX [Dixit Dominus]Sede a dextris Primi Ton Vespero Secundo Dominico Phinot 7. XI [Confitebor tibi] In consilio Secondo Tom 8. XII |Beatus vir] In mandatis Tertii tom 9. XIII [Laudate pueri Dominum] Laudate nomen Quarti ton1

10. XVI [Laudate Dominum] Laudate eum Quinti toni

11. XVI [Dixit Dominus] Sede a dextris Primi toni Vespero terzo | Dominico Phinot della Madonna

12. XVIII [Laudate puer1 Dominum] Laudate nomen Octavi toni 13. XIX {Laetatus sum] In nomen Domini Primi toni 14. XXI___s[Nisi Dominus] In vanum laboraverunt Octavi toni 15. XXII [Lauda Jerusalem] Lauda Deum Tertii toni

16. XXIII [Magnificat] Et exultavit Quarti toni Vespero terzo Locations and Notes Bressanone, Priesterseminar. XXJ.L.\1 (3) For a description of partbooks see Lewis, Antonio Gardano, |:131.

Bibliographical Listings and Literature Lewis, Antonio Gardano, 1:131.

473

No. 139—1555

— 1555 —

139 Berchem, Primo libro de gli madrigali a quatro voci B1978 (1555) Berchem dedicated his edition to Andrea Marzato, a Neapolitan gentleman who was governor of Monopoli in 1543. Larson (“Unaccompanied Madrigal in Naples,” 248-49) suggests that in the early 1550s Berchem might have served as choirmaster of the cathedral of Monopoll. An examination of the typography reveals that the Berchem publication was not actually printed by Girolamo Scotto, even though his imprint and printer’s mark appear on the title page. The music and text fonts and the woodcut initials used in the present edition belonged to Francesco Rampazetto, who had a strong connection with the Scotto firm during this period (see 149 and chapter 9). Gardano reprinted the edition in 1556 (B1979). The RISM listing of a 1560 edition printed by Scotto (B1980) is an error.

Title Page CANTVS | JE PRIMO LIBRO | De gli Madrigali, A quatro Voci, | DJ [ACHET BERCHEM, | PER LVI COMPOSTI NOVAMENTE, | ET GON [sic] OGNI DILIGENTIA | STAMPATTI. | [pr. mk.

Peace I] | VENETIIS, | Apud Hieronymum Scotum. |MDL V.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [i-ii] I-XXX.

Signature title none. Signatures A—-D*; I-M*; E-H*; N-Q*. Signed Bij, $2: title pages unsigned.

Headline lachet Berchem A quattro voci I CANTVS Technical Notes Music font Rampazetto; Text font Rampazetto; Initials Rampazetto; Watermarks Anchor and circle with star; Printed area Title page: 12.3 x 13.8 cm; Music page: 13.2 x 19.5 cm.

Table of Contents ! p. XXX] [sic] [B only] TAVOLA DELLI MADRIGALI| DI IACHET BERCHEM, A QVATTRO VOCI. | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication [p. un] AL MOLTO MAGNIFICO | ET VERTVOSISSIMO SIGNOR | IL S[IGNOR] ANDREA MARZATO | GENTILHVOMO NAPOLITANO. | GIACHET BERCHEM S. | [woodcut LJE vertu voftre a cui o poche o null’altre s’agguagliano vertuofifsimo Signor mio, Accom= | pagnate con vn profundo mare di quella cordiale amoreuolezza laqual fempre m’hauete | moftrato m’ha {pinto ch’io douendo cacciar in luce quefta mia operetta di madrigali fef= | fe {celta di voi piu tofto che d’altro, Non che ve ne giudicaffe degno, per che non la riputo | tale che pofs’arriuare alla grandezza del fano giudicio voftro, ma che accompagnata da | le vertu voftre giuntamente potra con maggior fidutia peruenire nelle mani delli huomini pregandoui quan= | to pofso che con quella amoreuolezza di cuore l'accettate con laquale io ui la dono. E ui bafcio le mani.

Contents |

1. I Cogliete de le spine homai le rose 2. II Io non saprei mai dir di che mi doglio 3. Ill Voi pur odite & me tra quell’ahi, lass1 4. Ill Io mi sento per voi nel gran martire

5. V Se la mia donna miro

6. VI Nasce dal pensier mio tanta dolcezza 7. Vil Chiunque ’n petto d’amoroso foco 8. VIII Sol d’una pensa, e se medesmo oblia 474

No. 140—1555

9. IX Glorioso pastore

10. X Occhi piangete e tu rima dolente

11. XI Deh perche cosi presto

12. XI Hor vedi amor che giovinetta donna

13. XIll Al piu chocente raggio in gremb’assiso

14. XII Si vario °] mio pensiero

15. XV Non muto qualita s’10 muto stanza 16. XVI Donna se voi volete io voglio anch’io 17. XVII Vago augelletto che cantando vai

18. XVIII Giovene donna sotto un verde lauro :

19. XIX O dolci sguardi o parolette accorte 20. XX Ben mille volte al ciel quest’occhi giro 21. XXI A qualunque anima |’alberga in terra Sestina del Petrarcha XXII II. Et io da che comincia la bell’alba XXIII III. Quando la sera scaccia il chiaro giorno

XX IV. Non credo che pascesse mai per selva

XXIII V. Prima, che 1 torni a vo lucenti stelle XXV VI. Con lei foss’10 da che si parte il sole 22. XXVI Visto ho piu volte in un soffiar di vento 23. XXVII Quando fra \’altre donne ad hor’ad hora 24. XXVIII Alma diletta sposa 25. KXIX Non vidde il sol giamai cosa piu bella 26. XXXI [sic] Dolor c’hai fatto del mio pett’albergo

XXXI [SAT:] I/ fine delli Madrigali di lachet Berchem. Numero. 31

Locations and Notes London, British Library. (STB) A.45.d Bassus: Last gathering (Q) bound as follows: XXVIII; XXVIII; XXIX, XXXII [sic], XXIII; XXII, XXV, XXVI.

** Szombathely, Katolikus Egyhazmegyei Konyvtar. (B) Valladolid, Archivo de la Catedral. All copies: All parts: XXXI instead of XXX. Cantus: |: signed A 1i instead of A ij; XXVI: initial V upside down.

Bibliographical Listings and Literature Anglés, “El Archivo ... Valladolid,” 99; Squire, Catalogue of Printed Music... British Museum, 1:143; Nuovo Vogel #329.

Modern Editions Einstein, /talian Madrigal, 3: no. 16.

te 140 | Gero, Motetti a cinque voci, libro primo G1625 (1555) The dedication reveals that Gero did not publish his own motets. Instead, Pietro d’ Arezzo, a singer at St Mark’s, sponsored this volume and probably Gero’s second book (141). Pietro entered the choir at St. Mark’s in 1547, where he remained until 1558 (Ongaro, “Chapel at St. Mark’s,” 164-65 and 511). By 1561 he had joined the papal choir in Rome (Glixon, ‘Musicians’ Union,” 401). Pietro dedicated the book to Pietro Antonio Sanseverino, prince of Bisignano in Calabria. Sanseverino led troops against the French in 1528. He lived in Naples, where during the uprising of 1547 he was pro-

viceroy (Larson, “Unaccompanied Madrigal in Naples,” 226 n. 132). In his dedication, Pietro d’ Arezzo refers to Gero as former maestro di cappella of Sanseverino. He also indicates that Gero

475

No. 140—1555 was his preceptor, stating that the composer gave him a good part of his music to print (“ad ogni mio arbitrio’).

Title Page BASSVS | MOTETTI | A Cinque Voci, Libro primo | Compofti da Ian Gero, | Mufico eccellfentiss1]™° | NOVAMENTE POSTI IN LVCE | DA LI SVOI PROPRII ORIGINALI | CORRETTI ET STAMPATL. | [pr. mk. Fame IIT] | Venetiis apud Hieronymum Scotum. | [rule] | MDLV

Collation and Headline 5 volumes in quarto oblong; 16 leaves without pagination or foliation, numbered by piece. No cantus, altus, or tenor partbook is known to survive.

Signature title none. Signatures (B) A-D*;(5) A-D*. Signed Aii, $2: title pages unsigned. Headline none; [in margin before first staff:] I | BASSVS | A Cinque Voci.

Technical Notes Music font IJ; Text font ItaliclI; Initials Small Bible; Centaurs; White floral I; Ghosts; Putti; Watermarks Castle; Anchor and circle with star; Printed area Title page: 13.8 x 15.6 cm; Music page: 13.5 x 19 cm.

Table of Contents |f. 16°] TABVLA DE LI MOTTETI A. 5. DITOAN GERO, | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication (p. li] ALL ILL[USTRISSI\"”"" ET ECCLELLENTISSI\""° SIGNOR, | il Signor Pietro Antonio Sanferuerino, [sic| principe di | Bifignano Pietro d’Arezzo cantor | de Santo Marco. | [woodcut

H|AVENDOMI il famofo Mifser Giouan Giero, gia maestro di cappel- | la di V{ostra] Ecc[ellentissima) S|ignoria] liberamente donato una buona parte della sua mufica, da far iftam| pare ad ogni mio arbitrio, mi parrebbe di mancar a lui, & a me, uolendola mandar | in luce, s’io non l’honorafsi con l’autorita, & grandezza dell’honoratifsimo & | famofifsimo nome di quella alla quale, & per accrefcere splendore alle cofe di efso | M{esser| Giouan Giero mio preceptore, & per far fapere al mondo, che merce di V[ostra] Illustriss[ima] S{ignoria] mi | e ftato concefso d’efsere nel numero de gl’intimi Seruitori fuoi, ho uoluto dedicarle il prefente libro di | mottetti a cinque uoci, fupplicandola humilmente, che uoglia degnarfi di accettarla in fegno dell’a= | more & feruitu mia uerfo di lei la qual cofa efsendo per far teftimonio al mondo ch’io receuo lume | dal lucenti{simo nome fuo, l’accettaro per maggior beneficio di tutti gli altri grandifsimi da lei

riceuu= | ti, alla cui buona gratia, humilmente baciandole l’honorata mano: di continuo mi raccomando. | Di Veneggia a di. 20, di Aprile. 1555.

Contents

li Tanto tempore vobiscum sum 2. Il Apparuit suo caro Joanni

Ill II. Cunque complexet a preliis cursu 3. Hl O proles Hispanie pavor infidelium

4. V Audite omnes clamorem meum

VI II. Justus est Domine & rectum judicium tuum

5. VII O Petre martir’inclite

6. VIII O Toma didime per Christum

7. IX Gloriose pater o vincenti 8. X Beati estis sancti Dei omnes

9. XI Filie Hierusalem venite & videte XII II. Quoniam confortavit seras 10. XIII Orabat sanctus Benedictus 476

No. 141—1555

ll. XI Surge Petre & indue te vestimentis tuis

XV II. Angelus Domini astitit

12. XVI Deus qui beatum Marcum

13. XVII O virgo maxima prestans gloria 14. XVIII Ascendens Christus in altum XIX II. O rex glorie Dominus virtutum 1S. XX Beatus Laurentius clamavit & dixit

XX] IJ. Mea nox obscur non habet 16. XXII Perfice quesumus Domine 17. XXIII Puer qui natus est nobis XXIII II. Hic est precussor dilectus

18. XXV O decus ecclesie pie rex francorum

Locations and Notes ** Barcelona, Biblioteca Central. (T) ** Budapest, Liszt Ferenc Zenemtveszeti Fdiskola Kényvtara. (B) ** Cracow, Biblioteka Jagiellonska. (T, 5 inc.) (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. G 440/20 Quintus: lacking first two gatherings (A and B).

London, British Library. (B, 5 inc.) A.210.b Quintus: lacks XIII-XXV (contains first 2 gatherings only) ; V instead of II; II instead of V. Bassus: bound in original vellum covers; XX: last note corrected by hand to G; XXII: signature Dui above lowest staff.

Bibliographical Listings and Literature Squire, Catalogue of Printed Music... British Museum, 1:510; British Union Catalogue, 371.

__ate

141 Gero, Motetti a cinque voci, libro secondo G1625 (1555) The similarity in the wording and style of the title pages, headings, and signature suggest that the Libro secondo was printed at the same time as the Libro primo. The dedication found in the first book (140) should then apply to the second book as well. No other edition of this work is known.

Title Page BASSVS | MOTETTI | A cinque voci, Libro Secondo | Compofti da Ian gero, | Mufico Eccellentifsimo. | NOVAMENTE POSTI IN LVCE | DALI SVOI PROPRIT ORIGINALI | CORRETTI ET STAMPATI. | [pr. mk. Fame III] | Venetiis apud Hieronymum Scotum. | [rule] | MDLV

Collation and Headline 5 volumes in quarto oblong; 16 leaves without pagination or foliation, numbered by piece. No cantus, altus, tenor, or quintus partbook is known to survive. Signature title none. Signatures A—D*. Signed Aii, $2: title page unsigned.

Headline none; [in margin before shortened staff:] 1 | BASSVS | A Cinque Voci.

Technical Notes Music font I]; Text font Italic J; Initials White floral I; Ghosts: Centaurs; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page: 13.8 x 12.5 cm; Music page: 13.7 x 19.5 cm.

Table of Contents [p. 32] TAVOLA DELLI MOTETTI DE | Ian Gero, A Cinque Voci.; Italic, alphabetical. 477

No. 141—1555

Contents

1. O crux gloriosa

2 IJ. Adoremus crucis signaculum

2. 3 Angelus Domini descendit de ceelo

4 II. Angelus Domini locutus est mulieribus

3. 5 O pastor eterne o clemens et bone custos

4. 6 Benedic Domine domum istam 7 II. Domine si peccaverit in te

5. 8 Feltx Thomas doctor ecclesiae

9 II. Scandit doctor civis coelestium 6. 10 Nove laudes adest festivitas } 11 IJ. O Anna felix domina

7 12 Isti sunt sancti qui non inquinaverunt 13 II. Hi sunt qui cum mulieribus 8. 14 Isti sunt sancti qui pro amore Christi 9. 15 Deus tuorum gloria sacerdotum

10. 16 Hodie gloriosa virgo

17 II. Regina coeli hodie de terra ll. 18 Orabat sanctus Hipolitus voce magna

12. 19 Inclita sancte virginis Chaterine solemnia

13. 20 Sicut rosa inter spinas 21 II. Ave decus virgineum 14. 22 Memor esto verbi tut

(II. Cantabiles mihi erant]}

23 III. Portio mea Domine 15. 24 Pulcra facie sed pulcrior fide

25 Il. Specie tua & pulcritudine tua 16. 26 Beatam familiam beati Augustini

17.2827 Caro mea vere est cibus | II. Hic est panis qui de coelo descendit Locations and Notes London, British Library. (B) A.210.a

Bibliographical Listings and Literature Squire, Catalogue of Printed Music... British Museum, 1:510. __sfo__

142 Lhéritier, Moteti de la Fama, libro primo, a quatro voci —1L2316=1555"° As stated on the title page, the motets included in this edition come from several earlier printed sources. Scotto selected works by Jean Lhéritier from books one, two, and nine of Attaingnant’s fourvoice motet anthologies of 1534-35, Buglhat’s 1538 Liber cantus, and Gardano’s Motetti del Frutto of 1539. The motets must have been copied from these publications, since for the most part they were grouped by their sources as follows: nos. 1-3 (1534°), nos. 4~5 (1534%), nos. 6—7 (1535)), nos. 8-12 (1538°), and nos. 13 and 15 (15391), nos. 14 and 16 were presumably taken from 1538° and 1534°. Scotto refers to his device of fame in the title, Moteti de la Fama, as he had done previously in an anthology of madrigals dating from 1548 (72). RISM mistakenly states that the bassus partbook is missing from the unique copy in Bologna, Civico Museo Bibliografico Musicale.

1. This piece does not appear in the bassus partbook, but cited in the table of contents.

478

No. 142—1555

Title Page CANTVS | MOTETI DE LA FAMA, | Libro primo, a quatro uoci, | Compolti da Ioanne Lheritier, | MVSICO ECCELLENTISS[IMO} | RACCOLTI DA MOLTI LIBRI, | GIA STAMPATI, ET ALCVNI ANCHORA | NON PIV STAMPATI. | NOVAMENTE CON DILIGENTIA, CORETTI, | & polti in luce, a comune vtilita di virtuofi, | con la fua Tauola nel fine. | [pr. mk. Fame IIT] | Venetiis apud Hieronymum Scotum. | [rule] | MDLV

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [1] I-XXX [XXXI].

Signature title none. Signatures A-D‘*; A-D‘*; A-D*, A-D*. Signed Aii, $2: title pages unsigned.

Headline IO. LHERITIER J CANTVS Technical Notes Music font II; Text font Italic I; Initials Centaurs; Small Bible; Ghosts; White floral; Watermarks Ox head; Cardinal’s hat; Printed area Title page: 13.8 x 14.4 cm; Music page: 13.3 x 19.2 cm.

Table of Contents [p. XXXI; S only, includes headline: LHERITIER CANTVS] TAVOLA DELLI MOTETI DELLA FAMA, | de IOANNE LHERITIER a quattro voci | Numero. XXVI. | [contents listed] | FINIS.; Italic, alphabetical.

Contents

l. IlJII.Alma redemptoris mater Io. Lheritier Tu que genuisti natura mirante

2. Hl . Angelus Domini descendit de celo Io. Lheritier Ti II. Et introeuntes in monumentum

3. V Beata es virgo Maria Io. Lheritier

4. VII Ave Maria gratia plena Io. Lheritier 5. Vill Virgo Christi egregia pro nobis De comuni unius virginis heritier 6. IX Qui confidunt in Domino Lheritier x Ij. Benefac Domine bonis et rectis

7. XII Nis: Dominus edificaverit domum G. Le Heurteur! XIII II. Cum dederit dilectis suis 8. XV Si bona suscepimus de manu Domini Lheritier XVI II. Nudus egressus sum 9, XVII Benedicat te Dominus in virtute sua Lheritier XVIII II. Benedicite Deum celi

10. XIX Beata Dei genetrix virgo Maria Lheritier’ II. Et beata que credidit

11. XXI Senex puerum portabat Lheritier II. Hodie beata virgo Maria 12.XXII XXIII Salve mater salvatoris Lheritier

13. XXV_ Ave virgo gloriosa Lheritier 14. XXVI QO gloriosa Domina excelsa supra Archadet [sic] XXVII IJ. Tu regis alti ianua

1S. XXVII Ascendens Christus in altum Lheritier XXIX If. Ascendo ad patrem meum

16. XXX Postquam consumati sunt dies octo Lupus 1. Conflicting attribution to Lheritier in 1532'°, 15399, 1539!?, 1564°, and to Le Heurteur in 1535! and 1555'5; no attribution in 1564?. 2. Conflicting attribution to Conseil in 1539!°; no attribution in 1538°.

479

No. 142—-1555

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. S 272 Cantus, Altus, Bassus: XX VI: “Archadet” under initial. Cantus: XXIII: final R missing from heading LHERITIER; XXVI: “donna” instead of domina”; XX VU: initial Q instead of A. Altus: V instead of VII; XXVII: no large initial (smail “a” used); XXIX: no woodcut initial (Roman A instead). Tenor: IIIf: heading G. LE HEVRTEVR; V: LHERTIER under initial; XXII instead of XII; XXIII (Ave virgo) and XXVII (Ascendens) Lhertier under initial; XXVI: Archadet part of heading instead of under initial. Bassus: VI instead of VII; XXIII: heading LHE RITIER; XXVII (Ascendens) “Lheritier” under initial. All parts: XXX: “Lupus” under initial (no ascription in heading).

A copy was once in the Herwart collection.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:161; Lincoln, Latin Motet, 777; Gaspari, Catalogo... Bologna, 2:441—42; Slim, “Music Library of Hans Heinrich Herwart,” #92.

Modern Editions Lhéritier, Opera omnia, 1: nos. 1-13, and 15; Arcadelt, Opera omnia, 10: no. 13; Smijers and Merritt, 7reize livres de motets, 1: no. 16.

__sfe__

143 Perego, Tutti li suoi madrigali a quatro voci P1320 (1555) The composer of this edition might be the Camillo Perego who wrote La regola del canto fermo ambrosiano which was published in 1622 but commissioned by Carlo Borromeo (d. 1584). He is called “uno de’ notari della chiesa metropolitana di Milano” on the title page.! The present edition also places Perego in the Milanese orbit. It was dedicated to Ludovico Marchese Pallavicino, whose father, Pietro, had been protonotary apostolic and councillor of Ludovico Sforza in Milan. In 1550, Ludovico was named by Ferrante Gonzaga one of twenty-five leading citizens of Pavia, where he owned property (Litta, Le famiglie celebri italiane, 4: fasc. 41, tav. 29).

Title Page CANTVS | CAMILLO PEREGO | Tutti li fuoi Madrigali, A quatro Voci | NOVAMENTE DA LVI

COMPOST], | CORETTI ET POSTI IN LVCE. | OPERA NOVA NON PIV VISTA, [ ne piu Stampata. | [pr. mk. Fame I]] | VENETIHIS, | Apud Hieronymum Scotum. | [rule] | M DLV.

Collation and Headline 4 volumes in quarto oblong; 16 leaves without pagination or foliation, numbered by piece.

Signature title none. Signatures A-D*; I-M*; E-H*; E*O-Q*. Signed Aii, $2: title page unsigned.

Headline none; [in margin before first staff:] 2 | CANTVS | A quatro voci

Technical Notes Music font IJ; Text font Italic I; Initials White floral I; Centaurs; Smal! Bible; Ghosts; Watermarks Ox head; Cardinal’s hat; Printed area Title page: 13 x 15.3 cm; Music page: 12.8 x 19.1 cm.

Table of Contents [f. 16°] TAVOLA DELLI MADRIGALI DI { CAMILLO PEREGO, A quatro voci.; Italic, alphabetical.

1. IT wish to thank Bonnie J. Blackburn for this information.

, 480

No. 143—1555

Dedication [p. 2] ALLO ILLVSTRE S{IGNOR] IL S[IGNOR] | Lodouico Marchefe Palauicino. | [woodcut SJOGLIONO il piu delle uolte gli huomini per lafsare memoria d’efsi loro, | ne primi {tudii de larte fua moftrare qualche fegno de frutti raccolti confidando- | fi, in la {cientia fua {ftimando che da dotti non pofsano efsere fe non lodati, per efse- | re natura loro di exaltare l’opera de altri piu che le proprie, & da altri non fi| pofsano tafsare per non hauere cofa alchuna efsi monftrato per quale con giufta | ragione l’altrui errore fcopriano, & pur alla Giornata uedemo gli homini folo | deletarsi uolere fare aperta la fua aftutia con lo emendare I’altrui uitii onde io di quefto temendo mi era | gia refolto non dare al fole cofa mia ma folo feguitar la mia mediocra fortuna, non di meno tanto fono | ftate le amicheuole richiefte, & comandamenti da miei magior che fono ftatto sforzato dare in luce que- | {te picciole fatiche miei, ma perche io cognofco, che di pregio alcuno non fariano ftimate, f[e]guendo il {tile | commune ho uoluto dedicarle. fotto il Generofo f{cuto di Vi ostra| S{ignoria] accio fiano riceputo gratiofamente da | cui alle mani perueranno: ne uoglio eftendermi in confumare tempo come altri fanno recontando le lodi | uoftre poi che alla terra fono

miracolofo & il Cielo fopra diuine gli eftima ma folo mi fia chiaro che | dalla Illuftre S[ignoria|V|ostra] con la folita beniuolentia fiano receuute come io di core gli dono & cofi le lingue | inique [chiferanno, pero che coperto del manto del gloriofo & honorato nome fuo faranno ogni male- | uole dal fuo mal dire cefsare, & io di core le Bafciero le mani: pregando il noftro Signore la conferua. | D{i]| V(ostra] S[ignoria] | Bon feruo | Camillo Perego.

Contents

l, ! Chi potesse sentir alchuna volta 2. 2 In qual parte del ciel in qual idea

3 Il. Per divina bellez’indarno mira 3. 4 Questa mia pur’ & candida colomba

5 II. O parolet’accorte o lieto sguardo 4. 6 ~ Ii bianco gighi’e la vermiglia rosa 5. 7 S’il ciel la terra e gl’elementi ¢ stelle

6. 8 Chi vien ch’alza le cighia 8. 10 L’alma luce divina

7. 9 Franc’e piu di servire | 9. 1] Se per mostrarv’ogn’hor piu crud’& ria 11 If. N’esser potra per forz’o per timore 10. 12 Il dolce son ch’el vostro cor sovente 11. 13 Amor to mojo, ahime chi ti da morte

12. 13 Quando I’alma bellezza’

14 II. Mi vins’il sonno & lo mio spirt’in tanto

13. 15 Degno sarei ch’el mio noioso pianto

14. 16 L’andar accort’el movimento grave : 15. 17 Lasso gia quante volte 16. 18 Saper vorei da te dolce mio cuore

17. 19 Donna quand’ il desire

ig. 19 Donna spietat’& dura 19. 19 Io veggi’apertamente

20. 20 Se l’alme luci o donna anzi due stelle 21. 21) Deh non mostrat’ amore 22. 22 La dolce bell’ & cara bocca dove 23. 23 Il trist’essempio dell’altrui tormento 24. 24 S’io fuss’in cielo fra l’anime beate 24 II. Perche sol contemplando il vostro viso

25. 25 Si come stell’al tramontar del giorno

2. Tavola: “Quando la mia bellezza.”

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26. 26 Occhi seren’ov’ha suo nid’amore 26 IT. O bionde treccie in crespi nod’attorte

27. 27 Amor quando fia mai

28. 28 Occhi piangete & tu rima dolente 29. 28 Non e piu ’| tronco di speranza verde 30. 29 Come la vagh’auror aparir suole Locations and Notes

(starting with 16). See appendix C. |

* Szombathely, Katolikus Egyhazmegyei Kényvtar. (B)

Contains stamp of Bibliotheca Card. Herzan. Top right corner of recto folios written in ink: “tit 7” with folio number

Valladolid, Archivo de la Catedral. All copies:

Bassus: Signature: E instead of N.

Bibliographical Listings and Literature Anglés, “El Archivo. .. Valladolid,” 99; Nuovo Vogel #2178.

af. 144 Phinot, Primo libro di salmi a quatro voci P2022[A] (1555) Scotto published the first edition of Phinot’s psalms in 1554 (138). The next year both he and Gardano brought out two further editions. The two 1555 editions share the same wording in their title pages and the same contents. They differ from the 1554 edition in the inclusion of two additional Magnificat settings. The first Magnificat, where the odd stanzas are set polyphonically, is to be sung in “Tempore quadragesime & adventus.” The second Magnificat contains polyphonic settings of the even stanzas, and is to be perforned at other times (“‘Aliis temporibus”). The third and last Magnificat setting in the edition is the one that appeared in the 1554 edition. The gathering structure of all three

editions is identical (twelve leaves in three duerni). In order to accommodate the two additional Magnificats of the 1555 edition, the Dixit Dominus and Laudate pueri Dominum of the third Vespers,

which are the same as the settings for the first Vespers, are not printed out. Instead, the table of contents refers the reader to the first Vespers for the two psalm settings (nos. I and 4). The chant incipits noted in brackets 1n the contents listings appear in the tenor partbook. RISM mistakenly conflates both 1555 editions by listing the 1555 Scotto edition as a copy of the 1555 Gardano edition under the number P2022. Following Lewis’s lead, I have distinguished between

the two 1555 editions by adding the letter “a” to the RISM number for the Scotto publication. Gardano reprinted these psalms in 1563 (P2023).

Title Page CANTVS | DJ DOMINICO PHINOT, | Il primo Libro, Di Salmi, A quatro voci, |4 VNO CHORO, CON LA GIONTA, | DI DVI MAGNIFICAT, NOVAMENTE | STAMPATO, ET CON SOMMA | DILIGENTIA CORRETTO. | [pr. mk. Fame III] | VENETIIS, | Apud Hieronymum Scotum. | [rule] | MD LV.

Collation and Headline 4 volumes in quarto oblong; 12 leaves, pp. [i] I-XXIIL. Signature title Salmi di Phinot. Signatures: A—C*, G-I’; D-F*. K-M?*. Signed: Aui, $2: title pages unsigned.

Headline Primi Toni. Dominico Phinot. I CANTVS

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No. 145—1555

Technical Notes Music font II]; Text font Italic I; Initials Small Bible; Ghosts; Centaurs; Plain Roman; Watermarks Anchor and circle with star; Printed area Title page 13.2 x 16.2 cm; Music page 13.9 x 19.2 cm.

Table of Contents p. XXIII; INDEX PSALMORVM | Ve/pero Primo | [contents listed] | Ve/pero fecondo | [contents listed] | Vefpro terzo della Madonna | |contents listed, including Dixit Dominus and Laudate pueri

Dominum of Vespro Primo on pp. I and V ] | Tempore quadragefime & aduentus | [first Magnificat listed] | Aliis temporibus | [second and third Magnificats listed]; Italic, in order of appearance.

Contents

1. I [Dixit Dominus] Sede a dextris Primi Toni §$Dominico Phinot

2. Il [Confitebor tibi] In consilio Tertii Toni 3. [Beatus vir] In mandatus Secundi Toni 4. V [Laudate puer1 Dominum] Octavi toni Laudate nomen Domini

5. VII [Laudate Dominum] Laudate eum Secundi Toni 6. VIII [Dixit Dominus] Sede a dextris Primi Toni §Vespero Secundo

7. IX [Confitebor tibi] In consilio Secundi Toni

8. XI] [Beatus vir] In mandatis Tertii toni

9. XIl {[Laudate pueri Dominum] Laudate nomen Quarti Toni

10. XIII [Laudate Dominum] Laudate eum Quinti toni § Vespero Terzo

11. XII [Laetatus sum] In nomen Domini Primi Toni 12. XVI _ [Nist Dominus] In vanum laboraverunt Octavi toni

13. XVII {Lauda Jerusalem] Lauda Deum Tertii Toni

14. XVIII [Magnificat] Anima mea Dominum Octavi toni

15. XIX [Magnificat] Et exultavit Primi toni 16. XXI [Magnificat] Et exultavit Quarti ton! Locations and Notes Bologna, Civico Museo Bibliografico Musicale. U 50 On some leaves the headline is partially missing due to heavy cropping.

The copy once in the Herwart collection was either of the Scotto or Gardano edition of 1555.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:427; Gaspari, Catalogo... Bologna, 2:293; Lewis, “Antonio Gardane and his Publications of Sacred Music,” 537; Slim, “Music Library of Hans Heinrich Herwart,” #103.

_ 145 Ruffo, Motetti a sei voci R3048 (1555) The dedicator, Agostino di Negro Groppalo, undoubtedly financed this edition, as he did Ruffo’s Madrigali a sei a sette et a otto voce (131) and possibly Ruffo’s Madrigali a cinque voci . . . scelta seconda, which is also dedicated to Luca Grimaldi (132). Groppalo might have studied music with Ruffo, since he refers to the composer as “more than a father’ (“mio piu che padre”). As Sherr (Ruffo, Motetti a sei voci, xi) notes, the collection contains an unusually high number of motets based on liturgical texts. Furthermore, s1x motets (nos. 2-4, 10, 11, and 16) have a strict cantus firmus in the sextus part. The liturgical aspect of the motets suggests that they were written for the reform-minded cathedral of Verona. According to Lockwood, Alma civitas laetare (no. 15) is an occasional work

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No. 145—1555

written in celebration of the installation of Luigi Lippomano as bishop of Verona in 1548 (CounterReformation, 42).

Title Page CANTVS | MOTETTI, | A SEI VOCTI, | Compolti da Vincentio Ruffo, | MAESTRO DELLA CAPELLA, | DEL DOMO, DI VERONA, | DEDICATI, AL SIGNOR LVCA GRIMALDI, | NOVAMENTE POSTI IN LVCE | Da li fuoi propriy originali, Corretti, | & Stampati. | [pr. mk. Fame III] | Venetiis apud Hieronymum Scotum. | [rule] | MDLV Altus has: ALTVS | MOTETTTI | A SEI VOCI, | Compolti da Vincentio Ruffo, Maeltro della | CAPELLA, DEL DOMO DI VERONA, | DEDICATI AL SIGNOR LVCA GRIMALDI, | NOVAMENTE POSTI IN LVCE | Da li fuoi propry originali, Corretti, | & Stampati. | [pr. mk. Fame IIT] | Venetijs apud Hieronymum Scotum. | [rule] | MDLV

Collation and Headline 6 volumes in quarto oblong; 16 leaves [6= 14 leaves], pp. [1-11] I-X XIX [XXX] [6: pp. [1-1] I-XXVII [XXVHI]]. Signature title none. Signatures A-D*; A-D*; A~D*; A-D*; A-D*; A-C’D’. Signed Aii, $2: title pages unsigned.

Headline none; [in margin before first stave:] | CANTVS Technical Notes Music font I]; Text fontI; Initials Centaurs; Small Bible; White floral I; Trees; Ghosts;

Table of Contents ,

Watermarks Castle; Printed area Title page: 13.6 x 15.6 cm; Music page: 13.5 x 19.1 cm.

[p. XXX] [6: XXXII] TAVOLA DELLI MOTETTI DI VINCENTIO | Ruffo, a fei Voci. numero 27. | [contents listed] | FINIS.; Italic, alphabetical.

Dedication [p. 1] AL MOLTO MAGNIFICO SIGNOR | Il Signor Luca Grimaldi Padrone mio fempre ofseruandifsimo. | [woodcut E] FORZA molto magnifico Signor mio che l’abondanza del cuore parturifca | gli effetti fuoi, quefto dico, percioche portando io V[{ostra] Slignoria] fempre affifsa nel petto con | quella ofseruanza ch’io debbo mi e ftato necefsario farne a lei, & al mondo chiara | dimoftratione, & quefto e che hauendo con non mia pocha faticha, & induftria, i mot- | teti a fei uoci del mio piu che padre, a V[ostra} Signoria] affetionatifsimo Ml[esser| Vincentio Ruffo, |

infieme raccolti, gli ho dati a gli imprefsori, confacrandoli al felicifsimo nome di quella giudicando | non efser perfona, a chi piu degnamente quefta oblatione dalle man noftre fi conuenifse, fi per li infiniti | meriti fuoi, uerfo di noi, & fi come quella, nella cui bella anima, la imagine della uera harmonia fi uede | {colpita, la prego ad hauer caro il dono, & col dono lo affetionato animo noftro uerfo di lei, ch’altro | non penfa, fe non di fempre honorarla & con quefto facendo fine, le bacio le mano. | D{i] V[estra] S{ignoria] | Seruitor. | Agoftino di Negro Groppallo.

Contents

l. I Noe noe noe puer natus est nobis

2. I Bonitatem fecisti cum servo [6: Lumen ad revelationem]

III II. Expectans expectavi Dominum

3, Tl Te regina viam [6: Te matrem summi patris] Vv IJ. Verum in exilio [6: Te matrem summi patris| 4, VI Gaude mater sanctissima [6: Tibi coelum et terra] Vil I. Has tibi dum canimus laudes [6: Tibi coelum et terra] 484

No. 146—1555

5. VU Andreas Christi famulus IX II. Orabat dum respiceret in celum 6. X Levavi occulos meos in montes

XI II. Dominus custodit te

7. XII Deus in nomine tuo salvum me fac XIII II. Averte mala inimicis meis 8. XIII Asumpsit Jesus Petrum & Jacobum XV If. Dixit autem Petrus Domine 9. XVI Letare mater nostra Hierusalem 10. XVII Multiplicati sunt [6: Parce mihi Domine] XVIII II. Ne avertas faciem tuam [6: Parce mihi Domine]

11. XIX Vidi turbam magnam

XX II. Et omnes angeli [6: Vidi turbam magnam] 12. XXI Pater peccavi in celum & coram te XXII II. Quanti mercenarii in domo patris meis 13. XXII Legem pone mihi Domine

XXII IJ. Averte occulos meos

14. XXV Queramus cum pastoribus verbum incarnatum

15. XXVI Alma civitas laetare

XXVII II. Eia Verona fortunata civitas 16. XXVIII Splendor ecclesie martirum [6: Stephanus martir] XXIX IJ. O felix martir quo duce martirum [6: Stephanus martir]

Locations and Notes ** Aosta, Biblioteca Capitolare della Cattedrale (16) Bologna, Civico Museo Bibliografico Musicale. (6) U 165 ** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. R 845 London, British Library. (olim Wolffheim) Hirsch IIJ.1056 All parts except Sextus: XXII, XXII], XXV: no large initial: first Roman text capital begins text; Tavola: 23: Legem pone mihi Domine and 24: Averte oculos meos lacking. Cantus and Altus: X: initial L tacking. Cantus: Tavola: 23, 24 instead of 28, 29. Sextus: XII (Dixit autem Petrus): no space left for large initial: text begins “xi”; Tavola numbering follows other partbooks.

Munich, Bayerische Staatsbibliothek. (SATBS) 4° Mus. pr. 200/9 See appendix C. All parts: XXTH, XXIII], XXV: no large initial: 1st Roman text capital begins text Cantus and Altus: Tavola: 23: Legem pone mihi Domine and 24: Averte oculos meos lacking. Cantus: X: initial L lacking; Tavola: 23, 24 instead of 28, 29.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:353; Versteigerung Wolffheim, 2:416; Bayerische Staatsbibliothek, Katalog, 13:5515; Gaspari, Catalogo ... Bologna, 2:491; British Museum, Music in the Hirsch Library, 98; British

Union Catalogue, 907; Mischiati, Bibliografia ... dei musicisti veronesi, #360; Lockwood, CounterReformation, 251-53.

Modern Editions Ruffo, Motetti a sei voci.

__sfe

146 Verdelot, Tutti li madrigali del primo & secondo libroa 4 V1234=1555*° The contents and their order are identical with V1231=1545!? and V1232= 1549.3 For more information on other editions and attributions for individual pieces see 14 and 54. 485

No. 146-1555

Title Page CANTVS | VERDELOT | Tutti li Madrigali del primo, & fecondo | LIBRO, A QVATTRO VOCT, | NOVAMENTE RISTAMPATI, ET CON SOMMA | DILIGENTIA CORRETTL | Con la Gionta. | [pr. mk. Fame I] | Venetiis, apud Hieronymum Scotum. | [rule] | MDLV

Collation and Headline 4 volumes in quarto oblong; 24 leaves, pp. [1] I-X LVI [XLVI].

Signature title Madrigali di Verdelot a quatro. Signatures A-F *,; N-S*; G-M‘*; T-AA *. Signed: Ajj, $2: title pages unsigned.

Headline Verdelot Il CANTVS | Technical Notes Music font I; Text font ItalicI; Initials White floral I; Small Bible; Centaurs; Plain Roman; Ghosts; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page: 13.9 x 14.7 cm; Music page: 13.4 x 18.4 cm.

Table of Contents [p. XLVII] TAVOLA DELLI MADRIGALI | di Verdelot Numero LVII; Italic, alphabetical.

Contents See 54.

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. U 314 Cantus: XLII: signature F upside down.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 10:58; Nuovo Vogel #2877; Gaspari, Catalogo. .. Bologna, 3:183.

Modern Editions See 54.

she 147 Volpe, Primo libro de gli madrigali a quatro voci V2558 (1555) Marc’ Antonio Volpe was a friar minor conventual from the town of Matera near Bart. His dedication is addressed to Cardinal Giovanni Michele Saraceno, who was at the time archbishop of Matera and

Aceranza (Alberigo, I vescovi italiani, 221-22). Volpe signs the dedication from Naples. Larson (“Unaccompanied Madrigal in Naples,” 212) suggests that the author of the sonnet that follows the dedication is probably Apollonio Filarete, who was secretary to Pier Luigi Farnese, duke of Castro, Parma, and Piacenza. As stated in the headline of no. 2, the seven oftave that follow contain the “Rime sopra Ruggiero tu m’hai lasciato,” which were elaborations of the stanza from Ariosto’s Orlando furioso (xliv.61) previously set by Maio (Larson, 215-16). Nuovo Vogel lists no. 22 as the seconda parte to no. 23 and places it after the latter madrigal. It also cites no. 17 as the seconda parte to no. 18.

Title Page BASSVS | ZL PRIMO LIBRO, | De gli Madrigali, A quatro Voci, | DE FRATE MARC “ANTONIO {| VOLPE, CONVENTVALE, | NOVAMENTE COMPOSTO | Et dato in Luce. | [pr. mk. Fame

Qi] | VENETIIS, | Apud Hieronymum Scotum. | [rule] |M DLV.

486

No. 147-1555

Collation and Headline 4 volumes in quarto oblong; 20 leaves, pp. [i-1i1] I-XXXVII [XXX VIII]. No cantus, altus, or tenor partbook is known to survive.

Signature title none. Signatures (B) Q-V*. Signed Qii, $2: title page unsigned.

Headline Seconda parte II BASSVS Technical Notes

Music font1; Text font Italic I; Initials Centaurs; Large myth; Ghosts; Small Bible; White floral I.

Table of Contents

Numero. 45.; Italic, alphabetical. [p. XXXVITT] TAVOLA DELLI MADRIGALT, DI FRATE | Marc ’Antonio Volpe, A quatro voci.

Dedication [p. un] ALL ILLVSTRISS. ET REVERENDISS[IMO] | Monfignor Cardinale Saraceno. | [woodcut NJON fi potea quefta mia Mufica, Monfignor ReuverendiB[imo| qual ella fi fia, honorare co’l | titulo d’altri che’l pareffe piu meritare, fecondo il giuditio dell’affettion mia, che con quello | di V[ostra] R[everendissima] S[ignoria] poi che fara piu la luce, che riceuera dal fuo nome, che non la propria, che por | ta feco. & lafciamo che quefta affettione le fia portata com[m]unemente da tutta la patria mia, | fi e la diuotione particolare del petto mio, che benche fi muoua ad adorarui per le ragioni | medef{me, prefume di conofcere i voftri altiBimi meriti, non di quanta grandezza fi fiano, | ma di quanta nobiliBima cortefia fiano anchora adornati. & pero non dubito, che con

lieta | fronte non debba effere accettata quefta noftra fatica. laquale per non effer altro che vnione, & confonanza di voci, | potrete ftimare, che quefto non fia duono ch’io facci per adornare, ma fegno folame[n]te, che cofi ancho la mia lingua, | & l’altre s’accordano in dire qua|n]to fiete degno di tutti honori, come fanno le voci, che fi vnifcono nelli frutti di que | {ta f[cienza. & pero infino a tanto ch’io viuo, non lafciero d’adorarui debitamente, & di inchinarmi tutta via douun | que fi fenta il fuono del nome fuo. Di Napoli il di primo di Maggio del. M. D. LV. | D[i] V[ostra] S[ignoria] R[everendissima] | DeuotiBimo Seruo. | Frate Marc’Antonio Volpe da Matera [p. ui] IL FILARETE ALLI LETTORI.

Ecco lettor in quefte poche carte E terfe le parole in ogni parte.

Di Madrigali un’opra affai gradita, Quanto a l’autor fi deuen lodi, hor penfa, Laqual dimostra quanto tutta unita Che per amor in fi breue uolume Del uario, e dolce canto uoglia l'arte. A tutto il mondo tanto ben difpenfa.

Son quei concetti qui, ch’a rar comparte Miracol é, che da fi picciol fiume

Il Ciel, qui fon le uoci, e l’infinita Vn -acqua nafce fi profonda, e immenfa,

Dolcezza, e’l fuon, che da[n]no a gli huomin uita E da fi poca fiamma un tanto lume

Contents

1. J Signor il grido de l’altier tuo nome

on II. Et oltra la natura

2. Il La figliola d’Amon che piange ogn’hora Rime sopra Ruggiero tu m’hai lasciato

OU Il. Dicea la giovenetta sospirando V III. Pur mi rivolto all’una e l’altra guancia VI IV. Si mt parto poi di lasciarm’hara{[1] VII V. Ahi fortuna crudel non poss’ahime VI VI. Dunque che giov’ingrat’e senza fede IX VII. Deh come del mio mal presaga fui 3. X Jo amai sempre et amo forte ancora Xx IJ. Ma chi penso veder mai tutt’insieme 487

No. 147—1555

4. XI Ahi bella liberta come tu m’hai 5. XI Misero me ch’alle mie spes’imparo 6. XIII Luci sante e beate in cui si ved[e]

: 7. XU Tolta m’e poi di que biondi capelli 8. XIII O crude pene mie 9. XV Dunque. N. mia potrai soffrire 10. XVI O dolce vita mia dolce mio bene

XVI [II.| Ferma ’1 corso crudel

ll. XVII Dolce mio foco e dolci mie ferite 12. XVIUl O saette d’Amor fiamm’e catene

13. XIX Ahi cruda gelosia, cruda mia sorte :

14. XX Non poss’amarte con mio sdegn’e nola 15. XX Quell’occhi dolci e cari ond’usci ’] dardo 16. XX] Tant’in me forz’ha vostro dolce sguardo 17. XXII Deh fugg’il suon fuggi 18. XXIII Lontan dal vostro santo almo splendore

19. XXIII Cosi bram’adempire 20. XXV So ben che voi non sete 21. XXVI Occhi piu che divini

22. XXVI Lasso ben m’haveggio hor con mio gran danno 23. XXVII Partomi donna & a voi lass’il core 24. XXVIII Partomi donna, e pregovi per quelle

25. XXIX Lontano son da voi N. mia 26. XXX Chi vol veder tutta raccolt’insieme 27. XXXI O empia gelosia tniqu’e fella 28. XXXII Resta N. mia non ti turbare 29. XXXII Per debolezza piu non potea gire 30. XXXIII Ella non sa se non invan dolersi

AXXILIT {II.] Cosi cor mio vogliate le dicea

AXXITIHT [III.} Ma poi che ’] mio destino iniquo e duro

XXXV [IV.] A questo la mestissim’Isabella XXXVI [V.] Di cio cor mio nessun timor vi tocchi 31. XXXVI Son figlio a matre senza patre figlio Enigma 32. XXXVI Un bel compass’un scanno con tre piede [8 vv.] Enigma Locations and Notes *Szombathely, Katolikus Egyhazmegyei Konyvtar. (B) On title page: Bibliotheca Card. Herzan.

Bibliographical Listings and Literature Nuovo Vogel #2956; Larson, “Unaccompanied Madrigal in Naples,” 212-26.

fe 148 Jacquet of Mantua, Secondo libro de le messe a cinque voci 1555! Scotto brought out this second book of Masses as a companion volume to the Primo libro, which appeared the year before (124). The identical format and typography of the title pages of both editions not only confirms this intention, but also the possibility that the two volumes were published in close proximity (the first book at the end of 1554, and the second at the very beginning of 1555). For his second book, Scotto evidently did not have enough Masses by Jacquet to fill an entire volume, so he completed the edition with one Mass setting each by Ciera and Rore. (It ts also possible that he had too many of Jacquet’s Mass settings to fit into one volume, thereby creating a set of two books.)

488

No. 149-1556 The two Jacquet Masses were reprinted in Messe del Fiore, Lib. IT of 1561 (196). The Missa Rex Babilonis is based on Jacquet’s motet of the same name. The Rore Mass 1s a parody of the chanson Vous ne l’aurez by Josquin des Prez. |

Title Page CANTVS | IL SECONDO LIBRO. | De le MESSE a Cinque Voci. | Compolte da Iachet da Mantoa. | MVSICHO ECCEL[LENTE]: ET MAESTRO | Della Capella Del Domo Di Mantoa. | Meffa prima sopra. Rex Babilonis. | Meffa feconda fopra La fede unque debbe effer corrotta.

| Meffa Terza fopra Ego fum Ippolito Cyera. | Meffa quarta Cipriano Rhore. a uoci pari | MVSICHA NON PIV STAMPATA | Nouamente Correte & pofte in Luce. | [woodcut of horses and tent] | Venetiis apud Hieronymum Scotum. | [rule] | MDLV

Collation and Headline 5 volumes in quarto oblong; 20 leaves, pp. [i] I-XXXVIT [XXX VUI-XXXIX]. Signature title none. Signatures A-E’; A-E*, A-E*; A-E*; A-E*. Signed Aii, $2: title pages unsigned.

Headline Jacquet fuper Rex Babilonis a cinque | CANTVS Technical Notes Music font IJ; Text font Italic I; Initials White floral I; Centaurs; Ghosts; Small Bible; Watermarks Ox head; Printed area Title page: 12.7 x 12.2 cm; Music page: 13 x 19.1 cm.

Table of Contents [p. XX XVIIT; B: p. XXXIX; lacking in A] TAVOLA DELLE MESSE A CINQVE VOCT| LIBRO SECONDO, ; Italic, in order of appearance.

Contents | 1. I] [Messa] super Rex Babilonis Jacquet 2. VIII [Messa] sopra la fede unque debbe esser corrotta lachet

3. XVI Messa sopra Ego sum qui sum Hipp. Ciera

4. XXVI Messa a voci pari [Vous ne |’aurez] Ciprian Rhore Locations and Notes Bologna, Civico Museo Bibliografico Musicale. S 288 Title page: handwritten: Monasterij [pr. mk.] S. Salvatoris. Altus, Quintus, and Bassus: ”Vus non lares” added to the title of the Rore Mass. Altus: XII: written in ink: music added to Sanctus; XIIT music added. Tenor: signed A instead of Ait. Bassus: I—VII instead of VIHI~XV; signed Aii tnstead of Buti. Quintus: XXX instead of XXIX; XXVIII instead of XXX.

Bibliographical Listings and Literature Gaspari, Catalogo... Bologna, 2:86; P. Jackson, “Masses of Jachet of Mantua.”

Modern Editions Rore, Opera omnia, 7.

— 1556 —

149 Melfio, Primo libro de gli madrigali a quatro voci M2219 (1556) Gioan Battista Melfio was a cleric from Bisignano in Calabria. He signed his first edition, which he dedicated to Cesare Foggia, bishop of Umbriatico, from Naples on 30 September 1555. Foggia is not the only patron honored by Melfio, for according to Larson (“Unaccompanied Madrigal in Naples,” 489

No. 149—1556

226-27), several notable Neapolitans are named in some of Melfio’s madrigals. No. 13 celebrates Pietro Antonio Sanseverino, who led troops in 1528 against the French. Gero’s first book of fivevoice motets of the previous year is also dedicated to Sanseverino (140). No. 10 honors Don Luigi Carafa, count of Aliano, and his wife, Clarice Orsina. No. 6 may be addressed to Isabella Feltre della Rovere, who married Pietro Antonio Sanseverino’s son, Nicolo Bernardin. The appearance of Scotto’s imprint and printer’s mark on the title page of this edition belies the fact that the volume was printed Francesco Rampazetto. One year earlier, the same music and text fonts and woodcut initials were employed for Berchem’s Primo libro (139).

Title Page CANTO | JZ PRIMO LIBRO | De gli Madrigali, A quatro Voci, | DJ DON GIOAN BATTISTA | MELFIO DA BISIGNANO. | [pr. mk. Peace I] | VENETIIS, | Apud Hieronymum Scotum. |

MDL VI.

Collation and Headline 4 volumes in quarto oblong; 16 leaves; pp. [i-i1] I-X XIX [XXX].

Signature title none. Signatures A-D‘*; I-M*, E-H* N-Q ‘4 Signed Aii, $2: title page unsigned.

Headline Melfio a quatro voci I CANTO [no voice designation on verso] Technical Notes Music font Rampazetto; Text font Rampazetto; Initials White floral I; Centaurs; Rampazetto; Watermarks Cardinal’s hat; Printed area Title page 12.5 x 13.7 cm; Music page 13.5 x 19.5 cm.

Table of Contents [p. XXX] TAVOLA DELLI MADRIGALI | DI DON GIOAN BATTISTA MELFIO A QVATTRO VOCI. | [contents listed] | FINIS.; Italic, in order of appearance.

Dedication p. [ii] AL REVERENDISS[IMO] MONSIGNOR CESARE FOGGIA, | DIGNISSIMO EPISCOPO D’VMBRIATICO MIO SIGNORE, | ET PADRONE OSSERVANDISSIMO. | [woodcut NJON hauendo per hora Reuerendif|imo| Monfig|nor] mio altro mezzo di fcoprire al mondo quanto io

fia | obligato ai meriti, alla cortefia, & alle altre rare uirtu fue ui ho confegnato quefte primitie delle mie | giouanili fatiche, accioche quando haurete con le buone parole, & effempi pafciuto il uoftro gregge come | e uoftro folito, hauendo qualche poco d’otio poffiate recreare li gia ftanchi fpirti, afcoltando ouer cantan- | do alcuni di miei muficali concenti, i quali (benche fiano al parer mio) indegni da offerirfi ad un tal pre- | lato che di dottrina, di fplendore, di uirtu e religione haue hoggi | Italia pochi pari. Pur {pero che ac- | compagnati dalla fuifcerata affettione & grandezza dell’animo mio non li faranno men grati che fu al grande Aleffandro | l’acqua, che da quel

pouero ruftico li fu con le concaue mani offerta. Pigliate dunque padron mio con quella deuotione, e | buona uolonta che fe gli offerifce quefto imperfetto parto de la mia mente; a cui ufcendo egli in luce ornato del uoftro hono= | ratiBimo nome, fon certo che fe gli aggiungera forza, uigore, & uita. Iddio noftro Signore ui conferui felice lungamente. | Di Napoli all’ultimo di settembre del 1555. | Di V[ostra] S[ignoria] Reuerendif[ima] | Seruitore Affettionatiffimo | Don Gio[an] Battifta Melfio da Bifignano.

Contents

1. I Gite rime dolenti 2. I Una bella fenice

3. If Ben veggio che per certo

4. Ill Alti desiri e voi sospir ardenti II II. E s’al corso ai pensier tu solo affreni 5. V Da poi che sott’il ciel cosa non vidi 490

No. 150—1556

6. VII Isabella gentil leggiadra e bella 7. VU Laura gentil al cor tengo mai sempre 8. IX Fui d’altr’un tempo hor non son piu soggetto

9. X Padre del ciel dopo 1 perduti giorni x [II.] Piacciati homai col tuo lume ch’io torni

10. XI Copia leggiadr’e bella

11. XI Dolce soave e via d’ogni altra lieta 12. XIII Canzona mia quando inanti sera 13. XIII Non piu s’allegri la superba Roma 14. XV Madonna si m’aggrada vostr’altezza

15. XVI Dunque baciar si belle e dolce labbia XVII II. Se tu m’uccidi e ben raggion che deggi 16. XVIII Splend’in ciel una stella XVIII [II.] A voi perche nel core

17. XIX Se per farmi morire

18. XX I die in guardia a San Pietro

19. XX] Mai piu non vo cantar com’io solea 20. XXII Quand’il soave mio fido conforto 21. XXIII Signor quella pieta che ti costrinse

XXIII IJ. Non si nega signore XXV III. Tu padre ne mandasti 22. XXVI Sia maledetto amore

23. XXVII Impio maligno inexorabil crudo 24. XXVIII Lo strale che talhor 11 cor m1 punge

25. XXIX Chi de cose celest’al mondo cura Locations and Notes

London, British Library. (A) A.289 *Vienna, Gesellschaft der Musikfreunde. I1.17170 (IL.30) All copies: Cantus, Altus, and Tenor: VII, VIE, XV, XXIX: headline... a quatro uoct. Altus, Tenor, and Bassus: XIII instead of XIIII.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:432; Squire, Catalogue of Printed Music... British Museum, 2:117; Nuovo Vogel #1794,

__ ate

150 Ruffo, Primo libro de madrigali a quatro voci a notte negre R3069 (1556) Six editions of this work survive. The first edition appeared as one of the unsigned publications in 1545 (53). Gardano’s edition of 1546 (R3066) became the model for all subsequent editions. The contents and their arrangement in the present edition follows the Gardano edition.

Title Page CANTVS | DI VICENZO RVFFO | Il primo libro de Madrigali, a quatro Voci, | 4 NOTTE NEGRE, | CON LA GIVNTA DI ALCVNI | MADRIGALI, NOVAMENTE POSTI IN | LUCE, ET CON OGNI DILIGENTIA | Riftampati, & Corretti. | [pr. mk. Fame III] | VENETIIS, | Apud Hieronymum Scotum. | [rule] |M D LVI.

Collation and Headline 4 volumes in quarto oblong; 16 leaves without pagination or foliation, numbered by piece. No altus partbook is known to survive. 49]

No. 150—1556

Signature title none. Signatures (S) A-D*; (T) E-H‘; (B) N-Q*. Signed Aii, $2: title pages unsigned.

Headline Vicenzo Ruffo A quatro uoci Libro primo I CANTVS Technical Notes

Music font II; Text font Italic I; Initials Small Bible; Centaurs; White floral II; Watermarks Cardinal’s hat; Printed area Title page 13.7 ILLVSTRISSIMO SIGNORE IL SIGNOR: | SCIPION GONZAGA MARCHESE. | [woodcut SJE gli humili voti, non fono [prezzati dalla mae{ta Diuina, mentre | vengono fatti da

mortali, con fede viua, & ardente affetto d’animo, | creder ancho non polffo, che a V{ostra] signoria Illuftrisfima: non debbano | effer care le mie fatiche; benche baffle, & indegne fiano, venendo a | lei, quafi 4 mio deuotisfimo nome, con ogni mio maggior affetto | confecrate. Gia V[ostra] signoria illuftrisfima: nella fanciulezza fua, die- | de femplici, & puri fiori, di quelle {peranze, che puo dare vn’animo | nobilisfimo: & di fangue illuftrisfimo: difcefo: al prefente, ella 629

No. 236—1563 ci ren- | de, non pur fiori, ma frutti di virtt fingulari, effendo ella di cofi eccellenti, & rare doti or| nata, che in lei con [oaue armonia fi vedeno felicemente. La onde mi do a credere, niuna | parte

di virtu, niun frutto di gloriofo ftudio, effer ad altri pit tenuto, che a lei, & {pecialmen- | te di Mufica, effendo. V[ostra] signoria illuftrisfima: delle Mule, & della Mufica ifteffa, al par d’o- | gni loro profeffore quel tanto benemerita che ciafcun fa. Accetti donque. V[ostra] signoria: illu| {trisfima: allegramente quelto mio piccol dono, il quale oltre la grandezza del mio defiderio, | che puo farlo manco indegno, illuftrato da la buona gratia fua, quafi piccola gemma in trafpa- |

rente criftallo ricchiufa, potra parer altrui riguardeuole, & grande. | Di V[ostra] signoria illuftrisfima. | seruitor deuotisfimo: | Francefco Portenaro.

Contents

l. ] Di pensier in pensier di mont’in monte 2. 2 Da bei rami scende 3. 3 Occhi miei ch’in dui fiumi

4, 4 Vota scorza rest’10 4 [II.] Vattene pur cor mio 5. 5 O mio lucente sole 6. 6 Come vagg’augelin ch’a poc’a poco 7. 7 Dolci labr’ov’ Amore 8. 8 Mentre la donna mia 8 If. Amor se mi fai degno

9. 9 Com’a raggi del sole

10. 10 Si fa mio cor sovente fiamm/’e ghiaccio 10 II. S’alteri poi gli gir’altrov’e volge 11. 11 Non mai piu bella luc’o piu bel sole 12. 12 Basciami vita mia basciam’anchora 12 IT. Basciami mille volt’e mill’all’hora 13, 13 Madonna poi ch’uccider mi volete

14. 14 Se mai quest’occhi tra boschetti’o piaggie 15. 15 Pur convera ch’i miei martiri’ Amore

16. 16 Perche l’usato stile

17 II. Vergine bella eletta

17. 18 Nov’Angeletta sovra l’ale’accorta Marc’ Antonio Pordenon

18. 19 Questa luce d’Amor piu che ’! sol chiara 20 II. L’ Alta chiarezza mi solleva ’] core

19. 21 Gia mi trovai di Maggio’una mattina Marc’ Antonio Pordenon 20. 22 O di chiara virtut’albergo vero! [6 vv] Francesco Portenaro

24 II. Cosi lungo le vagh’e fresche sponde [6 vv] 21. 26 Ne si vagh’o sereno °1 ciel anchora” [6 vv] 28 II. Ridon in tant’honor gl’Euganei colli [6 vv] Locations and Notes **Lincoln, Cathedral Library. London, British Library. K.7.b.12

Cantus: 3: headline Alto instead of Canto; 17: headline: “Vergine Seconda parte fi e nel’Alto & nel Tenore a carte 21.

Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 109/3 For a description of the partbooks see Lewis, Antonio Gardano, \:160-61.

1. Headline: Allo Illustrissimo Cardinal il Signor Don Aluigi da Este. 2. Headline: All Illustrissima Signora Leonora da Este.

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No, 237—1563

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:32; British Union Catalogue, 804; British Library, Catalogue of Printed Music, 45:397; Nuovo Vogel #2249; Bayerische Staatsbibliothek, Katalog, 12:5056; Mischiati, Bibliografia... dei musicisti veronesi, #339.

ste 237 Rufilo, Primo libro de madrigali a quattro voci R3090 (1563) Matteo Rufilo dedicated his Primo libro to Giovanni Antonio Carbone, who became marquis of Paduli in 1573 (Larson, ‘Unaccompanied Madrigal in Naples,’ 265 n. 215). Rufilo hoped to acquire a position with Carbone, since he mentions in his dedication that he wishes to serve Carbone as does his dear godfather (compadre), Scipione Agostinio. He signed his dedication from Ariano, the fief of Cesare Gonzaga (see 198) near Salerno. See Larson, 271-75 for more detailed information on the present edition.

Title Page [within a compartment surrounded by monkeys:] CANTO | [below compartment] DI MATTEO RVFOLO | IL PRIMO LIBRO | DE MADRIGALI A QVATTRO VOCI. | NVOVAMENTE DA LVI COMPOSTI | & con ogni diligenza dati in luce. | [pr. mk. Peace I] | IN VENETIA. | Appreffo Girolamo Scotto. | M D LXIIL.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [1, 1] 2-30 [31]. Signature title Matteo Rufolo a 4. Signatures A-D*; Aga—Ddd*; Aa—Dd‘*; Aaaa—Dddd *. Signed Aij, $2: title pages unsigned.

Headline 2 CANTO

Technical Notes Music font II]; Text font Italic I; Initials White floral II; Medium Bible; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 11.9 x 15.5 cm; Music page 11.7 x 19 cm.

Table of Contents [p. 31] TAVOLA DE I MADRIGALI DI MATTEO RVFOLO | A QVATTRO VOCI LIBRO PRIMO. | [contents listed] | IL FINE.; Italic, in order of appearance.

Dedication [p. 1] ALL°>ILL[VSTRISSIMO] SIGNOR IL SIGNOR | GIOVAN’ANTONIO CARBONE. | MATTEO RVFOLO. | [woodcut DJAL primo di, ch’il nome del valor voftro Uluftlrissimo|\ giunfe all’orecchie mie, & che poi da molti affettionati di voi mi| e ftata predicata la rara virtu voftra, e accrefciuto in me tanto il defio d’efferui feruitore, che fpeffo ho penfato tro- | uar’ogni bel modo di poffer feruirui, & honorarui, & venutami l’occafion di darui alcun picciolo pegno della gran| de affettion, che porto alle voftre parti Wlluftre & belle, & cortefe maniere, confortato da quelli, & oltra modo | dal mio Ama[n\tiBimo Compadre Scipion’Agoftinio voftro gia lungo tempo, & hora piu che mai affettionato feruitore, | non ho voluto, che ftia piu a partorir l’effetto del defiderio mio, effend’io chiaramente certificato quanto voi amate, | & hauete in pregio quefta bella {cienza della Mufica: Cofi hauendo voluto mettere in luce la prefente mia operetta di Madrigali a quattro | voci. Ul fecondo frutto gia di quefto mio incolto giardino, l’ho confecrata al voftro nome Illuftre accompagnato dalla nobilta del fan- | gue, da i beni di fortuna, dalle ricchezze del voftro ingegno, & dalla bonta dell’animo, doti gia dal Cielo a voi concedute, fotto la cui pro- | tettione, & difefa,

fe ben'ella non fara degna dell’orecchie altrui, riportando forfe diffonanza alcuna, non fara al manco indegna della gra- | tia voftra, del fauore dell'\lluftre Donna Fuluia di RoBi a voi CariBima Signora, & feliciBima Conforte, & dal maturo poi, & fano | giuditio del voftro illuftriBimo Signor 631

No. 237—1563

Marchefe, da quali nafcera ogni confonanza perfetta. Voi dunque \lluftre Signore accettate | l’opra tanto piu degno di lei, quanto io fono piu indegno d’hauerla compofta. Et pregoui, che non sdegnate per humanita voftra la mia | tanto affettionata, quanto inutile feruitu con quel core, ch’a voi l’apprefento, che s’io potro conofcere, che vi fia accetta, & cara, come | fenza dubio fpero, terro per fermo di non hauer gia mai meglio impiegate le fperanze me. N[ostro]| Slignor] vi profperi felice, ch’io humilmen- | te bacio le mani di V[ostra] S[ignoria] Uluft[rissima] Di Ariano. I di primo Febraio. 1563.

Contents

l. 2 O lieta coppia o ben felici amanti

2. 3 Sant’ Imene ch’il bel vago soggiorno 3. 4 Da poi ch’io venni in quest’alpestra valle 4. 5 Non credo che pascesse mai per selva 5. 6 O che fuoco port’io nella mia vita 6. 7 Cosi privo di ben mi segg’all’ ombra

7. 7 Cercato ho sempre solitaria vita 8. 8 Eterno Idio ch’ad ogni piagg’e valle

9. 9 L’amor m’e dolce et util’e ’] mio danno 10. 10 Alla dolc’ombra de la nobil pianta Sestina 1] II. Vago d’un alt’e faticoso preggio 12 [TII.} Mille lascioli havean le belle fronde 13 [1V.] Sopra ’1 bel verde di novell fiori 14 [V.] Qual meraviglia se mi piacqu’il bosco 15 [VI.] Et hora’il canto el refrigerio e ’]’aura

ll. 16 Perche Philli mi chiami e pot t’ascondi 12. 17 Cossi m1 scherni e cossi tien m’hat lasso 13. 17 Ogni mia speme n’han portat’i venti

14. 18 Fugg’il seren’el verde

15. 19 Ahi cruda gelosia cruda mia sorte : 16. 20 Potess’io almen poi che mi viet’e toglie

17. 2] Quand’io pens’al tormento

18. 22 S’io dissi mai che ’honorata fronde 23 IT. Ma tua belta infinita tanta gioia 19. 24 Per alt’ondoso mar d’aspro tormento 20. 25 Occhi voi che miraste quel bel viso 21. 25 Per inospiti boschi oscuri e densi 22. 26 Valle che spess’al riposar de venti 23. 27 O quante fiate quant’in un’ hora 24. 27 Era la mia virtu quasi smarrita 25. 28 Solo e pensos’in piu deserti campi 29 II. Si ch’io mi cred’homai che monti e piaggie

26. 30 Come s’a mar tranquillo

Locations and Notes *London, British Library. K.7.b.13 On top of Cantus title page: “n° 467” in a 16th-century hand? Cantus: 5 instead of 7; 22: signed E instead of D. Altus: 5 instead of 7. Tenor: 5 instead of 7.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:355; British Union Catalogue, 907; Squire, Catalogue of Printed Music ... British Museum, 2d supp., 68; Nuovo logel #2497.

632

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No. 238—1563

238 Schiavetto, Madrigali a quattro et a cinque voci $1536 (1563) During this time Giulio Schiavetto had an edition of madrigals and one of motets (255) issued by the

Scotto press. He dedicated both to his patron, Girolamo Savorgnano, bishop of Sibenik. The Savorgnans were a feudal family from the Friuli. Girolamo was elected to the Venetian Senate (Pullan, Rich and Poor in Renaissance Venice, 23). He was sent off on military business, and from 1557 until 1573 served as bishop of Sibenik (Croatia). A native of Croatia, Giulio Schiavetto remained in the bishop’s service for a long time, accompanying him to the Council of Trent during

Title Page . its final stages.

[within a compartment surrounded by monkeys:] CANTO | [below compartment] DI M[ ESSER]

GIVLIO SCHIAVETTO. | LI MADRIGALI A QVATTO. [sic] | ET A CINQVE VOCI. |

NVOVAMENTE COMPOSTL, | Datti in luce, & corretti. | [pr. mk. Fame V] (In Vinegia appre[fo Girolamo Scotto. | MDL X Hl.

Tenore: ... LIMADRIGALI A QVATRO...

Collation and Headline 5 volumes in quarto oblong; 12 leaves; pp. [i-1i] 1-22. No bassus or quintus partbook is known to survive. Signature title B: Schiavetto. A 4. A 5.; C: Schiavetto. A5.A4. Signatures (S) AC’; (A) a—c’;

(T) A-C*. Signed Aij, $2: title pages unsigned.

Headline A Quatro. I CANTO [no voice designation on verso] Technical Notes Music font I; Text font Italic I; Initials Large knight; White floral II; White floral J; Calligraphic Gothic; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 13.9 x 15.4 cm; Music page 13.7 x 18.9 cm.

Dedication

[p. uu] ALL’ILLVSTRE ET REVERENDISSIMO MONSIGNOR | GIROLAMO SAVORGNANO, | VESCOVO DI SIBENICO PATRON MIO | OSSERVANDISSIMO. | [woodcut IJLLVSTRE & Reuerendisfimo Signor mio. Non poffendo io negare a molti miei amici,

i quali conti- | nuo mi pregano, & quafi sforzano, di dare alla Stampa aicune delle mie compofitioni, mi fon rifoluto com- | piacerli di quefti pochi Madrigali a quatro, & a cinque Voci, non cercando, ne fperando percio gloria, 6 | laude alcuna, Ul che ho fatto tanto piu volentieri perche con quefto verro anchora a pagare parte del de- | bito, che con V[ostra] Slignoria] Reuerendifima tengo. Lafciando adonque da canto le parti che fi fogliono vfare in | tale dedicationi, folamente la pregaro, che a accettar gli agradi, con quel medefimo animo, che mi tiene | al fuo feruitio, percioche con maggior non poffo defiderare, que[to mio picciol dono. Et io mi sforzero di corrifpondere a tanta | cortefia, con feruirla perpetuamente, con quella affettione & devotione, che fi puo maggiore, & con pregare noftro Signor DIO, | per la fua felicita. Alla cui bona gratia quanto piu poffo humilmente mi raccomando, & bafcio le mani. | D{i] v[ostra] S[ignoria] Illuftre & Reuerendifima. | ObligatiBimo Seruitore, | Giulio Schiavetto.

Contents

l. St Era 71 giorno ch’al sol si scoloraro

2 IJ. Trovamm’amor del tutto disarmato

2. 2 Amor mi spron’in un temp’et affrena 3, 3 Pace non trovo e non ho da far guerra 4 IJ. Tal m’ha’in prigion che non m’apre ne serra 633

No. 238—1563

4. 5 Per pieta de gl’accerbi miei martiri

5. 6 Se ben l’empia mia sorte

6. 7 Quando Ia tromba alla battaglia in festa

, 7. 8 Io non voglio lodar la maraviglia

8 IT. Ma lasso diro ben che m’ha converso

8. 9 Ma ’] temp’e brev’e nostra vogli’e longa 9. 10 La mort’e fin d’una prigion oscura 10. 10 Vedet’occhi quel coll’e chiaro lampo Canzon 1] II. Alme luci beate’al mondo sole 12 III. Ond’io0 tutto m’infuoc’ond’1o tutt’ardo

12 IV. E se poi non piangete io si ne pera ll. 13 Fior ch’all’intatta nev’a i bei ligustri [4 vv]

12. 14 Ahi se da voi lontano [4 vv]

13. 14 O dolci spoglie mentr’il ciel permesse [4 vv] 14. 15 O dolce amore o gioi’alma’infinita [4 vv] 15. 16 Non siate pero timid’e fastose [4 vv | 16. 16 Deh perche vogli’ancho di me dolermi [4 vv] 17. 17 Et oltr’al mio destin’ io ci fui spinta [4 vv] 18. 18 I giuramenti’e le promesse vanno [4 vv] 19. 18 Guardatevi da questi che sul fiore [4 vv] 19 [II.] Cosi fan’ questi gioveni che tanto [4 vv] 20. 20 Fu fors’un tempo dolce cosa amore [4 vv] 21. 20 Quella che fu del secol nostr’>honore [4 vv] 22. 21 Liete piante verd’herbe limpid’acque [4 vv] 23. 22 Amor mia spem’el guidardon [4 vv] 22 IJ. Ahi dispietata morte [4 vv] Locations and Notes

Verona, Accademia Filarmonica. (SAT) N. 79, Il : See appendix C. Cantus: 4 and 8: no seconda parte indication. Altus: 4: no seconda parte indication. Cantus and Altus: 1-12: A 4 instead of A 5 (changed by hand); 13-14: a 4 changed in ink to 5, a 5 changed to a 4.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:16; Turrini, Catalogo... Verona 31; Nuovo Vogel #2588.

fo. 239 Varoto, Missarum liber primus cum sex vocibus V987 (1563) Michele Varoto, a native of Novara, dedicated his first publication to Cardinal Giovanni Morono, who was bishop of Novara from 1553 until 1580. Morono 1s noted for his extreme position on music at the Council of Trent. In 1537/38, while bishop of Modena, he abolished sacred polyphony at the Cathedral in favor of plainchant (Lockwood, Counter-Reformation, 78~79). Varoto’s dedication to the bishop might have helped him in procuring the position of maestro di cappella at the cathedral of Novara, to which he was appointed the following year.

Title Page [within a compartment surrounded by monkeys:] CANTVS | [below compartment] MICHAELIS VAROTI NOVARIENSIS | MISSARVM LIBER PRIMVS | CVM SEX. VOCIBVS. | DE BEATA

VIRGINE. | VOYAY LE TEMPS. | VENI CREATOR SPIRITVS. | PRO DEFVNCTIS. | SANCTA TRINITAS CVM OCTO VOCIBVS. | [pr. mk. Peace I] | VENETIIs | Apud Hieronymum Scottum | M D LXIII.

634

No. 239-—1563

Collation and Headline 8 volumes in quarto oblong; 16 leaves [7, 8= 4 leaves], pp. [1—2] 3-32; [7, 8: pp. [1-2] 3-8].

Signature title Messe a sei. Signatures A-D*. a—-d 4; A-D*; Aa—Dd *; Aaa—Ddd +: Aaaa—Ddda"*; Dd-Dd*, Dd-Dd‘*. Signed Ajj, $2: title pages unsigned.

Headline Miffa de Beata Vergine. 3 CANTVS Technical Notes Music font III; Text font ItalicI; Initials Large knight; Plan Roman; Watermarks Anchor and circle with star; Printed area Title page 12.7 x 15.5 cm; Music page 14 x 19.2 cm.

Dedication [p. 2; S, 7, and 8 only] AMPLISSIMO AEQVE AC ILLVSTRISSIMO D[OMINO] D[OMINO] IOANNI MORONO | SANCTAE ROMANAE ECCLESIAE CARDINALI MERITISSIMO, MICHAEL VAROTVS S[ALVTEM] D[ICIT] P[ILVRIMAM] | [woodcut S]OLE [sic] fublato noctem fore indicebat Heraclitus. ego item (Pater amplifsime) tenebris prope iam obuolutos

profpi- | cio mearum vigiliarum fructus, nifi tibi dicatos expofuero, qui tuarum virtutum dignitatisque f{plendore difcuffis | nebulis, colluftres nos, noftraque, ac, veluti Iupiter ille Homericus, nafcentibus ijs meis foetibus ex vberrimo benefi- | centie, amoris hoc eft erga me tui dolio craterem immortalitatis plenum propines. te patronum mecum delegere, | cuius auctoritate, veluti Aiacis clypeo tovo 61aBdAovo, quorum plena funt omnia, propulfare, nedum eos ab ijs | tutos reddere valeamus. Sufcipe igitur hofce tuos (cur enim meos dicam, cum me, meag|ue] omnia iure quodam tuo vi- | dearis expofcere?) libellos; vt fuccifiuis horis, grauifsimis videlicet folutus,

curis Reip|ublicae] Christianee apud Pontlificem] Ma- | ximum fuftentande,; euangelice fynceritatis compilatores arcendi; arteis omneis libero homine dignas inftaurandi; | confpirationes in Principeis, ceedeis inter Chriftiane Reip[ublicae| Procerum populos cruentas prudentice tue freno cohi- | bendi; accenfos, vel mage furenti quadam animi concitatione, & libidine flagranteis

animos eorum. extinguendi, paceque firmandi perpetua, | animum, Musarum ijs muneribus demulceas: hac lyra Thracius Orpheus Euridicem ex inferis reuocauit; his catenis Gallos auribus alligatos | quocunque voluifet ducebat Ogmius; hoc fortaffe caduceo Mercurius mortalium animas repetebat ab Orca: non alia existimarim Cithara | Thebarum condita meenia. nam Mufica (vt probe nosti) eft mundi anima, vel ratio queedam (vt Platoni vifum est) animee mundi coniuncta;

| cuius rationis concentu cuncta que funt constare quis negare audebit? fi vero cui canentium, aut legentium Pater amplifime forte inficiari | continget; relegetur ad Ciceronis librum de Rep{ublica] vi. ad Macrobium fuper eodem; ad Boetium, Pythagoram, Aristotelem, Platonem, atque ad | alios id genus fexcentum; |sic] vel potius ad Anticyram helleboro fanandum. Tum difcet non ab re Hefiodum Mufas Orbibus adfcripfiffe, quibus | omnia mouentur, regunturque; quas

denique mihi conciliatas facies, cum dices Varotum, Varotique labores tibi placere. Vale Novaril|alje.

PRO MICHAELE VAROTO ECCELLENTI MVSARVM | alumno, cultoreque[m] peregregio Cimiloti | Decaftichon Ad Lectorem. | Thebe quid tantum Teftudine faxa mouentem Detque locum ceecus. peperit nam Mantua vatem

Miratur? Rhodopees clarius extat opus. Qui longe a primis fortius arma mouet. Dura fupercilium tollit quid Thracia? Homero Cui Clio nunc cafta fauet, cui turba fororum Mufa dedit plectrum, carmina culta, lyram. — Affurgit cedunt tempora prifca locum. E’n tibi VAROTVS, quem culta Nouaria nobis E’didit, Infubrum gloria, fama, decus.

Contents

1. 3 Missa de Beata Vergine 2. Ii Missa voycy le temps 3. 16 Missa veni creator spiritus 4, 22 Missa pro defunctis 5. 27 Missa sancta trinitas 635

No. 239—1563

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (ATB) U 261 Bound in printed paper leaves of non-musical liturgical book. Altus and Tenor: 9: text change: “qui venit in nomine’ erased (bleached out?) and the following added by hand: “Mariae filius qui venit in nomine” Tenor: 25: second digit erased and 5 added by hand; 26 added for 28 and 31 for 29. B-flat signature added to last “Et iterum.”

** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchenund Ministerial-Bibliothek) Mus. ant. pract. V 165 (1) See appendix C.

Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 13; copy 2: (STB) 4° Mus. pr. 59554/14 For description of partbooks of copy 2 see appendix C. Septimus: paginated 33-38. Octimus: paginated 25, 34, 35, 32, 29.

Verona, Accademia Filarmonica. (AB8) N. 187 Bound in cardboard.

All coptes: All parts: 6 instead of 8. Altus: 9: signed B instead of d.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 10:37; Turrini, Catalogo... Verona, 33; Bayerische Staatsbibliothek, Katalog, 16:6707; Gaspari, Catalogo... Bologna, 2:149. __sfe_—

240 Vinci, Primo libro di madrigali a cinque voci V1669=1563'°

Title Page |

For details about other editions see 199. Attributions to Giulio Severino for nos. 13 and 14 found in the 1561 publication do not occur in this edition.

[within a compartment surrounded by monkeys:] CANTO | DI PIETRO VINCI SICILIANO | DELLA CITTA DI NICOSIA | IL PRIMO LIBRO | DI MADRIGALI A CINQVE VOCTI, | Nouamente riftampato, & corretto. | [Fame V] | In Vinegia appreffo Girolamo Scotto. |

MDL Xi.

Collation and Headline 5 volumes in quarto oblong; 16 leaves, pp. [1] 1-30 [31].

Signature title Pietro Vinci a 5; B, 6, B, bb, bbb: Vincia 5. Signatures A-D*: a—d*; a—p'; aa—dd*; aaa-ddd*. Signed Aij, $2: title pages unsigned.

Headline verso: | recto: Seconda parte. 2 CANTO

Technical Notes Music font IV; Text font Italic J; Initials White floral I]; Plann Roman; Watermarks Cardinal’s hat; Printed area Title page 13.5 x 15.5 cm; Music page 13.6 x 18.9 cm.

Table of Contents [p. 34] TAVOLA DELLI MADRIGALI a 5. | DI PIETRO VINCI. | [contents listed] | IL FINE.; Italic, in order of appearance.

Contents

l. | Fin che signore in piu robusta etate

2 II. Che s’en princip’illustri e cosa bella

2. 2 S’amor novo consiglio non n’apporta 636

No. 24]—1563

3 II. Imaginata guida la conduce 3. 4 Amor m/’ha posto come segno a strale 5 II. I pensier son saette e ’| viso un sole

4. 6 Temprar potessi in si soavi note

5. 7 Non vide un simil par d’amanti il sole 6. 7 L’aura gentil’ che rasseren’i poggi

8 Il. Nel qual provo dolcezza tant’e tale

7. 9 Donna Reale anzi dea ver’e pura

10 II. Costei volgendo gli occh’1l paradiso

8, 11 Se la mia vita da l’aspro tormento

12 YJ. Pur mi dara tanta baldanz’ amore

9. 13 Valle che di lamenti miei sei piena

14 II. Ben riconosco in voi l’usate forme 10. 15 Che debbo far che mi consigh’” Amore Canzon 16 II. Amor tu *1 senti ond’1o teco mi doglio 17 III. Caduta e la tua gloria, e tu nol vedi 18 IV. Oime terra e fatt’il suo bel viso 19 V. Piu che mai bell’e piu leggiadra donna 20 VI. Donne voi che miraste sua beltade 21 VII. Pon fren’al gran dolor che ti trasporta

22 VII. Fugg’il sereno e ’] verde ll. 22 L’aura che ’| verde laur’e Il’aureo crine

23 II. Si ch’10 non vegg’il gran publico danno

i2. 24 L’aura serena, che fra verd: fronde

25 II. Le quali ella spargea si dolcemente 13. 25 Mentre ch’el cor dagli amorosi vermi! 27 _ II. Quel foc’e morto e ’| copre un picciol marmo

14. 27 Aventuroso piu d’altro terreno! 28 II. Ne tante volte ti vedro giamai 15. 29 O d’ardente virtute ornata e calda 16. 30 Del vostro nome se mie rime intese Locations and Notes

Bologna, Civico Museo Bibliografico Musicale. (B5) U 359 ** Fabriano, Biblioteca Comunale. (A inc.) Palermo, Biblioteca Comunale. (olim Borghese) Cantus: Title page: initials B. C. [pr. mk.] P. handwritten; 7: headline CANO instead of CANTO. Alto: 4: headline ALTvs. Quinto: 2: headline QUINTO all small caps.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 10:97; Nuove Vogel #2912; Gaspari, Catalogo... Bologna, 3:185.

Modern Editions See 199.

a

241 Willaert, Madrigali a quatro voci W1130 (1563) Very few if any madrigals in this collection are new. As Scotto stated on the title page, he gathered together all of Willaert’s four-voice pieces, including the canzoni villanesche alla napolitane and “La

1. Attributed to Giulio Severino in V1668 (199).

637

No. 241—1563

canzon de Ruzante” (i.e., Zoia zentil che per secreta), which had first appeared in anthologies dating from 1536 to 1544. Nos. 17-20 were first printed in Arcadelt’s Primo libro a 4 with attributions to other composers (nos. 17 and 18 have no attribution; no. 19 to Arcadelt, and no. 20 to Costanzo Festa).

Title Page [within a banner compartment:] CANTO | [below compartment] MADRIGALI A QVATRO VOCI | DI ADRIANO VVILLAERT | CON ALCVNE NAPOLITANE | ET LA CANZON DE RVZANTE | TVTTE RACOLTE INSIEME | Coretti & nouamente {tampati. | [pr. mk. Fame ITI] | In Vinegia appreffo Girolamo Scotto. |M DL X Hl.

Collation and Headline 4 volumes in quarto oblong; 12 leaves, pp. [1] 2—23 [24}. Signature title Adrian a 4. Signatures A-C’; a—c*, A-c*, aa—cc*. Signed Ai/, $2: title pages unsigned.

Headline 3 CANTO [no voice designation on verso] Technical Notes Music fontIV; Text font Italic]; Initials White floral [I; Plain Roman; Calligraphic Gothic; Dark floral 1; Watermarks Cardinal’s hat; Printed area Title page 14.7 x 20 cm; Music page 13.4 x 19.2 cm.

Table of Contents [p. 24] TAVOLA D’I MADRIGALI DI ADRIANO VVILLAERT, | CON ALCVNE

Contents |

NAPOLITANI ET LA CANZON DI RVZANTE A. 4. | [contents listed] | CANZON | Napolitane.

| [nos. 21-25 listed] | CANZON | Di Ruzante. | [nos. 26-28 listed] | IL FINE.; Italic, listed

according to genre, in order of appearance.

1. 2 Qual piu divers’& nuova

2. 3 Quante volte diss’io

3, 4 Lagrime mesti & voi sospir dolenti 4. 5 Gia mi godea felic’ogni mio bene 5. 6 Chi volesse saper che cos’e amore

6. 7 Cosi vincet’in terra

7. 8 Oime ’! bel viso oime ’| soave sguardo! 8. 9 Con dogli’e con pieta piu ch’infinita 9. 10 Qual anima ignorante, over piu saggia 10. 11 Signora dolce to te vorrei parlare

ll. §=12 Amor mi fa morire

12, 913 Quando gionse per gl’occh’al cor madonna

13. 14 Grat’e benigna donna 14, 14 Madonna °! bel desire IS. 15 Madonna mia gentile 16. 16 Amor tu sai pur fare 17. 16 Se la dura durezza”

18. 17 Voi sapete ch’io v’am’anzi v’adoro* 19. 18 Non piu ciance madonna”

20. 18 Madonna ohime per qual cagion m’havete?

1. Attributed to Leonardus Barrae in V1228=154029 (14). 2. Appears with no attribution in all editions of Arcadelt’s Primo libro. 3. Attributed to Constantio Festa in Arcadelt’s Primo libro, 1546'’ and subsequent editions.

, 638

| No. 242—1563 21. 19 Madonn’io non lo so perche lo fai 22. 20 Cingari simo venit’a giocare

23. 20 Madonna mia famme bon’ offerta 24. 21 A quand’a quand’havea una vicina* 25. 21 O bene mio fa famm’uno favore

26. 21 Zoia zentil che per secreta via , 27. 22 Occhio non fu giamai che lachrimasse 28. 23 Quando di rose d‘oro Locations and Notes *Brussels, Bibliothéque Royale de Belgique. Fétis 2218 (STB) Paris, Bibliotheque Nationale de France. (olim Thibault) Rés. Vmc. 131

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 10:264; Fétis. Biographie universelle, 280; Lesure, Catalogue de la musique . . . Paris, 648; Cardamone, Adrian Willaert and his Circle, xviii.

Modern Editions Willaert, Opera omnia, 14: nos. 1-16; 21—28; Arcadelt, Opera omnia, 2: nos. 17-19; vol. 5: no. 20; Festa, Opera omnia, 8: no. 20; Cardamone, Adrian Willaert and his Circle: nos. 21-28.

ate 242 Rore, Motetta quatuor vocum parium 15634 Scotto created a collection of four-voice motets by various composers, placing Rore’s name at the top of the title page. Only eight of the twenty-two pieces are by Rore. The remainder include works by musicians living near or in Venice (Zarlino, Barges, Porta, and Nasco) as well as those recently published in Venice (Wert and Animucctia).

Title Page [within a compartment surrounded by monkeys:] CANTVS | [below compartment] MOTETTA D. CIPRIANI DE RORE | ET ALIORVM AVCTORVM | QVATVOR VOCVM PARIVM | DECANENDA | CVM TRIBVS LECTIONIBVS, PRO | MORTVIS | Iofepho Zerlino auctore. | |pr. mk. Peace I} | VENETIIS. | Apud Hieronymum Scottum | M D LXIII.

Collation and Headline

4 volumes in quarto oblong; 12 leaves, pp. [i] 1-23. | Signature title Motetti diuerfaa4. Signatures A-C’*; a—c*; a-c*; aa~cc*. Signed Aij, $2:

title pages unsigned.

Headline Ciprianus Rore. 8 CANTVS [no voice designation on verso] Technical Notes Music font If]; Text font Italic I; Initials White floral IJ; Plain Roman; Watermarks Anchor and circle with star; Printed area Title page 12.9 x 15.7 cm; Music page 14.3 < 19 cm.

Table of Contents [p. 23, B only] TABVLA MOTETTA D. CIPRIANI RORE ET ALIORVM AVCTORVM | QVATVOR VOCIBVS PARIBVS. | FINIS.; Italic, in order of appearance.

4. Headline: Jn diapason si placet.

639

No. 242—1563

Contents

l, J Caro mea vere’est cibus Cipriano Rore 2 Il. Hic est panis

2. 3 Sub tuum presidium confugimus Cipriano Rore 4, 4 Beati omnes qui timent Dominum C. Rore 5 II. Ecce si benedicetur homo 5. 5 Stetit Jesus in medio discipulorum Cipriano Rore

3. 3 O crux benedicta C. Rore

Hec cum dixisset 6. 675 II.IT.Miserere nostri Deus C. Rore Alleva manum tuam

7. 8 Gratia vobis & pax a Deo Ciprianus Rore

8. 9 Deus pacis qui reduxit a mortuis Cipriano Rore 9 10 Diligite justiciam qui judicatis Iaches de Vuerth

10. 10 Ave sanctissima Maria Paulus Animuccia

li. 6 Tristis est anima mea Giouan Nascus

12 Il. Ecce appropinquat hora 12. 13 O sacrum convivium Antonius Barges 13. 14 O inestimabile sacramentum Antonius Barges

14. 14 Tantum ergo sacramentum [no attribution]! 15. 15 Salve regina misericordie Constantij Porta 15 If. Eya ergo advocata nostra

16. 16 Virtute magna reddebant apostoli Constantij Porta 16 IT. Repleti quidem spiritu

17. 16 Preparate corda vestra Domino C. Porta

18. 17 Parce mihi Domine nihil enim Pro defunctis Lectio prima _losephus Zarlinus

18 II. Tedet animami meam Lectio secunda

19 III. Manus tuae Domine fecerunt me Lectio tertia

19. 20 Ecce jam venit plenitudo temporis ' Iosephus Zarlinus 21 Ij. Propter nimiam charitatem

20. 21 Nos puert tibi princip1 Iachet Mantu[a]e

Il. Rogamus Deum optimum maximum 21.2223 O salutaris hostia Giovan Nascus

22. 23 Si bona suscepimus de manu Domino Constantij porta Locations and Notes London, British Library. (T) A.70.0 Date altered in later hand to 1593 and crossed out.

** Madrid, Biblioteca del Conservatorio. Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 194/5 Tresor For a description of the partbooks see Lewis, Antonio Gardano, 1:143.

Rome, Biblioteca Apostolica Vaticana. Cappella Sistina 239-42 For a description of the partbooks see Lewis, Antonio Gardano, 1:152.

All copies: Altus and Bassus: Title page: PARIBVS instead of PARIVM. Altus: 18: signed c instead of cij. Tenor: Title page: PARIBYV instead of PARIVM; 2: signed B instead of A. Bassus: 2: signed Bb instead of aa.

A copy in Treviso, Biblioteca Capitolare was destroyed during World War II.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:306; Llorens, Capellae Sixtinae codices, nos. 239-42; British Union Catalogue, 899; Squire, Catalogue of Printed Music... British Museum, 2:428; Bayerische Staatsbibliothek, Katalog,

1. Second of three pieces on one opening.

640

No. 243—1563 13:5429; Mischiati, Bibliografia . . . dei musicisti veronesi, Antologie #57, Ferrarese and Gallo, // fondo musicale... Treviso, 365; Lincoln, Latin Motet, 792-93.

Modern Editions Rore, Opera omnia, 6: nos. 1-8; Porta. Opera omnia, 18: nos. 15-17, and 22; Zarlino, Drei Motetten: no. 19.

ate 243 Musica spirituale libro primo di canzon et madrigali a 5 1563’ This is the earliest publication of madrigali spirituali. Its compiler, Giovanni dal Bene, was archpriest at Santo Stefano in Verona. He included works by several composers associated with Verona: Nasco, Courtois, and Ruffo served as the maestro di musica at the Accademia Filarmonica, and the musician Grisostimo was a native of Verona.

Title Page CANTO | MVSICA SPIRITVALE, LIBRO PRIMO. | DI CANZON ET MADRIGALT, | A CINQVE VOCI. | COMPOSTA DA DIVERSI COME QVI SOTTO, | Raccolta gia da Reuerendo meffer Giouanni dal bene | nobil veronele a vtilita delle perfone chriftiane, | & pie, nuouamente polfta in luce. | Da Ian Nafco. Da Lamnberto curtoy. | Da Adrian Vuillahert. Da Vicenzo Ruffo. | Da Grifoltimo da Verona. | [pr. mk. Fame III] | In Vinegia appreffo Girolamo Scotto. M D LXIII.

Collation and Headline 5 volumes in quarto oblong; 12 leaves [A= 14 leaves, 5=10 leaves ]; pp. [i] 1-23; [A: pp. [1] 1-17; 5: pp. [1] 1-19]. Signature title Musica fpirituale. A5. Signatures A-C *; a—c 4d *; a—c*; aa—cc*; Aa—Bb* Cc’;

Signed Aij, $2 (A-C), $1 (d): title pages unsigned.

recto: 2 CANTO

Headline verso: CANZON A/ S. Sacramento. Prima parte. A 5 Ioan Nascho Technical Notes Music fontIV; Text font Italic I; Initials White floral IJ; Plain Roman; Calligraphic Gothic; Watermarks Anchor and circle with star; Cardinal’s hat, Printed area Title page: 13.2 x 16 cm; Music page: 13.6 x 18.9 cm.

Table of Contents [p. 23, lacking in T] TAVOLA DE LA MVSICA SPERITVALE [sic] A 5. | [contents listed] | IL FINE.; Italic, in order of appearance.

Contents

1. J Mio pan’anzi mia vita Canzon al S. Sacramento Ioan Nascho l MI. Qual hebb’a pensar mai in terr’o’1n cielo

2 II. Signor tanto tuo dono [3 vv] 3 IV. Per creder men discosta! [4 vv] 3 V. Disse *I divin salmista 3 VI. Ma l’infernal nemico [6 vv] 4 VII. Per quest’ogn’hor si sforza

5 VII. Felice cor che preso

5 IX. Felice puramente [4 vv] 1. Headline: A voci pari.

641

No. 243—1563

6 X. Vivo thesor’eterno [3 vv] 6 XI. Vostr’e l’alto thesoro 7 XII. Hor che sara di noi [6 vv] 7 XIII. Duolmi verac’amor [6 vv]

2. 8 Destra di quel amor ch’ ogn’altr’amore Lamberto curtoys 9 IJ. Piagata man del mio fattor sinistra 9 III. O destro amabil pie [4 vv] 10 IV. Sinistra pianta’indegnamente offesa 11 V. Pien d’amoroso inestinguibil fuoco

11 VI. In somm’amor suprem’un don ti chieggio[6 vv] 3. 12 Pianget’egri mortali Adrian 4. 13 Dolc’e la pace mia

5. 13 Ampla viva fornace Grisostimo da Verona

6. 15 Vergine santa, d’ogni gratia plena Vicenzo Ruffo

7. 16 Vergine sol’al mondo senz’esempio” Vicenzo Ruffo

8. 17 Dhe sparg’o miser’alma Vicenzo Ruffo 17 [II.] Tanto fu ’1 tuo fallir anima ingorda

9. 18 Vergine santa immaculata e pia Grisostimo da Verona 19 [II.] Et prego che dinanz’al tuo diletto

10. 20 O foss’il mio cor fieno

ll. 21 Con doglia’e con pieta piu ch’infinita Mestre Ian da Ferrara

12. 22 I vo piangendo i miei passati temp! Vicenzo Ruffo 13. 22 II. Si che s’io viss’in guerra, & in tempesta Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (B) R 212

Basso: Title page: written in ink above pr. mk.: “e da Mestre Ian da Ferrara”; 4: headline: ALTO instead of BASso; 10: signed Bdij instead of bij; 19 instead of 17; 16 instead of 18; 23 instead of 21; 20 instead of 22.

Valladolid, Archivo de la Catedral. See appendix C. Quintus: 21: signature Ddij lacking.

Verona, Accademia Filarmonica. (SAT) N. 79, I See appendix C.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:122; Anglés, “El Archivo ... Valladolid,” 101; Turrini, Catalogo... Verona, 42; Gaspari, Catalogo... Bologna, 4:232; Mischiati, Bibliografia. . . dei musicisti Veronesi, Antologie #58.

a

244 Francesco da Milano, Jntabolatura de lauto libro primo 1563!” Scotto issued several publications of intabulated lute music in 1563. Among them was a set of three

devoted to the music of Francesco da Milano. All of the editions were derived from previous publications, The contents of Libro primo came from two different editions. The first thirteen pieces made up the entire contents of Gardano’s 15467’ publication (reedited in 15567), They also appeared in a different order in Scotto’s 1546°° (63). To this collection Scotto added the last four ricercari found at the end of his 1548 edition, Intabolatura de lautto libro settimo (75). For identifications of original vocal works of individual pieces and their attributions see 63.

2. Tavola: a voci pari.

642

No. 244—1563

Title Page [type orn.] | [within a banner compartment:] LA [type orn.] | [below compartment] 2 INTABOLATVRA DE LAVTO 2 | DI FRANCESCO DA MILANO | CON LA CANZON DE LI VCCELLI | LA BATAGLIA FRANCESE. ET ALTRE COSE | COMME NELLA TAVOLA NEL FIN APARE. | Nouamente riftampata | LIBRO PRIMO. | [type orn.] | [pr. mk. Anchor IV] | IN VINEGIA AppreBo Gyrolamo Scotto. | 1563.

Colophon

[p. 40] IN VINEGIA AppreBo Gyrolamo Scotto: | 1563. | Collation and Headline 1 volume in quarto oblong; 20 leaves, PP. [1] 2-39 [40]. Signature title none. Signatures A—E’. Signed A2; $2: Title page unsigned.

Headline none

Technical Notes Music font Italian lute tablature; Rhythmic fontI; Text font Roman placed vertically in lefthand margin.

Table of Contents [p. 40] TAVOLA DE CANZONE | ET RECERCARI NOVI DEL DIVINO | MESSER FRAN. DA

MILANO. | [type orn.] | [contents listed] | Agionta noua | [nos. 14-17]; Italic, in order of appearance.

1. 2 La canzon de li ucelli

Contents

A _ TI. Seconda parte [Vous orrez a mon advis]

6 Ill. Terza pte [Rossignol du boys joli] 8 IV. Quarta pte [Arriere maistre Cocu]

2. 10 La bataghia francesa 14 IJ. Seconda parte de la bataglia [Fan frere le le lan fan] , 3. 18 Hors envieulx retires nous

4. 20 Martin menoit Janequin 5. 22 Fortune alors 6. 23 Pour avoir paix 7. 24 Sur toutes fleurs

8. 28 26 Fantasia Fantasia F. F. da da Milano Milano 9. 10.31 29Fantasia FantasiaF. F. da da Milano Milano ll. 12. 33 Pourtant si je suis brunette 13. 34 Reveillez moy 14. 36 Recercar Recercar ij 1 F. da M. M. 15. 36 F. da 16. 38 Recercar ij F. da M. 17.3938 Recercar 111 F. da M. I] Fine. Locations and Notes *Genoa, Biblioteca Universitaria. L..V11.8 / Libro II 14: no. 14 upside down; 16 instead of 19; 22: no. 22 upside down; 23: Pour avoir paix in right instead of left-hand margin; Tavola: Recercar iiij; 36 instead of 38.

643

No. 244-1563

Bibliographical Listings and Literature Brown, Instrumental Music, 1563,.

Modern Editions Francesco da Milano, Opere complete; Francesco da Milano, Lute Music.

ate 245 Francesco da Milano, Intabolatura de lauto libro secondo 15637° This is the second volume of a set of three editions devoted to the music of Francesco da Milano, that

Scotto brought out in 1563. As with the other books in the series, this edition was derived from previous publications. The thirteen works in the /ibro secondo first appeared in the 1536 edition printed by Francesco Marcolini. Gardano reprinted these works in 1546”? and 1561'’. The contents of the 1563 edition match the two Gardano publications. Identifications of the original vocal works, their composer attributions, and the first printed source are taken from Brown, /nstrumental Music, 15363.

Title Page

{type orn.] [within a banner compartment:] LA [type orn.] | [below compartment] INTABOLATVRA DE LAVTO | DI FRANCESCO DA MILANO | DE MOTETTI RECERCARI | ET CANZONE FRANCESE. | Nouamente riftampata & coretta. | LIBRO SECONDO. | [type orn.| | [pr. mk. Anchor [IV] | IN VINEGIA Appreffo Gyrolamo Scotto. | 1563.

Colophon [p. 40] IN VINEGIA Apreffo Gyrolamo Scotto. | 1563.

Collation and Headline

1 volume in quarto oblong; 20 leaves, pp. [1] 2~39 [40]. ) Signature title Intab. di F. da Milano. lib. fecondo[C, D,E]. Signatures A-E*. Signed A2, $2: title page unsigned.

Headline none

Technical Notes Music font Italian lute tablature; Rhythmic font 1; Text font Roman, placed vertically in left-

hand margin; Watermarks Cardinal’s hat; Printed area Title page 12.8 x 18.7 cm; Music page 13.2 x 18.8 cm.

Table of Contents [p. 40] TAVOLA DEL SECONDO LIBRO | DE INTABOLATVRA DE MESSER | FRANCESCO DA MILANO. | [type orn.]; Italic, in order of appearance.

Contents

l. 27 Pater nosteraa661usquin lusquin 2. Ave Maria 3. 10 Stabat mater a 5 jusquin

4. 15 Fantasia F.daM 5. 19 Fantasia F.daM 6. 21 Fantasia F.daM 7. 23 Fantasia F,daM 8. 25 Fantasia F.daM 9. 29 Fantasia F. daM 10, 31 Fantasia F. da M 644

No. 246—1563

ll. 32 Le plus gorgias du monde!

12. 34 Tu disois”

13. 36 Pourquoy alles vous seullette?

14. 38 Nous bergiers*

39 Il Fine.

Locations and Notes

*Vienna, Osterreichische Nationalbibliothek. SA.76.D.53 vol. Il See appendix C. 3: signed B2 (2 upside down) instead of A2; 9: signature title missing; 25 and 27: signed Intab. de (instead of di); 32: 2 upside down; 39: page no. reversed and upside down.

Bibliographical Listings and Literature Brown, Instrumental Music, 1563..

Modern Editions Francesco da Milano, Opere complete: Francesco da Milano, Lute Music.

«fe

246 Intabolatura de lauto de diversi autori 15637! The first eleven works in the present edition were first printed in Castiglione’s collection of 1536'°. The last three pieces appeared as nos. 13—15 in Scotto’s Libro ottavo 1548'°4 (68) and Castiglione’s Libro secondo (Brown, Instrumental Music, 1548,).

Title Page . [within a banner compartment:]) LA | [below compartment] INTABOLATVRA DE LAVTO. | DE DIVERSI AVTORI. | Di Francefco da Milano. | Di Alberto da Mantoa. | Di Marco da Laquila. | Di lo. Iacomo Albutio da Milano. | Di Pietro Pauolo Borono da Milano. | Con alcune padouane. Et faltarelli noui.| NOVAMENTE RISTAMPATA. | Con ogni diligentia reuifta. | [pr. mk. Anchor IV]| IN VINEGIA Apprefo Girolamo Scotto. | 1563.

Colophon [p. 48] IN VINEGIA AppreBo Girolamo Scotto. | 1563.

Collation and Headline 1 volume in quarto oblong; 24 leaves, pp. [1] 2-47 [48]. Signature title Intab. de diuerfi autori. Signatures A~F*. Signed A2, $2: title page unsigned.

Headline none

Technical Notes Music font Italian lute tablature; Rhythmic font 0]; Text font Italic in left-hand margin; Watermarks crown; Printed area Title page {2.8 . Dorico issued a later edition in 15667°. All four editions have the same contents. Identifications of the original vocal works, their composer attributions, and the first printed source are taken from Brown, Jnstrumental Music, 1547,. RISM does not list the copy in Genoa, Biblioteca Universitaria.

Title Page [within a banner compartment:] LA | [below compartment] INTABOLATVRA DE LAVTO | DI FRANCESCO DA MILANO | ET M. PERINO FIORENTINO SVO DISCEPOLO | Di Recercate Madrigali, & canzone Francefe. | Nouamente riftampata & corretta. | LIBRO TERZO. | [type orn.] | [pr. mk. Anchor IV] | IN VINEGIA Appreffo Girolamo Scotto. | 1563.

646

No. 247—1563

Colophon [p. 48] IN VINEGIA Appreffo Girolamo Scotto. | 1563.

Collation and Headline 1 volume in quarto oblong; 24 leaves, pp. [1] 2-46 [47-48]. Signature title Intab. de F. da Milano lib. terzo [B, C, D, E, F]. Signatures A-F*. Signed A2, $2: title page unsigned. Headline none

Technical Notes Music font Italian lute tablature; Rhythmic fontI; Text font Roman placed vertically in lefthand margin; Watermarks Cardinal’s hat; Printed area Title page 12.8 x 15.8 cm; Music page 13.1 x 19.0 cm.

Table of Contents (p. 48] TAVOLA DEL TERZO LIBRO | DE INTABOLATVRA DE MESSER | FRANCESCO DA MILANO. | RECERCARI. | [contents listed] ] MADRIGALI | [contents listed] | CANZONE FRANCESE ; Italic, not in numerical order, but listed by genre; no pagination.

1. 42 Fantasia FantasiaF.F.daM. 2. da M. 3. 5 Fantasia F. da M. 4. 6 Fantasia M. Perino Fio. 5. 9 Fantasia F. da M. 6. 12 _ Fantasia F. da M.

Contents

7. 14Fantasia Di mon triste! F.F.da 8. 15 di mon triste daM. M.

9. 17 Fantasia F. da M. 10. 20 Fantasia F. daM. 11. 24 22 Fantasia Fantasia F. F. da da M. M. 12. 13. 26Quanta Fantasia Perino Fior. 14. 28 belta? F. da M. 15. 31 Fantasia Perino Fior. 16. 32 Fantasia F. da M. 17. 34 O felici occhij mei? Pe. Fior. 18. 35 Fantasia F. da M. 19. 36 Fantasia F. da 20. 38 Quanti travagli* PerinoM. Fio. 21. 40 Quando io penso al martir° F. da M.

22. 42 Fort seulement®

23. 44 Que voles voues dire de moy 1. Arrangement of chanson De mon triste et desplaisir a vous belle attributed to Richafort in 1529°. 2. Arrangement of madrigal Quanta belta quanta gratia e splendore attributed to Arcadelt in his Primo libro 1546"" and subsequent editions. 3. Arrangement of madrigal, O felici occhi miei felici voi attributed to Arcadelt in his Primo libro 1546!’ and subsequent editions. 4. Arrangement of madrigal Quanti travagli e pene attributed to Arcadelt in his Primo libro 1546'° and subsequent editions.

5. Arrangement of madrigal Quand’io pens’al martire attributed to Arcadelt in his Primo libro 1546'° and subsequent editions. 6. Arrangement of chanson Fors seulement attributed to Josquin or Févin in various sources.

647

No. 247—-1563

24.4746I] Vignon vignetta’ F. da M. Fine. Locations and Notes ** Genoa, Biblioteca Universitaria. Vienna, Osterreichische Nationalbibliothek. SA.76.D.53 /5 See appendix C. 2 and 4: F. da M. (M upside down); 3 and 4: page numbers upside down; 11 instead of 15; 33: page number upside down; 46: Viguon (first “n” upside down).

Bibliographical Listings and Literature Brown, /nstrumental Music, 1563,.

Modern Editions Francesco da Milano, Opere complete: nos. 1-3, 5—12, 14, 16, 18, 19, 21, and 24.; Francesco da Milano, Lute Music: nos. 2-3, 5-12, 14, 16, 18, 19, 21, and 24.

ste

248 Aretino, Sacra responsoria 4 vv (1563) See 44. RISM does not list this edition.

Title Page [in a compartment surrounded by monkeys:] CANTO | [below compartment] SACRA RESPONSORIA | TVM NATALI DOMINI, | TVM IOVIS, VENERIS, AC SABBATIS SANCTI | DIEBVS DICI SOLITA, | Nunc primum a D. PAVLO Aretino fub muficis edita | Rhythmis, atque

Hieronymum Scotum. 1563.

ab eodem fumma re- | cens cura, diligentiag/ue] caftigata | [pr. mk. Fame III] | Venetijs Apud

Collation and Headline 4 volumes in quarto oblong; 8 leaves without pagination or foliation; location of pieces indicated by signature.

Signature title Paulo Aretino a4. Signatures A-B*; F-G*; D-E*; I-K*, Signed Ajj, $2: Title pages unsigned. Headline none. [in margin before shortened first staff of piece:| CANTVS | Feria. v. in cena Domini. | Refpon. primum.

Technical Notes Music font IIl; Text font!; Initials None. Contents

I. AY In monte Oliveti Feria V in coena Domini Respon. primum 2. A’ Tristis est amina mea Respon. 2 3. A” Ecce vidimus eum Respon. 3 4. A2 Amicus meus osculi me Respon. 4 5. A2 Judas mercator pessimus Respon. 5 6. A2” Unus ex discipulis meis Respon. 6

7. A2” Eram quasi agnus innocens Respon. 7

8. A3 Una hora non potuistis Respon. 8

7, Arrangement of anonymous chanson Vignon vignette qui te planta in [1528’].

| 648

No. 249—1563

9, A3 Seniores populi concilium fecerunt Respon. 9

10. A3° Omnes amici mei dereliquerunt me Feria. VI, Respon. primu|m]

11. A3* Velu[m] te[m]phi scissum est Respon. 2 12. A3” Vinea mea electa Respon. 3 13. A4 Tanqua[m] ad latronem Respon. 4

14. A4 Tenebrae factae sunt Respon. 5

15. A4 Animam meam dilectam Respon. 6

16. A4’ Tradideru[n]t me Respon. 7 17. Aa’ Jesum tradidit impius Respon. 8 18. B Calligaverunt oculi mei Respon. 9

19. B Sicut ovis ad occisionem Sabbato sancto Respon. 1

20. B* Hierusalem luge et exue te Respon. 2

21. BY Plange quasi virgo Respon. 3 22. B* Recessit pastor noster Respon. 4

23. B2 O vos omnes Respon. 5

24. B2 Ecce quomodo moritur justus Respon. 6

25. B2 Astiterunt reges terrae Respon. 7

26. B2” Sepulto Aestimatus sum Respon. Respon. 98 27. B2” Domino 28. B2* Benedictus Dominus Deus Israel

29. B3* Hodie nobis coelorum rex In Nativitate Domini Respon. |

30. B3* Hodie nobis de coelo Respon. 2 31. B3° Quem vidistis pastores Respon. 3 32. B4 O magnu[m] mister1um Respon. 4 33. B4 Beata Dei genitrix Maria Respon. 5

34. B4 . Sancta & immaculata virginitas Respon. 6 35. B4é* Beata viscera Mariae virginis Respon. 7

36. Ba” Verbu[m] caro factu[m] est Respon. & B4* LAVS DEO FINIS.

Locations and Notes *Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchen- und Ministerial-Bibliothek) Mus. ant. pract. (S) M 1050 (5); (ATB) V 165 (7) See appendix C.

__ate

249 Morales, Missarum cum quatuor vocibus liber primus (1563) Scotto reprinted the Morales Masses in 1563 as a set of two books (233). The 1563 edition of the Liber primus included four of the five Masses found in Scotto’s 1544 edition. For more information see 43.

Title Page [within a compartment surrounded by monkeys:}] CANTVS | [below compartment] CHRISTOPHORI | MORALES HYSPALENSIS, | MISSARVM CVM QVATVOR VOCIBVS. | LLBER [sic] PRIMVS. | QVARVM NOMINA. | ASPICE DOMINE. | VVLNERASTI COR MEVM. | DE BEATA VIRGINE. | AVE MARIA A VOCI PARI. | [pr. mk. Fame III] | Venetijs Apud Hieronymum Scotum. 1563.

Collation and Headline 4 volumes in quarto oblong; 16 leaves, pp. [i] 1-30 [31]. Signature title Liber primus Miffarum; b, B, bb, Bb: Lib. primus Miffaru [sic]. Signatures a—d *; A~D*; aa—dd*; Aa-Dd*. Signed aij, $2: title page unsigned. 649

No. 249-1563 Headline Miffa Afpice Domine MORALES. 2 CANTVS [no voice designation on verso]

Technical Notes Music font III; Text font Italic I [p.28, A= Roman]; Initials Centaurs; Plain Roman.

Table of Contents p. 31; TABVLA. | QVARVM MISSARVM NOMINA. | SVNT. | [contents listed] | IL FINE; Roman, in order of appearance.

Contents

1. 8I Missa MissaVulnerasti Aspice Domine 2. cor meumMorales Morales

3. 16 DeAve beataMaria! virgine Morales , Morales 4. 24Missa Missa Locations and Notes *Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchen- und Ministerial-Bibliothek) Mus. ant. pract. (S) M 1050 (1); (ATB) V 165 See appendix C. Cantus: p. 10 signed cij instead of bij. Altus: p. 8 signed 6 instead of B. Cantus and Tenor :24: signature title (partially trimmed away) “Lid. 1 Mif faru.” Bassus: Signatures: B, C, and D instead of Bb, Cc, and Dd; 24: signature title “L..mif.”

Bibliographical Listings and Literature , Eitner, Quellen-Lexikon, 7:53

Modern Editions

Morales, Opera omnia, 1: nos. 1 and 3; vol. 3: nos. 2 and 4. " — 1564 —

250 Azzaiolo, Primo libro de villotte alla padoanaa4 A2982=1564'*4 See 189.

Title Page [within a rectagular compartment decorated with dots:] ALTO | [below compartment] IL PRIMO LIBRO | DE VILLOTTE | ALLA PADOANA, | A QVATTRO VOCTI. | Con alcune Napolitane intitolate villotte del | fiore, Nuouamente riftampate, & | con ogni diligenza corette. | [pr. mk. Fame III] | In Vinegia, Appreffo Girolamo Scotto. 1564.

Collation and Headline 4 volumes in octavo upright; 16 leaves, pp. [i] 1-30 [31]. No cantus or tenor partbook is known to survive. Signature title Villotte padouane a4. Signatures E—F’*. Signed Eij, $4: title page unsigned.

Headline ALTO 2

1. Tavola: A voci pari

650

No. 251—1564

Technical Notes Music font lV; Text font Italic U[; Initials Plain Roman; Large knight; White floral IJ; Large myth; Watermarks Cardinal’s hat; Printed area Title page 11.7 x 8.7 cm. Music page 12.7 x 8.7 cm.

Table of Contents lp. 31] TAVOLA DELLE VILLOTTE, | NVMERO VINTIDVA | PADOANE ET NAPOLITANI A 4. | LIBRO PRIMO. | [type orn.] | [contents listed] | JL FZNE.; Italic, alphabetical.

Contents

1. | Chi passa per sta strad’e non sospira 2. 2 Gentil madonna del mio cor patrona

3. 3 Al di dolce ben mio

4. 5 Da lhorto se ne vien la vilanella 5. 7 E per amor di donna tutta notte 6. 8 Gia cantai allegramente

7. 9 Prima hora de la notte

8. «6 i1l Quando la sera canta il griolin

9 13 E me levai d’una bella mattina 10. 15 La manza mia si chiama saporita lil. 17 E d’una viduella do ch’innamorato

12. 18 Vorrei che tu cantass’una canzone 13. 19 Tanto sai fare con |’ innamorati 14. 20 Sentomi la formicola su la gambetta

I5. 21 Ti parti cor mio caro

16. 22 Come t’haggio lasciat’o vita mia 17. 23 ' O spazza camin Chi vuol belle madonn’spazza cami

18. 24 Patrone belle patrone Girardo 19. 25 Occhio non fu giamai che lagrimasse

20. 27 Poi che volse de la mia stella

21. 28 Io son si vago de li miei sospiri IT Calderino

22. 29 Ben staga tutta questa bella briga Locations and Notes

** Chatsworth, Devonshire Collections. (B) Oct. Tab. H See appendix C.

Munich, Bayerische Staatsbibliothek. (A) 8° Mus. pr. 2723/0 See appendix C.

Bibliographical Listings and Literature Nuovo Vogel #191; Bayerische Staatsbibliothek, Katalog, 16:6767; Cardamone, Canzone villanesca, 1:26—28.

Modern Editions Azzaiolo, Six Villotte: nos. 1, 2, 6, 12, 13, and 16; Cardamone, Canzone villanesca, 2: nos. 12 and 16.

ate 251 Azzaiolo, Secondo libro de villotte alla padoanaa4 A2985=1564'° Filippo Azzaiolo’s villote appeared in three books dating from 1557 to 1569. Only two editions of the second book survive. Gardano first printed this collection in 1559!? (A2984). The second book not only includes villote but also a few napolitane, a venetiana and a tedesca. The four-voice setting of

the popular tune, Girometta, senza te (no. 4) is apparently the earliest of several different 651

No. 251—1564

arrangements (Kirkendale, “Franceschina, Girometta, and their Companions’). A blackened breve appears at the opening of each piece before the clef sign.

Title Page [within a rectangular compartment decorated with dots:] CANTO | [below compartment] IL SECONDO LIBRO | DE VILLOTTE | ALLA PADOANA, | A QVATTRO VOCTI. | Con alcune Napolitane e Madrigali intitolate | villotte del fiore, Nuouamente riftam- | pate, & con diligenza corette. | [pr. mk. Fame III] | In Vinegia, Appreffo Girolamo Scotto. 1564.

Collation and Headline 4 volumes in octavo upright; 12 leaves, pp. [i] 1-23 [24]. No bassus partbook is known to survive.

Signature title Villotte padouane lib. 2. A.4. Signatures A°B*; E®F*; C®D*. Signed Aij, $4 (A), $2 (B, F, D): title pages unsigned.

Headline verso: 1 Villotta CANTO recto: CANTO 2

Technical Notes Music font IV; Text font Italic IJ; Initials Large knight; Large myth; Plain Roman; Dark floral Il; Watermarks Cardinai’s hat; Printed area Title page 11.6 x 8.7 cm; Music page 12.3 x 8.7 cm.

Table of Contents [p. 24] TAVOLA DELLE VILLOTTE | NVMERO TREDECTI | PADOANE ET NAPOLITANE A 4.| LIBRO SECONDO. | [type orn.] | [contents listed] | JL FINE.; Italic, in order of appearance.

Contents

l. I Chi ’! credera s’il dico Villotta

2. 3 O pur donne donne belle Villotte | 3. 5 Mille gentil salute Villotta

4, 7 Girometta senza te non vivero Napolitana 5. 9 O vilanella quand’a l’acqua vai Napolitana 6. 10 E levaime d’una bella mattina Villotta 7. 1] Bona via faccia barca Venitiana 8. 13 Bernarde non puo stare Todesco 9, 45 Stanco e solingo per disert’arene Napolitane Il Conte Briaco

10. col partire Calderino 11. 17 19 Anchor Perche che la vit’e breve IiArchadelt

12. 20 Pastorella d’amor non mi fuggir Alfonso Ga. da Bologna! 13. 21 Vita de la mia vita e gh’e pur vero Don Giovan Thomas Bolognese

Locations and Notes Munich, Bayerische Staatsbibliothek. (A) 8° Mus. pr. 2723/1 See appendix C. Altus: 16-22 (2nd gathering) misnumbered }7~23.

Vienna, Osterreichische Nationalbibliothek. (SAT) SA. 76. E. 35 All parts: 16-22 (2nd gathering) misnumbered | 7-23.

** Zwickau, Ratsschulbibliothek. (ST) LXXXVI,1.

Bibliographical Listings and Literature Fitner, Quellen-Lexikon, 1:252; Vollhardt, Bibliographie ... Zwickau, #76; Nuovo Vogel #194; Bayerische Staatsbibliothek, Katalog, 16:6767; Cardamone, Canzone villanesca, 26-28.

{. Identified in Nuovo Vogel as Alfonso Ganassi.

652

No. 252—1564

Modern Editions Azzaiolo, Five Villote: nos. 3, 4, 6-8; Arcadelt, Opera omnia, 7: no. 11.

fe _ 252 Ragazzo, Madrigali a quattro voci libro primo (1564) Paolo Ragazzo dedicated his Primo libro to Girolamo Vida, who was bishop of Alba from 1533 until his death in 1566. Vida is noted as one of the humanist bishops (Alberigo, J vescovi italiani, 97). Ragazzo dated his dedication from Parma. RISM does not list this edition.

Title Page [within a compartment containing cherubs on either side:] CANTO | [below compartment] DI PAOLO RAGAZZO | LI MADRIGALI A QVATTRO VOCI. | LIBRO PRIMO. | Nuouamente con ogni diligenza corretti, | et pofti in luce. | [pr. mk. Fame V] | In Venegia Appre{fo Girolamo

Scotto. |M DL X Ill.

Collation and Headline 4 volumes in quarto upright; 14 leaves, pp. [1-11] 1-25 [26]. Signature title P. Ragazzo Lib. 1; c, C. C: P.Ragazzo Li.i; Cc: P. Ragazzo Libro.1. Signatures a—c'd’, A~C'D*; a—c*p?; Aa—Cc*Dd?. Signed 52, 2$ (a—c); $1 (a): Title page unsigned.

Headline A 4. I CANTO [no voice designation on verso] Technical Notes Music font III;. Text font Italic I; Initials Plain Roman; Large Knight; Calligraphic Gothic; Large Bible; White floral I; Trees.

Table of Contents [p. 26] TAOLA [sic] D’] MADRIGALI A 4. VOCI. | DE PAOLO RAGAZZO LIBRO PRIMO. | [contents listed] | IL FINE; Italic, in order of appearance.

Dedication [p. ii] AL REVERENDISS(I]"° SIGNORE MIO OSSERVANDISS[I]™° | IL SIGNOR GIROLAMO VIDA DIGNISSIMO VESCOVO D’ALBA. | [woodcut H]AVENDO io deliberato non folo da me medefimo, ma anco a | perfuafione di molti amici miei di mandar in luce quefti Madri- | gali a quattro voci, mi é parfo cofa molto ragioneuole di diriz- | zargli, & donaregli a

V{ostra] Slignoria] Reuerendifima accio ch’ella quin- | di conofca, & quanto defideri di honorarla, & offeruarla, & | quanta fiducia ponga nel nome fuo, che effendo celebratifBimo | preffo di ogni vno per le molte virtuti che in lei fi ritrouano, fara, fenza dubbio alcuno, col | fuo

{plendore anco riguardeuoli quefte mie compofitioni, & molto piu grate a coloro che le | canteranno, & confideraranno. Adunque V[ostra] Slignoria] ReuerendiBima hauendo piu rifguardo | all’animo con che mi muouo a farle quefto dono, che all’opera ifteffa, la riceuera in buona | parte, & l’aggradird, a che mi fon meffo piu per vn longo defiderio ch’io haueuo di dimo-

| ftrarle in parte l’affettione, & offeruanza che le deuo, & porto, che per alcuna vana, & | ambitiofa cupidita di laude, alla quale volontieri rinontio contento a fatto della fua fola gra- | tia, alla quale raccommandandomi a V[ostra] S|ignoria| ReuerendiSima humilmente baccio le mani, | pregandoli felicita. Di Parma li. XXVIII. di Zenaro. 1564. | Di Voftra Signoria ReuerendiBima. | Affettionatifmo Seruitore. | D. P. Paolo Ragazzo.

Contents

1. J Ai qua di la va le noiose plume 2. 2 Ahi bella liberta come tu m’ha1 653

No. 252—1564

3 II. Ne mi lec’ascoltar, chi non ragiona

3. 4 Amor, non tua merce, lieto & contento

4. 5 O miracol d’amor, mirabil prove 5. 6 Fidele, & mansueto animaleto 6. 6 Hor vinto da pietate, & da cordoglio

7. 7 Non havete a temer, ch’in forma nuova

8. 8 Ben me ’| dovea pensare 8 IJ. Estrem’e tropo car’era ’] mio bene 9. 9 Chi fara fede al cielo 10. 10 Huomini e dei solea vincer per forza 11. 10 Un giovinetto am’una donzella 12, 12 Pensoso piu d’un‘hor’a capo basso 13. 12 Che dolce piu che piu giocondo stato

14. 13 Per che si ritrosetta 15. 14 Dolor non fu ne fia

16. 14 Deh per che vogl’ancho di me dolermi 17. 45 Questa sol m’accompagna ovunqu’1o vada 18. 16 Cosi di loco in loco in ogni canto 19. 16 Deh dove senza me dolce mia vita 20. 18 Ahime tal fu d’amore, & I’esc’et l’amo 21. 18 Ben mi credeti gia d’esser felice 22. 19 Vissim’un temp’in dolce foc’ardendo

23. 20 Chiare fresch’e dolc’acque 24. 20 Hor che di lei son privo

25. 2) E voi aure soavi

26. 22 A pie de colli ove Clitia fedele

27. 23 Quest’herbe tenerelle

28. 24 Se *l nodo con che m’hai legat’ Amore

24 IJ. Ahi crud’e fiera stella

29. 25 Donna vorrei pur dirvi locations and Notes

* Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchenund Ministerial-Bibliothek) Mus. ant pract. R 30 (1) See appendix C. Canto: 7, 9, 11, 13: CANTVs instead of CANTO. Alto: 5 instead of 4; 4 instead of 5; 7, 8, 11, 13: ALTVS instead of ALTO; 15 and 16 instead of 16 and 17; 19 and 20 instead of 20 & 21. Tenor: 7, 9, 11, 13: TENOR instead of TENORE. Basso: 7, 9, 11, 13: BASSvs instead of BASSO; signed A2 instead of Aa2.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:114,; Nuovo Vogel #2311.

__ «fe

253 Schaffen, Motettarum quinque vocum liber primus (1564) A privilege was taken out for “Li moteti et madrigali a 4 et 5 voci, d’Henrico Scafen” in 1548 (Agee,

“The Privilege and Venetian Music Printing,” 222). Only an edition of Schaffen’s four-voice madrigals, printed by Scotto in 1549, is known (82) from that year. It is possible that one or both of the two books of five-voice motets were issued at the same time. The title pages of the 1564 books, however, imply that they were the first editions, despite the absence of dedications. RISM does not list either of the two editions.

654

No. 253—1564

Title Page [within a compartment containing cherubs on either side:] CANTVS | [below compartment] HENRICI SCAFFEN | FLANDRENSIS. | MOTETTARVM QVINQVE VOCVM | Nunc primum

in lucem prodeuntium, | LIBER PRIMVS. | [pr. mk. Fame V] | Venetijs Apud Hieronymum

Scotum.| MDL X Ill. Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1] 1-22 [24]. Signature title Scaffen.L.1. Signatures a—c*; A—C*; a—c*; Aa~Cc*; AA-Cc*. Signed a2, $2: title page unsigned.

Technical Notes : Headline Refiduum. AS. 2 CANTVS [no voice designation on verso]

Music font Il]; Text font Italic [; Initials Large Myth; Plain Roman; Small Bible; Ghosts; Calligraphic Gothic.

Table of Contents [p. 23] LIBRI PRIMI MOTETTARVM | HENRICI SCAFFEN | INDEX. | [contents listed] | IL FINE.; Italic, in order of appearance.

Contents

1. ] Tota pulchra es amica mea 2. 3 Laetare caelum & exultet terra 3. 4 Quid moram facimus surgamus

5 II. Quibus accedant litterarum scientia

4. 6 Dulces exuviae

5. 7 ~ Ave sanctissima Maria mater

6. 8 Jam bene fortunae rerum

9 II. Ecce ego Romulea fueram

7. 9 Miser ubi parebo

1] II. In hoc confido quod major est

8. 1! Non relinquam vos orphanos

9. 43 Beati omnes qui timent Dominum 14 II. Ecce sic benedicetur homo

10. 15 Veritas de terra, orta est

11. 16 Tribus miraculis 12, 17 Beata Dei genitrix

13. 18 Qui confidunt in Domino 14. 19 Beatus vir qui inventus est

15. 19 Regina caeli laetare

20 Il. Resurrexit sicut dixit alleluia

16. 21 Ego sum resurrectio & vita 17. 22 Regi seculorum immortali Locations and Notes Cracow, Biblioteka Jagiellonska. (olim Berlin, Preufische Staatsbibliothek, olim Celle, Kirchenund Ministerial-Bibliothek) Mus. ant. pract. R 30 (2) See appendix C. Quintus: 9-24 (gatherings 2 and 3): from Scaffen’s Liber secundus of 1564; corresponding gatherings of Liber primus

bound with Liber secundus below; signed B instead of BB.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:444

655

_

No. 254—1564

254 Schaffen, Motettarum quinque vocum liber secundus (1564) See 253.

Title Page [within a compartment containing cherubs on either side:] CANTVS | [below compartment] HENRICI SCAFFEN | FLANDRENSIS | MOTETTARVM QVINQVE VOCVM | Nunc primum in lucem prodeuntium; | LIBER SECVNDVS. | Quibus przterea vna accelsit [ex vocum, eodem Autore. | [pr. mk. Fame V] | Venettjs Apud Hieronymum Scotum. |M DL X WII.

Collation and Headline

title pages unsigned.

5 volumes in quarto upright; 12 leaves, pp. [V] 2-24. Signature title Scaffen. A5. Signatures a—c*, A-C*; a—c*; Aa—Cc*, Aa—Cc*. Signed a2, $2:

Headline Secunda pars, A 5 3 CANTVS [no voice designation on verso |

Technical Notes Music font IJ; Textfont!; Initials Plain Roman; Putti; Dark floral II.

Table of Contents p. 24; TABVLA. | [contents listed] | FINIS.; Italic, in order of appearance.

Contents

1. 2 Domine non secundum peccata nostra 3 IJ. Quare memento mel

2. 4 In illo tempore accesserunt ad Jesum | 5 II. Propter hoc dimittet homo

3. 6 In voluntate tua Domine 4, 7 Ve qui dicitis, malum bonum 5. 8 Obsecro te Domina 9 II. Virgo ante partum

6. 10 In illo tempore loquente Jesu 7. il Quaerite Dominum Deum nostrum 12 II. Filii vestri vobiscum Domino 8. 14 Miser factus sum & curvatus sum 9, 45 Jerusalem quae occidis prophetas

16 II. Ecce enim relinquetur domus vestra deserta

10. 16 Sapientia justum deduxit

17 II. Justus autem si morte aliqua

ll. 18 Super salutare tuum Domine

I2. 19 O vos omnes qui transitis per viam 20 II. Attendite vos o popull 13. 21 Videns Dominus, flentem Mariam 22 II. O faelicis soror utraque meritis

14. 23 Vidi portam civitatis 24 II. Vidi caelum novum Locations and Notes

* Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchenund Ministerial-Bibliothek) Mus. ant. pract. R 30 (3) See appendix C. Quintus: 9-[22]: from Schaffen’s Liber primus of 1564; corresponding gatherings of Liber secundus bound with Liber primus (see above).

656

No. 255—-1564

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:444

a

255 Schiavetto, Motetti a cinque & sei voci libro primo (1564) Schiavetto had an edition of four- and five-voice madrigals printed by Scotto a year earlier (238). This motet edition was issued while Schiavetto was in Trent with his patron, Girolamo Savorgnano, bishop of Sibenik. RISM does not list this work.

Title Page [within a compartment containing cherubs on either side:] CANTVS | [below compartment] D[J] M[ESSER] GIVLIO SCHIAVETTI. | MOTETTI A CINQVE ET A SEI VOCTI. | LIBRO PRIMO. | NOVAMENTE COMPOSTI ET DATTIIN LVCE. | Et con ogni diligenza [tampati. | [pr. mk.

Fame V]| In Vinegia appreffo Girolamo Scotto. |M DL X Il.

Collation and Headline 5 volumes in quarto upright; 14 leaves, pp. [1] 2-26 [27]. Signature title: Giulio Schiauetti. A. 5;c, Cc: Giul. Schia.; Cc, Cc: Giul. Schiauetti.; Cc: Giulio Schiauet. Signatures a—c’d 7; A-C’D*; a—c*p?; Aa-Cc’Dd?; Aa-Cc*Dp*. Signed a2, $2 (a—c); $1 (d): title page unsigned.

Headline SECUNDA PART. A 5. 18 CANTVS [no voice designation on verso] Technical Notes Music font III; Text font Italic!; Initials Large Bible; Putti; Large knight; Large myth; Trees; White floral I; Plain Roman.

Table of Contents [p. 27] TABVLA. | IL FINE; Italic, in order of appearance.

Dedication

Ip. 1] ALL’ILLVSTRE ET REVEREND[ISSY™ MONSIGNORE | GIROLAMO SAVORGNANO VESCOVO DI SIBENICO, | PATRON MIO OSSERVANDISSIMO. | [woodcut PJERCHE ogni di crefce il numero delli benefici, che io | recceuo da v[ostra] S[ignoria] Wluftre & Reuerendi~ima, & conofco di | non potere corrifpondere con la mia feruitu alla millefima | parte di quelli: ho deliberato non per cercare d’vf{cir d’obli- | go, che quefto mi faria impofibile, ma per demoftrarmele | in quella parte che poffo, grato Seruitore, di dedicarle an- | cora quefto mio primo libro di Motetti a cinque voci, pa- | rendomi conueniente che effendo queft’opera nata in caja fua, & aiutata dalla fua amore- | uolezza, debba v{cire fotto il Juo nome: accioche quel

medefimo Signor che l’ha nodrita, | fia ancora in mia fingolar difefa. Prego dunque V[ostra] S[ignoria|] ReuerendiBima che rifguardando | piu al deuoto animo mio, che alla baffezza del foggetto, fi degni d’accettar con la fua fo- | lita benignita, quefte mie poche fatiche, & effermi non men gagliardo protettore in que- | fto, che mi é larghifBimo benefattore nel refto: & come a tale bacio humilmente le mani, & | nella fua nobiliBima gratia mi raccommando con tutto il core. | Da Trento li 28. Decembre. 1563. | D[i] V[ostra) S[ignoria] UWluftre & ReuerendiBima. | Deuoto & obligatiBimo Seruitor | Giulio Schiauetto.

Contents

I. 2 | Asperges me] Domine isopo & mundabor 2. 3 [Vidi aquam] Egredientem de templo a latere dextro

3, 3 O magnum mister1um 5 Il. Ave Maria gratia plena 4, 6 Dilexisti omnia verba

657

No. 255—-1564 7 IT. Videbunt justi & timebunt

S. 8 Salvum me fac Domine

9 II. Vent in altitudinem maris

6. 10 Salus populi ego sum 7. 11 Quam pulchra es & quam decora 8. 12 Hodie Christus natus est

9. 13 Cantantibus organis Cecilia 10. 14 Christus factus est pro nobis

1]. 15 Ego sum qui sum

12. 16 Domine nonne bonum semen seminasti 13. 17 Si bona suscepimus de manu Domini!

18 II. Nudus egressus sum 14. 19 Pater noster qui es in caelis

19 II. Panem nostrum quotidianum

15. 21 Ave sanctissima Maria [6 vv]

16. 23 Unum cole Deum [6 vv]

17. 24 Da pacem Domine in diebus nostris” [6 vv] 18. 25 Suscipe verbum virgo Maria’ [6=Ave Maria] [6 vv] 26 II. Paries quidem filium [6 vv] Locations and Notes *Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, KirchenMinisterial Bibliothek) Mus. ant. pract. R 30 (4) See appendix C.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:16.

— 1565 — | 256 Jacquet of Mantua, Motetti a cinque voci, libro primo J8 (1565) Nugent (Jachet, Opera omnia 5, ix) speculates that Scotto issued this volume along with a second book of Jacquet’s five-voice motets (258) as a memorial gesture in that the set contains an extensive retrospective collection of thirty-six motets. Twenty-one of the motets from the 1539 edition (5) are split up among the two volumes. The 1565 Libro primo contains only seven works (nos. 3, 5, 11, and 13-16) from the 1539 edition. The rest of the motets were taken from other sources, mostly published by Scotto. The opening three works first appeared in Gardano’s Motetti del Frutto (1538"), which Scotto reprinted in 1549 (87). Nos. 6 and 7 occurred in another motet anthology brought out in parallel editions by Scotto and Gardano in 1549 (88). The next three works (nos. 8-10) concluded the fourth book of Scotto’s Motetti del Laberinto series of 1554 (136). Gardano had issued the two remaining motets (nos. 12 and 17) in his 1553 edition of Jacquet’s motets (1553!”). No. 17 also appeared in Scotto’s 1541 edition of Gombert’s First Book of Five-Voice Motets (19).

Title Page [within a lace frame:] CANTO | [below frame] MOTETTI DI IACHET DA MANTOA | A CINQVE VOCI, | Libro primo: | DI NOVO RISTAMPATI. | [type orn.] | [pr. mk. Fame V] | In Vinegia appreffo Girolamo Scotto. |M D LXV.

]. Headline: Canon in sub diapason. 2. Headline: Canon. 3. Instructions: “Canon a 6 Continet hic breviter quaterna tempora primum. Incipit inde piis Ave Maria sonis.”

658

No. 256—1565

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1] 2-23 [24].

Signature title Motetti di lachetA 5. Signatures A-C’; G—/ 4. D-F 4; K-M 4. NP 4. Signed Aij, $2: title pages unsigned.

Headline Tachet. 3 CANTYVS [no voice designation on verso] Technical Notes Music font IV; Text font Italic IJ; Initials White floral II; Plain Roman; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page 16.7 < 13 cm; Music page 18.8 x 13.4 cm.

Table of Contents [p. 24] TAVOLA DELLI MOTETTI DI IACHET | DA MANTOA, A CINQVE VOCTI, | LIBRO PRIMO. | [type orn.] | [contents listed] | FINIS.; Italic, in order of appearance.

Contents

1. 2 Locutus est Dominus ad Moysen Iachet

2 Ii. Stetit Moyses coram Pharoane 2. 3 In die tribulationis mee Jachet 3. 4 Repleatur os meum laude tua lachet 4, Nunquam super terram Jachet lachet 5. 656 IT.Salvum me fac Domine Veni in altitudinem maris

6. 7 Domine secundem actum meum Iachet 7. 8 Si bona suscipimus de manu Domini Jachet 8. 10 _ Rex Babylonis venit ad lacum Iachet 10 II. Tunc ait Rex paveant habitantes 9 Ii Hesperiae ultimae Invicto Regi Jachet

Philippe discedente 10. 12 13 Il. Dum vastos te Adriae fluctusTachet lachet 13 II. Josquini antiquos musae memoremus ll. 14 Aspice Domine quia facta est lachet

12. 15 In illo tempore dixit Jesus discipulis suis lachet

16 II. Domine ostende nobis lachet 13.18 17II. OO quam praeclara sunt Jachet fides spei columen Iachet 14. 19 Pater noster Iachet

19 [II.] Ave Maria gratia plena 1S. 20 Caligaverunt oculi met Iachet : 16. 21 Praesul sanctissime Augustine lachet

17. 22 Decantabat populus in Israel lachet 23 Il. Sanctificati sunt ergo sacerdotes lachet

Locations and Notes Milan, Biblioteca del Conservatorio. S.B. 147.a Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (SAB5) G.CS.1.A.30—33 See appendix C.

All copies All parts: 2: headline LACHET instead of Jachet; 10, 20: headline JACHET instead of Jachet.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 5:259; Grigolato/ Zecca Laterza, Musiche della Cappella di Santa Barbara, #194.

Modern Editions Jachet, Opera omnia, 5: nos. 3, 5, 11, and 13-16; Lewis, Gardane Motet Anthologies: nos. | and 2.

659

No. 257—1565

abe 257 Jacquet of Mantua, Mottetti a 4 libro primo J13 (1565) Scotto apparently based the present edition on the first edition of 1539 (6). A core of fifteen motets (nos. 1-14 and 16) appeared in the earlier edition. The remaining four works were probably taken from Buglhat’s Liber cantus triginta novum motetos (1538°). Only one of them, no. 17, which has no attribution in the Buglhat edition, can be assigned to Jacquet on the basis of the attributions in Scotto’s 1544 and Gardano’s 1545 editions. The remaining three motets are ascribed to Maistre Jhan (Funde preces), Johannes Lupi (Quam pulchra est), and Arcadelt (O gloriosa Domina) in the Buglhat edition and other sources.

Title Page ,

[within a compartment containing cherubs on either side:] TENORE | [below compartment] MOTTETI DI IACHET DA MANTOA | A QVATTRO VOCI, | Libro primo. | DI NOVO RISTAMPATI. | [pr. mk. Fame V] | Ix Venetia appreffo Girolamo Scotto. |M D LXV.

Collation and Headline 4 volumes in quarto upright; 12 leaves, pp. [1] 2-23 [24]. No cantus, altus, or bassus partbook is known to survive.

Signature title Di JachetA 4. Signatures AA-Cc*. Signed Aaij, $2: title page unsigned.

Headline TACHET 3 TENOR [no voice designation on verso] Technical Notes Music font IV; Text font Italic If]; Initials Plain Roman; White floral II.

Table of Contents {p. 24] TAVOLA DELLI MOTETI DI IACHET | DA MANTOA A QVATRO VOCE | LIBRO PRIMO. | [type orn.] | [contents listed] | FINIS.; Italic, in order of appearance.

Contents

l. 2 In illo tempore dixit Jesus ... modicum Iachet

Dicebant ergo quid est hoc 2. 443 II.II.Audi voces amica mea lachet Veni plena gratiae

3. 5 Visita quaesumus Domine Iachet

4. 6 Fratres ego enim accepi a Domino Iachet

et calicem 5. 768 I.If._Similiter Unum cole Deum Jachet Non sis occisor

6. 8 In Domino confide quomodo dicitis Jachet 9 If. Dominus in templo sancto suo

7. 10 In illo tempore erat autem Jesus lachet 11 II. O mulier Samaritana 1] INI. Dixit ei mulier

8. 12 Spem in alium nunquam habui lachet

9. 13 Quis incredibili non exultet Iachet

14 Il. Nos vero pro te nunquam 10. 15 Alleluia surrexit Dominus vere et apparuit Simoni Jachet 15 I. Qui fecit celum et terram

ll. 16 Omnes sancti tui quaesimus Domine Jachet

12. 17 Celorum candor splenduit Jachet

13. Deuslachet lachet 14,18[8Omnipotens O sacrumsempiterne convivium 660

No. 258—1565

is. 19 Funde preces pro nobis lachet| 19 II. Tota es formosa

16. 20 Domine Puer quibonum natus est Jachet 17. 2] est lachet 18.2221 Quam pulchra es lachet’ II. Veni dilecte mi

19.2322 O gloriosa Domina Iachet? IJ. Tu regis alti janua Locations and Notes *Coimbra, Biblioteca Geral da Universidade. (T) Tenor: 7: no page number.

Bibliographical Listings and Literature Kastner, Coimbra, 2:23.

Modern Editions Jachet, Opera omnia, 1: nos. 1-14 and 16; Arcadelt, Opera omnia, 10: no. 19; Clemens non Papa, Opera omnia, 7: no. 18; Lewis, Buglhat Motet Anthologies: nos. 15, 17, and 18.

abe 258 Jacquet of Mantua, Motetti a cinque voci, libro secondo _—_—‘J321 (1565) As noted in 256, Nugent conjectures that Scotto issued a memorial, retrospective collection of Jacquet’s five-voice motets. Fourteen of the motets from the first edition of 1539 appeared in the 1565 Libro secondo (nos. 1-13 and 15). Of the four remaining motets, three (nos. 14, 17, and 18) were included in Bugthat’s Motetti de la simia (1539'), where they are attributed to other composers (O sacrum convivium to Arcadelt and Ave virgo gloriosa and O lux & decus Hispaniae to Jachet Berchem). The last motet in the collection (no. 19) was presumably taken from the motet anthology issued both by Scotto and Gardano in 1549 (88).

Title Page [within a lace frame:] CANTO | [below frame] MOTETTI DI IACHET DA MANTOA | A CINQVE VOCL | libro fecondo. | DI NOVO RISTAMPATL. | [type orn.] | [pr. mk. Fame V] | In Venetia appreffo Girolamo Scotto. |M D LXV.

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1] 2~23 [24]. Signature title Jachet A 5 Lib. 2. Signatures 4A~C*; G-I'*, D-F 4; K-M*, N-P*, Signed Aij, $2: title pages unsigned.

Headline lachet. 3. CANTYVS [no voice designation on verso] Technical Notes Music font IV; Text font Italic III; Initials White floral I; Plan Roman; Calligraphic Gothic; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page 17 x 13.2 cm;

Music page 18.8 x 13.3.

1. Conflicting attribution to Maistre [han in 1538°. 2. Conflicting attribution to Ilohannes Lupi in 1538° and two later sources; to Mouton in Cambrai, Médiathéque Municipale, MS 125-28. 3. Conflicting attribution to Arcadelt in 1538°.

66]

No. 258—1565

Table of Contents [p. 24] TAVOLA DELLI MOTETTI DI IACHET | DA MANTOA, A CINQVE VOCTI, | LIBRO SECONDO. | [type orn.] | FINIS.; [talic, in order of appearance.

Contents

1. 23 II.Si ignorans o pulchra Jachet Pulchrae sunt gene tuae

2. 34 II.Alma redemptoris mater Jachet Tu quae genuisti natura

3. 4 Ave regina caelorum ave domina Iachet 5 IT. Gaude gloriosa

4. 6 Liberator animarum mundi redemptor Iachet

5. 7 Dixit autem Dominus servo Jachet 8 II. Serve nequam omne debitum

6. 8 Haec dies quam fecit Dominus Iachet 7. 9 Plorabant sacerdotes & levite Canon Iachet 10 IJ. Parce Domine parce populo 8. 10 Sancti per fidem vicerunt Iachet 11 II. Alij autem detenti sunt

9 12 Mirabile mysterium declaratur hodie Iachet

10. 12 Iste est discipulus qui dignus Iachet ll. 813 O Dei electe pietatae [sic] Jachet 12, 14 Gaudeamus O lampas ardens inin virtute tua Iachet Jachet 13. 15 omnes Domino

14. 16 O sacrum convivium Iachet! IS. 18 17IT. In Quoniam te Domine speravi fortitudo meaTachet Iachet 16.19 19II.Tribularer si nescirem lachet Secundum multitudinem

17. 20 Ave virgo gloriosa lachet*

18. 21 O lux & decus Hispaniae lachet? I. O singulare praesidium 19,21 22 Ave quam colunt Angeli Iachet 23 II. Audi quid anxiusculis animis Locations and Notes *Milan, Biblioteca del Conservatorio. S.B. 147 b. Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (SAB5) G CS. 1.A.30—33 See appendix C.

All copies: All parts: 4, 12, 17: headline JACHET.

Bibliographical Listings and Literature Grigolata and Zecca Laterza, Musiche della Cappella di Santa Barbara, #195.

Modern Editions Jachet, Opera omnia, 5: nos. 1-13, 15. and 19; Arcadelt, Opera omnia, 10: no. 14.

1. Conflicting attribution to Arcadelt in 1539’, 2. Conflicting attribution to lachet Berchem in 1539’.

662

No. 259—1565

——

259 Lasso, Sacrae cantiones 5 & 6 vv liber secundus L786 (1565) The editor and probable underwriter of this edition was Giulio Bonagiunta, a singer at St. Mark’s. He dedicated the publication to Domenico Paruta, abbot of the Venetian monastery of San Gregorio. Paruta was also the dedicatee of the second edition of Andrea Gabrieli’s First Book of Five-Voice Madrigals (Gardano, 1572). In his dedication Bonagiunta mentions that the famous musician Orlando Lasso gave these motets to him as a gift to do with as he wished. Most of the twelve motets appeared in print here for the first time. Nos. 6 and 7 are found in two Lasso publications issued by the Parisian firm of Le Roy and Ballard (Primus liber concentuum sacrorum of 1564 and Modulorum secundum volumen of 1565), while no. 9 is in the Thesaurus musicus tomi primi (1564!) printed by Berg and Neuber in Nuremberg. The altus partbook listed by RISM as in Venice, Biblioteca del Conservatorio (Torrefranca) was printed by Gardano and not Scotto.

Title Page [within a lace frame:] CANTVS | [below frame] ORLANDI LASSI CHORI BAVARIAE | DVCIS MAGISTRI, | QVINQVE ET SEX VOCIBVS PERORNATAE, | Sacre cantiones nunc primum omni diligentia in lucem editz, | a Julio Bonagiunta Mufico Ecclefiz diui Marci | Venetiarum. | liber fecundus. | [woodcut of coat of arms with three flowers in upper half] | Venetiis, apud Hieronymum Scottum. | MD LXV.

Collation and Headline 6 volumes in quarto upright; 10 leaves [B=8 leaves, 6=6 leaves], pp. [1-2] 3~—19 [20]; [B: pp. [1-2] 3-16; 6: pp. [1-2] 3—11 [12]]. Signature title Mott. Orland. Lassus A 5. & 6. Signatures A~B*C *; AAa—Bpb* Ccc*; Aa~ BB‘Cc’; AAaa—BBbb*; (5) AAaaa—BBbbb*Cccec’; (6) AA*BB?. Signed A2, $2 (A-B), $1 (all C gatherings, BB): title page unsigned.

Headline A 5. 3 CANTYS [no voice designation on verso] Technical Notes Music font Il]; Text font Roman; Initials Large Bible; White floral II; Plain Roman; Calligraphic Gothic; Watermarks Cardinal’s hat; Printed area Title page 16.7 x 13 cm; Music page 18.6 x 13.3 cm.

Table of Contents p. 20 [lacking in B]; INDEX MOTETTORVM ORLANDI LASSI, | CON [sic] QVINQVE ET SEX VOCIBVS. | Liber fecundus. | [contents listed according to number of voices] | FINIS.; Italic, in order of appearance.

Dedication [p. 2] REVEREND[ISSI]“° D[OMINO] DOMINICO PARVTAE | DIGNISSIMO ABBATI S. GREGORIL, | fulius Bonagiunta a S[ancto] Genefio S|ALUTEM}] D{ICIT] | [type orn.] | [woodcut IJN MORE pofitum, confuetudinemque receptum | eft, vt cum qui fignum aliquod feruitutis ac bene-

| uolentil[ale erga fuos Reges oftendere cupiant, fi nihil | eis nec a natura, nec a fortunis Juppeditetur, quod | id de fuo facere queant ne prorfus ingrati videantur, | ex alienis ortis florum fafciculos, quos illis deferant, | carpere folent. Cum igitur iam pridem optarim re ipfa tibi palam facere, | quantum te obferuarem atque colerem, neque meis bonis id quidem mihi con- | fequi poffe viderer, ad aliena confugiendum fuit. itaque cum ab Orlando Laffo | Mufico celeberrimo Chori EccellentiB|imi] Bauari[aje Ducis magiftro cantiones ali- | qu[ale, vulgo Mottetta, nuncupata mihi donata fuiffent, quibus authoris liberalita- | te mihi pro meis vti licet, typis mandare, ac tui priajeclariBimi nominis infcri- | ptione illuftrata emittere, publicareque volui. Quare accipe Preful Reue- | rendiflime] munufculum me[al]e in te obferuanti[ale, atque feruitis argumentum: in quo non | rei exiguitatem, fed mei in te amoris magnitudinem, vt fpectes, te rogatum velim. 663

No. 259—1565

Contents

1. 3 {Missus est angelus Gabriel a Deo] Ad virginem 3 II. Ne timeas Maria, invenisti enim 4 III. Dixit autem Maria ad angelum [3 vv] 5 IV. Dixit autem Maria, ecce ancilla Domini [6 vv]

2. 5 Tribus miraculis ornatum diem 3. 6 Cantate Domino canticum novum 7 II. Viderunt omnes termini terrae

4, 8 De ore prudentis procedit mel

5. 8 Deus canticum novum

9 II. Quia delectasti me Domine 6. 10 Quid prodest stulto habere divitias 7. 10 Deus noster refugium & virtus 8. 11 Jesu corona virginum [6 vv]

12 II. Quodcunque pergis virgines [6 vv] 12 Il. Te deprecamur largins [2 vv] 13 IV. Laus honor virtus gloria [6 vv]

9. 13 Quam magnificata sunt [6 vv]

14 II. Beatus homo quem tu erudieris [6 vv]

10. 14 Vexilla regis prodeunt [6 vv]

15 II. Impleta sunt quae concinet David [6 vv] 15 III. Beata cuius brachiis [2 vv] 16 IV. O crux ave spes unica [6 vv]

11. 16 Concupiscendo concupiscit [6 vv] 17 II. Exaltabo te Deus meus [6 vv] 12. 17 Lauda Hierusalem Dominum [6 vv| 18 II. Velociter currit sermo eius [6 vv] 19 ITI. Emittet verbum suum [3 vv]

19 IV. Non fecit taliter [6 vv] :

Locations and Notes *Bologna, Civico Museo Bibliografico Musicale. § 323 Cantus: 9: signed Motetti d’Orlando di Laffus a 5. & 6.; signed E instead of B; 11: signed C2 instead of B2.

Valladolid, Archivo de la Catedral. (ATBS) Bound with Lassus, Motets Lib. 1 a 5 (L792, 1566) in parchment. Quintus: Title page: left side by hand: “Andrade Caro.”

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:62; Anglés. “El! Archivo... Valladolid,” 94; Gaspari, Catalogo... Bologna, 2: 443-44.

Modern Editions . Lasso, Sdmtliche Werke, 5: no. 2; vol. 7: nos. 1 and 3-6; vol. 9: no. 7; vol. 11: no. 10; vol. 13: no. 8; vol. 18: nos. 9, 11, and 12; Lasso, The Complete Motets, ed. Peter Berquist, Recent Research in the Music of the Renaissance, vol. 109 (Madison, Wis., 1997).

ste

— Morales, Quinque missarum harmontia 5 vv 1565! RISM creates this ghost by misreading the date on the altus partbook in London, British Library. It is actually a copy of the 1563 edition (233).

664

No. 260—-1565

«fo 260 Nasco, Canzon villanesche alla napolitana a 4 libro primo N87 (1565) See 154 for information on other editions. Nuovo Vogel incorrectly lists a copy of the edition in Venice, Conservatorio di Musica Benedetto Marcello (Torrefranca).

Title Page [within a rectangular compartment decorated with dots:] CANTO | [below compartment] DI GIOVAN NASCO | LE CANZON VILLANESCHE | ALLA NAPOLITANA | A QVATRO VOCI. | Nouamente da lui compolto & dato in luce. | LIBRO PRIMO. | [pr. mk. Peace I] | IN

Collation and Headline VINEGIA, | Appreffo Girolamo Scotto. |M. D. LXV.

4 volumes in octavo upright; 16 leaves, pp. [1] 2-31 [32]. Signature title Villotte di Giouan Nafcoa 4. Signatures (S) A-B *; (A) E-~F®. Signed A2, $4: title page unsigned.

Headline 2 CANTO

Technical Notes Music fontIV; Text font Italic II]; Initials Large myth; Large Bible; Plain Roman; Framed Calligraphic Gothic; Watermarks Cardinal’s hat; Printed area Title page 12.6 x 8.9 cm; Music page 12.8 x 8.9 cm.

Table of Contents [p. 32] TAVOLA DELLE VILLOTTE, | NVMERO VINTIVNA | DI GIOVAN NASCO A 4. | LIBRO PRIMO. | [contents listed] | IL FINE.; Italic, alphabetical.

Contents

l. 2 Deh non mi far morir crudel stgnora 2. 4 Issa in bona fe quanto sei bella 3. 6 Finestra bella e patrona crudele 4. 7 Vorria che tu cantassi una canzona 5. 8 Senza di voi veder nulla mi piace 6. 10 O saporita piu che la insalata

7 di Deh muso mio vogli cambiar costume 8. 12 Madonna quanto piu stratii mi fai 9, 13 O bella sopra tutte l’altre belle 10. 14 Poi che questa crudel mi stratia a torto 11. 16 Quando voleva gia tu non volevi 12. 18 Se la tua figlia fosse grandicella 13. 20 Vado pensando e come posso fare 14. 21 Se ti place madonna ascolt’un poco 15. 22 Sappi madonna ch’io ’haggio a dispetto 16. 24 Occhi miei lassi mentre ch’io vi giro 17. 26 O faccia mia piu che la neve biancha 18. 28 Chiamo la mort’haime che me ne leva 19, 29 Deh vita mia quanta dolcezz’io sento

20. 30 Che t’haggio fatto che m’hai tolt’1] core 21. 31 Se schiva sete donna del mio amore Locations and Notes ** Chatsworth, Devonshire Collections. (B) Oct. Tab. H See appendix C.

London, British Library. (S) A.301.b 665

No. 260—1565

Munich, Bayerische Staatsbibliothek. (A) 4° Mus. pr. 2723/2 See appendix C.

**Zwickau, Ratsschulbibliothek. LXXXVI, 1 (ST)

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 7:147; Bayerische Staatsbibliothek, Katalog, 11:4621; Vollhardt, Bibliographie ... LZwickau, #615; British Union Catalogue, 724; Squire, Catalogue of Printed Music... British Museum, 2:186; Nuovo Vogel #2201; Mischiati, Bibliografia ... dei musicisti veronesi, 316c.

Modern Editions

_

Cardamone, Canzone villanesca, 2: nos. 4 and 16.

261 Paolo Ferrarese, Passiones, Lamentationes, Responsoria P868 (1565) According to the dedication, Paolo Ferrarese was a Benedictine monk of the Cassinese congregation. Two further liturgical music editions, the Psalmi omnes qui ad vesperas (1578) and Letanie della madonna (1607), were presumably written by him.

The printing agreement for this edition, drawn up on 8 March 1565 between the Benedictine monastery of San Giorgio Maggiore and the Scotto press, is still extant. It proves valuable not only because it is the only known contract concerning the printing of music to survive from Cinquecento Venice, but also because it provides remarkable details concerning what must have been a typical arrangement between private parties and printer (see chapter 4). The contents of the edition are also

unusual in encompassing one of the most complete polyphonic settings for Holy Week. The comprehensiveness of the volume might have to do with the reform of sacred music occurring at this

time, just after the Council of Trent. An argument for intelligibility of the text is made in the dedication to Don Andrea Pampuro, abbot of San Giorgio. Here the dedicatee is mentioned as

describing performances of the Lamentations in Perugia and Arezzo where many florid , embellishments (gorghe) and a multitude of voices made the sacred text sound noisy and confused. The monastery of San Giorgio Maggiore has had Paolo Ferrarese’s settings printed, which are “no less full of devotion, than of delight, and sweetness, in which the melody is so well matched to the words and each one and every part thereof is heard so distinctly and clearly expressed, that not the

smallest portion is lost...” The pagination for individual pieces listed in the contents is taken from the altus partbook. Pagination for alternate three-voice settings for Maundy Thursday and Good Friday, which do not appear in the altus partbook, is taken from the tenor partbook, and is so specified.

Title Page [within a compartment containing cherubs on either side:}] CANTVS | [below compartment]

PASSIONES, LAMENTATIONES, | RESPONSORIA, BENEDICTVS, MISERERE, | MVLTAQVE ALIA DEVOTISSIMA CANTICA | ad offitium hebdomadz Sanctz pertinentia, | DIOMINI] PAVLI FERRARIENSIS, | monachi diui Benedicti, congregationis Cafsinenfis, | Nunc recens collecta, emendata, & typis tradita. | [pr. mk. Fame V] | Venetijs, apud Hieronymum Scotum.|MDLX Vv.

Collation and Headline 4 volumes in quarto upright; 44 leaves, pe. [1] 2-87 [88]. Signature title none. Signatures A—-L*; AAa—LLI*; AA-LL*; AAaa—-LLll*. Signed AAaij, $2: title pages unsigned.

Headline Ad pafsionem. 3 CANTVS [no voice designation on verso] ,

Technical Notes | Music font III; Text font Italic I; Initials Large myth; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 15.9 x 13.2 cm; Music page 19.6 x 13.2 cm. 666

No. 261—1565

Table of Contents [p. 88] OMNIVM, QVAE HOC IN LIBRO | CONTINENTVR, | INDEX. | [type orn.] | [contents listed] | FINIS.; Italic, alphabetical.

Dedication [p. 2; S only] AL MOLTO REVER[EN]"° SIGNOR | ET PADRON MIO COLENDISSIMO | DON ANDREA PAMPVRO, ABBATE, | di S[an] Giorgio Maggiore di Venetia, & della Congre| gatione di Monte Cafsino Prefidente Dignif]simo] | [type orm.] | [woodcut BJELLA certamente, & degna del fuo diuino intelletto fu la pa- | rola di quel gran fauio, che diffe, beate douer’effere quelle Re- | publiche, ne le quali o i filofofi regnaffero, 6 vero i RE filofo- | faffero: percioche chiara cofa é, che quali fono i Principi, tali fono | ancora i foggetti. Si come adunque, effendo i Principi igno- | ranti, & maluagi, non poffono granfatto i fudditi effere fe non | maluagi, & ignoranti ancor’efi, cofi per contrario, doue i Prin | cipi fono fauij, & virtuofi, conuiene quafi di necesita, che fia- | no et fauij, et virtuofi etiandio i foggetti. La qual cofa, fe mai per | alcun tempo fi verifico in altri, certo ella s’é verificata, & tuttavia fi verifica nella picciola | noftra Republica Casfinenfe: la quale eBendo stata lunghiBimo corfo d’anni fotto il reggi- | mento di buoni, & valorofi Prelati, mentre che i monaci fi fono ingegnati d’afBimigliarfi al | la virtu, & bonta di quelli, ha del continuo viuuto vna vita veramente tranquilla, & beata. | Ma dapoi che ella é stata commeffa alla fauia cura di V[ostra] S|ignoria| R|everendissima] s’eé in cio si felicemente auan- | zata, che il tempo del fuo gouerno fi puo meritamente dire tempo di fecol d’oro. Percioche | effendo V[ostra] S[ignoria] R[everendissima] come un lucido fpecchio, nel quale rifplende ogni liberale difciplina, e ogni fan | to, & religiofo coftume,; ciafcun di noi mirando in quella, fi va componendo, & ornando, & | con la fquadra del fuo effempio regolandofi, fi sforza, & nella innocentia della vita, & nel | bene, et virtuofo operare, di renderfi in alcun modo fimile a lei, &

d’auuicinarfi quanto puo il | piu, alla fua perfetiBima idea: & vago di moftrarfi grato del benefitio, che riceue, & infieme | di giouare al mondo, chi fi é dato @ comporre opere dotte, & catholiche, chi al dar fuori le gia | compofte, chi a raccorre, & metter infieme le fatiche de noftri

maggiori, per darle fimilmen- | te in luce col feliciBimo aufpicio di V\ostra| S{ignoria] Ri everendissima\ Tra quali effendo io per commune, & particola- | re obligo, non meno de gli altri defiderofo di farle alcun fegno di gratitudine; né potendo con | questo meno che mediocre ingegno far cofa ancora di maggior pregio, mi fono anch’io volto | a raunare le opere d’alcuni noftri valenti huomini per iftamparle, & dedicarle al fuo honora | to nome. Et hauendo da gli effetti conofciuto, quanto a V[ostra| Slignoria| Rleverendissima] fieno state grate le Orationi | del grande ISIDORO Clario fopra il Vangelio di San LVCA, che pur questi giorni ftampate | le dedicai; mi fono di tanto miglior voglia difposto a dedicarle i prefenti diuoti, & armonio- | fi canti del noftro D{on} PAVLO Ferrarefe, huomo’oltre a l’altre fue buone qualita, per la rara ec | cellentia fua, & in mufica, & in poefia non mai a baftanza lodato, & degno d’eterna fama. | A la gual cofa fare principalme[n]te mi ha perfuafo la memoria, ch’io ho, d’un ragionamento, che | V[ostra} Signoria] R[everendissima] mi fece fei mefi addietro, quando parlando meco in camera fua dimesticamente, co- | me per fua gratia, & bonta alcuna volta fuol fare, mi racconto, con quanta noia, nel fuo per | noi ben auenturofo viaggio da Roma a Venetia, haueffe udito la fettimana fanta cantare in | Perugia, et in Arezzo le Lame|n|tationi di Geremia Profeta, con tante gorghe, e con tante mol- | titudini di voci, che le erano parute piu tofto vn confufo ftrepito et romore, ch’una diftinta mu- | fica, & pietofa, e diuota, quale fi conuiene in quei fanti giorni, che fi rapprefenta la paBione, & | morte di GIESV Christo noftro Signore. Nel qual propofito mi ricordo, ch’ella mi diffe quefte | formali parole. Il nemico della humana generatione, non fapendo come altrimenti in quei | fanti di leuare a fedeli la deuotione, che destano in loro quelle mestiBime parole, atte per | fe ad intenerire, & fpezzare vn cuore di marmo, ha procacciato con ta[n]te varieta, e fminuzza | menti di voci di fare, ch’elle non fieno intefe, & gli é venuto fatto: cofa, che ad ogni buono, e fe | dele Chriftiano non poco dee difpiacere. lo adunque moffo dalla autoritd, & dalla verita del | le parole di V[ostra] S[ignoria| R[everendissima] ho fatto iftampare quefte, colme non meno di pieta, & di diuotione, che di | foauita, & dolcezza muficali compofitioni, nelle guali il canto é cofi bene accomodato alle pa | role, & ciafcuna d’effe, & ogni fua parte vi fi fente in modo diftinta. & efpreffa, che non fe ne | perde pur vn minimo accento: & pare, che non da 667

No. 261—1565

vn ’huomo mortale, ma da vn’Angelo di | Paradifo fia ftato formato, Vengonfene hora col fuo nome in fronte a baciar le mani a Vi ostra\ | S[ignoria] R[everendissima] in mia vece, [perando

d’effere accolte da lei con l’ufata benignita. Et io alla buona gra- | tia fua humilmente mi raccomando, pregando Iddio, che le doni lunga, & felice vita fecondo- | il comune voto di tutta

la Congregatione Cafinenfe. Da S[an] Georgio Maggiore il primo di | Maggio. 1565. | Di V[ostra\ S[ignoria] R[everendissima] | Obediente figliuolo. | D..... [sic]

Contents

I, 2 Voces Christi & Judeorum ad passionem Dominica Palmarum Domini Secundum Matthaeum

2. 10 Improperium expectavit cor meum Offertorium

3. 1] Adoramus te Jesu Christe Ad elevationem 4, i] Pater si non potest hic calix Communio 5. 12 Turba in passione Domini secundum Marcum ~_ Feria 3

6. 13 Et cum 1am sero

7. 14 Adoramus te Jesu Christe Ad elevationem 8. 14 Turbe in passione Domini secundum Lucam Feria 4

9. 16 Et ecce vir nomine Joseph

10. 16 Adoramus te Christe Ad elevationem Il. [7 Incipit lamentatio Hieremiae prophetae [2 vv] Feria 5

12. 18 In monte Oliveti Responsorium I 13. 19 He. Facti sunt hostes eius [2 vv] Lectio 2

14. 21 Tristis est anima mea Responsorium 2

15. 21 Teth. Sondes eius impedibus eius [2 vv] Lectio 3

16. 23 Ecce vidimus eum non hebentem speciem Responsorium 3

17. 23 Amicus meus osculi Responsorium 4 19. 24 Unus ex discipulis Responsorium 6 20. 24 Eram quasi agnus innocens Responsorium 7 21. 25 Una hora non potuistis Responsorium 8 18. 24 Judas mercator pessimus Responsorium 5

22. 25 Seniores populi consilium Responsorium 9

23. 26 Benedictus Dominus Deus Israel. Octavi Toni Feria 5. ad Laudes

24. 27 Miserere mei Deus secundum

25. 29 Christus factus est pro nobis Feria 5. Graduale ad Missam 26. 29 Dextera Domini fecit virtutem! Offertorium

27. 30 Adoramus te Christe Ad Elevationem

28. 30 Ave verum corpus 29. 31 Dominus Jesus postquam cenavit Communio 30. 31 Pange lingua gloriosi corporis Ad Communionem generalem 31. 32 Pange lingua” 32. 33 Sacris solemniis 33. 33 Cum autem venissem [2 vv] Ad deferendum Corpus Domini ad sepulcrum

34. 33 Ecce vidimus eum non habentem speciem Ad processionem

35. 35 Cum vero venissem Cum peruentem fuerit ad sepulcrum 36. 36 Sepulto Domino Deposito corpore Domini in sepulcro

37. 36 Sepulto Domino 1. Altus: /n diatesseron superius. 2. Tavola: in falsobordone.

668

No. 261—1565

38. 37 Sepulto Domino 39, 37 Ubi caritas et amor Ad laudes In meridie ad lotionem pedum

40. 38 Sequitur in lamentatione Hieremiae [2 vv] Feria 6. ad Matutinum

41. 39 Omnes amici mei Responsorium I

42. 40 He. Factus est Dominus [2 vv] Lectio 2

43. 4l Velum templi scissum Responsorium 2

44. 42 Teth. Defixae sunt in terram [2 vv] Lectio 3

4S. 43 Vinea mea electa Responsorium 3

46. 44 Tamquam ad latronem Responsorium 4 A7. 44 Tenebrae factae sunt Responsorium 5 48. 4d Animam meam dilectam Responsorium 6 49. 45 Tradiderunt me in manus impiorum Responsorium 7 50. 46 Jesum tradidit imptus Responsorium § 51. 47 Caligaverunt oculi mei Responsorium 9 52. 47 Benedictus Dominus Deus Israel. Octavi Toni

53. 48 Miserere mei Deus secundum

54. 49 Benedictus Dominus Deus Israel* 4. Toni. Feria 6. ad Laudes 55. 50 Miserere mei Deus secundum? 56. 50 Voces Christi et Judeorum in passione Feria 6. Ad passionem Domini secundum Joannem

57. 56 Stabat iuxta crucem 58. 58 Pange lingua gloriosi praelium Ad adorationem Crucis

59. 61 Stabat mater

60. 63 Plangent eum Dum levatur corpus Domini de sepulchro

61. 64 . Cum autem venissem Ad processionem

62. 67 Cum verum venissem 63. 67 Ave verum corpus [3 vv] 64. 67 Ave Domine Jesu Christe [3 vv]

65. 67 Ave Domine Jesu Christe :

66. 67 Sequitur in lamentatione Hieremtae [2 vv] Sabato

67. 69 Sicut ovis ad occisionem Responsorium |] 68. 70 Heth denigrata est super carbones [2 vv] Lectio 2 69. 72 Hierusalem luge & exue te Responsorium 2

70. 72 Incipit oratio Hieremiae prophete (2 vv] Lectio 3 71. 74 Incipit oratio Hieremiae prophete Alia oratio in 4 [Lectio 3]

72. 76 Plange quasi virgo Responsorium 3

73. 77 Recessit pastor noster Responsorium 4 75. 77 Ecce quomodo moritur Responsorium 6 76. 78 Astiterunt reges terrae Responsorium 7

TA, 77 O vos omnes qui transitis Responsorium 5

77. 78 Estimatus sum cum descendentibus Responsorium 8

78. 79 Sepulto Domino signatum est monumentum Responsorium 9

79. 79 Benedictus Dominus Deus Israel 80. 81 Miserere mei Deus secundum

81. 83 Benedictus Dominus Deus Israel? Ad laudes

82. 83 Miserere mei Deus secundum?

83. [T: 66] Incipit lamentatio Hieremiae prophetae [3 vv] Aliae Lamentationes Feria 5

84. [T: 68] He. Facti sunt hostes Lectio 2 85. [T: 70] Lamech. O vos omnes qui transitis Lectio 3

86. [T: 71] Sequitur in lamentatione Hieremiae [3 vv] Feria 6. Lectio |

87. [T: 73] He factus est Dominus Lectio 2 88. [T: 75] Teth defixae sunt in terra portae eius Lectio 3 669

No. 261—1565

89. [T: 76] Sequitur in lamentatione Hieremiae [3 vv] Sabato Lectio I

90. [T: 78] Zai. Candidores Nazarei Lectio 2

91. [T: 80] Incipit oratio Hieremiae prophetae Lectio 3 92. 83 Christus natus est nobis. 6. Toni. Invitatorium Natalis Domini 93. 85 Christus natus est nobis. 4. Toni. Invitatorium Natalis Domini Locations and Notes Bologna, Civico Museo Bibliografico Musicale. U 31 London, British Library. (AT) D.83

_ fe

Original vellum binding; written in ink on covers: “1574 | Altus | Passionis Jesu Cristi”; On fly leaf: “Anno 1577 In Venedig | Dis buech gehoért mir | Maria pfaffenperg.” Tenor: 34: Responsorium 7 instead of Responsorium 4.

Bibliographical Listings and Literature

Eitner, Quellen-Lexikon, 7: 312; Gaspari, Catalogo... Bologna, 2:286—87.

262 Primavera, Primo & secondo libro de madrigalia5&6 P5443=1565"°

A native of Barletta, Giovan Leonardo Primavera spent his early career in Naples in the service of Fabrizio Gesualdo, father of the famous composer, Don Carlo Gesualdo. By 1565 he had moved to northern Italy, probably living in Venice, from where he signed his dedications from 1565 to 1578. In 1570 he was named in a sodomy case in Loreto, while visiting there with a group of gentlemen from Venice (Sherr, “A Canon, A Choirboy, and Homosexuality”). By 1585 he returned to Naples, where he remained on good terms with Carlo Gesualdo. Primavera dedicated this edition to Brunoro Zampesco, a celebrated military captain who served Venice from 1555 until his death in 1578. In 1571 he became governor-general of Friuli, and in 1573 was appointed duke, governor, and captain of the island of Candia (Crete). In 1564 Francesco Sansovino dedicated two books of Lettere amorose to Zampesco. The following year Zampesco’s L’innamorato. Dialogo appeared in print (Larson, “Unaccompanied Madrigal in Naples,” 288 n. 250). The present edition combines Primavera’s first and second books of five- and six-voice madrigals in one volume. We know there was an earlier separate edition of at least the first book, since Primavera mentions it in the dedication of his seventh book to Carlo Gesualdo (1585). Larson suggests that Primavera probably omitted some of the madrigals that originally appeared in the earlier edition of book one because he thought they were less skilled or less attractive to Venetian tastes. More likely, he did not have enough madrigals to fill up an entire second book, and so had to augment his “newly composed” Secondo libro with madrigals from his first book. Primavera (or Scotto) included a madrigal by Striggio (no. 9) in the edition. RISM incorrectly states that the Kassel, Landesbibliothek copy lacks the sextus part, and lists only one copy of the bassus partbook in Munich, Bayerische Staatsbibliothek.

Title Page [within a lace frame:] CANTO | [below frame] IL PRIMO ET SECONDO LIBRO | DE MADRIGALIT | A CINQVE, ET A SEI VOCI, | DI GOVAN LEONARDO PRIMAVERA: | Nouamente da lui compolti, & dato in luce. { [type orn.] | [pr. mk. Fame V] | In Venetia appreffo Girolamo Scotto. |M D LXV.

Collation and Headline 6 volumes in quarto upright; 12 leaves [6=6 leaves], pp. [1-2] 3-23 [24]; [6: pp. [1-2] 3-11 (12]].

Signature title Primauera A5.& A6. Signatures A-C *; AAa—CCc*, AA~CC*; AAaa—CCcc*; AAaaa-CCccc*;, AAaaaa*-BBbbbb*. Signed Aij, $2 (A—C), $1 (BBbdbd): title pages unsigned.

Headline PRIMAVERA. A cinque 3 CANTO [no voice designation on verso] 670

No. 262—1565

Technical Notes Music fontIV; Text font Italic II]; Initials Large myth; Large knight; Crest; Virtues; White floral II; Plann Roman; Watermarks Cardinal’s hat; Printed area Title page 17.6 x 13.2 cm; Music page 18.8 x 13.3 cm.

Table of Contents [p. 24, 6: p. 12] TAVOLA DELLI MADRIGALI A 5. A 6. VOCE | DEL PRIMAVERA. | [type orn.] | [contents listed divided by number of voices] IL FINE.; Italic, alphabetical.

Dedication [p. 2] AL L’>ILLVSTRISSIMO SIGNORE | ET PADRON MIO OSSERVANDISSIMO, | IL SIG[NOR] BRVNORO ZAMPESCO. | [woodcut NJON ERA conueneuole, che le fatiche & vigilie

mie, v{fcendo in | quefto publico theatro del mondo co’l mezo delle ftampe, haueffero | immediatamente fcritto nella prima fronte altro nome, che quel | di V{ostra]| S|ignoria] Uluftris[ima] fi perche in quella parte di fplendore, | in che elle mancaffero, foffe fupplito loro con linfinita gloria | di lei, come perche la riuerentia ch’io porto a quel fingolar | concorfo di tutte l’heroiche virtu, di che ella é perpetuamente adorna, le foffe con | quefto mezo palefe & manifefta, dopo che lungamente l’ho conferuata in me fteffo, | afpettando quefta occafione. Se io guardo a tanti meriti di V[ostra| S[ignoria] Uluftrisfima, ho | cagione di ritirarmi indietro da quefto mio ardimento: ma fe mi {pecchio in quella par- | te di nobiliffima cortefia & generofita, ch’é propria

di lei, & con la quale asficura ogni | timido & riuerente, con animo pronto & ficuro debbo prefentarle innanzi quefte mie | opere di Mufica, quali elle fiano, certisfimo che dalla bonta & magnanimita di lei fa- | ranno hauute care, & con lieto & cortefe affetto riceuute. Io veggo di non poterle | dedicare ad alcun Caualiero, che di nobilita per lunghi fecoli felicemente goduta, di fplen- | dore per vera virtu acquiftato, di benignita & d'humanisfima creanza dalla natura hauu| ta le poffa mettere il piede innanzi: & V[ostra] Slignoria] IluftriB|ima] fappia, ch’effendo ella di | tutti i virtuofi fautrice & benemerita, ha dato ardimento a me, quate io mi fia, d’amar- | la, riuerirla, & offeruarla, & me linchino humilmente, & bacio la mano, con fer- | mo & rifoluto animo d’honorare il rimanente dell’opere mie co’l nome fuo Uluftrisfimo, | come le prefenti

honoro. A iiij. di Luglio MDLXV. In Venetia. | D[i] V[ostra] Slignoria] UluftriB{ima] | DeuotifSimo Signore. | Gio[van| Leonardo Primauera.

Contents

J. 3 Amor & io si pien di maraviglia 4 II. Qual miracolo é quel quando fra l’erba 2. 4 Amor fortuna & la mia menta schiva 5 II. Ne spero 1 dolci di tornino indietro

3. 6 Se lamentar augelli o verdi fronde

6 II. Deh perche inanzi tempo ti consumi :

4, 7 Mira quel colle, o stanco mio cor vago

8 II. Hor tu ch’hai posto te stesso in oblio

5. 8 La sera desiare odiar |’aurora

9 II. Come gia fece all’hor che primi rami

6. 10 Porta’il bon villanel da strania riva

10 II. Mai pomi un tempo al lui serbati’e cari

7. II Dalla piu bella mano

8. = 12 O troppo cara’o troppo eccelsa preda

9 13 Movendo a paro con milli! corso Strigio

10. 14 Mille fiate o dolce mia guerrera I) J. Hor s’io lo scaccio & non trova in voi ll. 16 lo vo piangendo 1 miei passati tempi [6 vv]

17 Ij. Si che s’io vissi in guerra’& in tempesta [6 vv]

12. 17 Sparga la santa Astrea [6 vv]

13. 18 Padre del ciel dopo’ perduti giornt [6 vv] 671

No. 262—1565

19 II. Hor volge signor mio l’undecim’anno 14. 20 Qual sol che d’Oceano nimpha bianca [6 vv]

1S. 921 Nasce la gioia mia [6 vv] 16. 9 22 Dolce cantar s’udia [6 vv]

17. = 23 Non ved’un simil par d’amant’il sole [6 vv] Locations and Notes ** Berlin-Charlottenburg, Bibliothek der Hochschule fiir Musik. (6) Bologna, Civico Museo Bibliografico Musicale. (S5) U.110 ** Cracow, Biblioteka Jagiellonska. (5) (olim Berlin, PreuBische Staatsbibliothek) Mus. ant pract. P 1360 ** Fabriano, Biblioteca Comunale. (B56)

Kassel, Landesbibliothek. 4° Mus. 32 1-6 (22) , See appendix C.

London, British Library. (T) D.193 Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 45/3 Tresor; copy 2: (B) 4° Mus. pr. 2722/14 See appendix C. Quintus: 11: signed BBbij instead of Bbbbbij. Bassus: 17: signed Ccccc instead of Cccc; 19: stgned Cccccij instead of Ccccij

** Turin, Archivio di Stato. (5)

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:67; British Union Catalogue, 810; Squire, Catalogue of Printed Music .. . British Museum, 2:305; Gaspari, Catalogo... Bologna, 3:154—55; Bayerische Staatsbibliothek, Katalog, 12:5084; Israél, Ubersichtlicher Katalog... Cassel, 50; Nuovo Vogel #2273. __efe__

263 Primavera, Primo libro de canzone napolitanea3 P5444=1565"" Primavera issued four books of three-voice canzoni napolitane and villotte between 1565 and 1570. The first book met with immediate success, since at least two further editions in 1566 (272) and 1570 (350) were brought out by the Scotto press. Cardamone (Canzone villanesca, 112) speculates that Primavera might have written the napolitane texts for his musical settings as he had done for some of his madrigals. He also included in his Primo libro works by other Neapolitans, in particular Giovan Leonardo Dell’Arpa, who was a renowned performer on the double harp. Primavera’s dedication to Luigi Contarini, of the well-known Venetian noble family, implies that the composer had numerous patrons in Venice.

Title Page [within a lace frame:] CANTO | [below frame] IL PRIMO LIBRO | DE CANZONE NAPOLITANE | A TRE VOCT, | Di Iof[an] Leonardo Primauera. | CON ALCVNE NAPOLITANE | Di ofan] Leonardo di L’arpa, Nouamente da lui | Composte & dato in luce. | [pr. mk. Peace T] | IN VINEGIA, | Appreffo Girolamo Scotto. | M. D. LXV.

Collation and Headline 3 volumes in octavo upright; 18 leaves, pp. [1-2] 3—35 [36].

Signature title // primo lib. delle Canzone A 3. Signatures 4—B°C’; AA-BB®CC’; AAa-BBb®CCc’. Signed A2, $4 (A, B), $1 (C): title pages unsigned.

Headline Primauera. CANTO 3

Technical Notes Music font IV; Text font Italic III (extra stanzas=Roman); Initials Trees; White floral I & Il; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 12.4 x 8.9 cm; Music page 8.7 [four staves]/ 13.6 [full page] x 8.9 cm. 672

No. 263—1565

Table of Contents [p. 36] TAVOLA DELLE CANZONE | NAPOLITANE, A TRE. | {type orn.]; Italic, alphabetical.

Dedication [p. 2] AL MOLTO MAG[NIFI]©° SIGNOR | Et padrone mio offeruandiffimo, | Il S[ignor] Luigi del clariss[imo] S[ignor] Nicolo Contarini. | [type orn.] | [woodcut P]ADRON’ mio, la caufa perche tra il nu- | mero di tanti miei Signori & padroni, io | habbi eletto V[ostra] S[ignoria] M|agnifica|

che col fuo nome ho- | nori quefte mie poche Napolitane, che pre- | gato da chi anco mi puo sforzare, mi fono | moffo a mandar in istampa, e ftata folo per | che in quefto tempo ch’io ho fatto ferui- | ti con Vi ostra| MU agnificentia] V’ho io trouata piena di tante cortefie & virtu | che l’ho ftimata degna di qual fi vogli mia fattica; ficuro anco | che queste poche altre che non fon mie fi

quietaranno, e non fi fde- | gnaranno viuer ancor loro fotto la feliciffima ombra di V\(ostra] Signoria] | della quale fo hoggi maggior ftima che di qual fi voglia Pren- | cipe al mondo, Et con ogni riuerenza bafciandole la mano, pre- | go Dio Noftro Signor che le doni quella maggior felicita che | gli defidero. | Immortal feruitor | I] Primauera.

Contents

L. 3 Turco Giudeo ne Moro Primavera 2. 4 Ardenti miei sospiri Primavera 3, 5 Ardo moro languisco e chieggio aita Primavera

4. 6 Donne leggiadr’e voi vaghe donzelle Primavera 5. 7 Deh lasciatemi stare tanti pensieri [no attribution]

6. 8 Bellezza ch’empi’il ciel di maraviglia Io. Leonardo de L’arpa

7. 9 Sento tal foco e fiamma Primavera

8. 10 Mille volte dicia Primavera

9. 11 Dormendo mi sonnava Gio. Leonardo

10. 12 - Dapoi che tu crudel mi desti morte Primavera 11. 13 Dolc’amorose e legiadrette nimphe D’incerto 12. 14 Questa donna crudel che tanto bella Primavera

13. 15 Amor lasciami stare Gio. Leonardo di L’arpa

14. 16 Si havessi tantillo di speranza Rinaldo Burno 1S. 17 Tre donne belle fanno gran bataglia Primavera 16. 18 Se di lunga mi trovo vita mia Primavera

17. 19 Miracolo non é se voi legati Primavera

18. 20 Sempr’ho fuggito Amore questa tua rete Primavera 19, 2] E di quanto bene da sto mondo uscivi (no attribution]

20. 22 Donna gli e ben raggione Primavera 21. 23 Un temp’ogn’hor piangeva L’arpa 22. 24 Lucretia gentil Lucretia bella L’arpa

23. 25 Viver amando e morir disperato Carlo Tetis 24. 26 Quando vidi madonna’i bei vostr’occhi Primavera

25. 27 Tanti migliara di pen’e martire L’arpa 26. 28 Villanella ch’all’acqua vai [no attribution] 27. 29 Maraviglia non e s’1o fui ferito Primavera 28. 30 Anno raggion’affe queste citelle Primavera

29. 31 All’arme all’arme o fidi mei pensier1 Primavera 30. 32 Correte oscuri amanti Primavera 31. 33 L’alba risona d’ogni intorno e sento Primavera 32. 34 All’arme all’arme o fidi mei pensieri {no attribution] 33. 35 Tutto lo giorno stento e poi la sera [no attribution] Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (T) U 105 ** Cracow, Biblioteka Jagiellonska. (olim Berlin, PreuBische Staatsbibliothek, olim Celle, Kirchen673

No. 263—1565

und Ministerial-Bibliothek) Mus. ant. pract. S 920 (4) See appendix C.

*Linkoping, Stifis- och Landsbiblioteket.

See appendix C. |

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8: 67; Squire, Catalogue of Printed Music... British Museum, 220; Gaspari, Catalogo... Bologna, 3:252; Davidsson, Catalogue .. . bibliothéques suédoises, 73-74; Nuovo Vogel #2267.

fo

264 Rore, Vive fiamme de madrigali a quatro et cinque voci R2514=1565"° Giulio Bonagiunta, a singer at St. Mark’s, was responsible for this posthumous edition (Rore died two

months before the date that appears in Bonagiunta’s dedication). For those wondering how Bonagiunta acquired these unpublished madrigals, he boasted in his dedication to Anibale del Forno that Rore gave him the madrigals to hold onto “‘so that they would not fall so easily into the hands of everyone who would like to spread them about.” What Bonagiunta proclaims is that these works have never been printed and are thus of great value to the dedicatee. He makes similar assertions in the dedications to three other publications (see 259). Though the title page carries the label “con gratia et privilegio, no privilege for this edition survives. The Scotto press reprinted this collection in 1569 (330), 1576 (R2516), and 1585 (R2517). The collection contains four occasional madrigals. No. 2 honors Giovan Francesco Liberta, prior of the Augustinian monastery of Santa Margarita in Treviso. No. 8 is addressed to Lamoral, count of Egmont, who, in 1557, helped win the battle of St. Quentin for Philip II against the French. No. 16 praises Margaret of Parma. No. 18, the Latin madrigal, Rex Asiae & Ponti compares Wolfgang Ausperger, who has been identified as Wolfgang Engelbert von Auersperg of Carniola, with three great men from antiquity (Meier in Rore, Opera omnia, 5: xi—xiv).

RISM B incorrectly records the copy in Bologna, Civico Museo Bibliografico Musicale as , complete (the tenor partbook is lacking). Neither RISM nor Nuovo Vogel lists the copy in Cracow, Biblioteka Jagiellonska.

Title Page [within a lace frame:] CANTO | [below frame] LE VIVE FIAMME | DE’VAGHI E DILETTEVOLI MADRIGALI | DELL’>ECCELL[ENTE] MVSICO, CIPRIANO RORE, | A QVATTRO ET CINQVE VOCI, | Nouamente pofti in luce, per Giulio Bonagionta da S[{an] Genefi, | Mufico dell Illuftrifs[ima] Sig[noria] di Vineggia. | CON GRATIA ET PRIVILEGIO. | [woodcut: burning book in oval surrounded by olive branch and palm frond with motto: “Non ha il mondo chel mio mal preggi’’] | In Vinegia appresso Girolamo Scotto. M D LXV.

Collation and Headline 5 volumes in quarto upright; 12 leaves [5=10 leaves], pp. [1-2] 3-24; [5: pp. [1-2] 3-20]. ' Signature title Cipriano Rorea4&a5. Signatures A-C*; AAa—Ccc*; AA-Cc*; AAaa—Cccce*; AAaaa~BBbbb‘ Cccce*. Signed A2, $2 (A—C), $1 (Ccecc): title pages unsigned.

Headline Cipriano Rore. A 4. 3 CANTO [no voice designation on verso] Technical Notes Music font III; Text font Roman; Initials Large myth; Large knight; White floral II; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 18 < 13.3 cm; Music page 18.9 x 13.3 cm.

674

No. 264—1565

Table of Contents p. 24; TAVOLA DELLI MADRIGALI A 4. ET 5. | DI CIPRIANO RORE | Delle viue fiamme. | [type orn.] | [contents listed] | IL FINE.; Italic, m order of appearance. Pagination follows individual partbooks.

Dedication [p. 2] AL MOLTO MAGNIFICO SIGNOR | IL SIGNOR ANIBALE DEL FORNO | MIO PADRONE OSSERVANDISSIMO. | [type orn.] | [woodcut MJAGNIFICO Sig[nor] mio offeruandifBimo, per la gran fami- | liarita, & amoreuol feruitu, che io longo tempo ho tenuta con | 2’eccellentiB[imo| Mufico M. Cipriano Rore, benignamente per \ fua cortefia mi fece partecipe d’alcuni fuoi bellisfimi Madriga- | gali, [sic] a quattro, & a cinque voci, pregandomi li doueffe

tenir | appreffo di me, accio le fue opere non cofi facilmente nelle ma- | ni di ciafcheduno fi diuulgaffero: & per effer homai il mondo (con giufto voler d’Iddio) | reftato priuo d’un tant’huomo, a cui pochi 6 raria appareggiar fi poffono: parmi farli tor- | to grandisfimo, tener piu afcofo cofi bel Theforo, da tanti fpiriti generofi bramato: effendo | che per questo mezo refufciti l’Auttore, & viui immortale: manifeftandofi la fua rara vir- | tu, hoggidi tanto honorata, & bramata da tutti. Pero per le lunghe preghieri di molti, | & comune fatisfatione, & vtilita, fon conftretto porli in luce, & dedicarli a Voftra Si- | gnoria da me vnicamente amata, & honorata, (merce le fue fingularisfime virtu, & | cortefie.) Pregandola fi degni riceuere il picciol dono, & me infieme tenendomi fra | tutti gli altri chari fuoi feruidori amoreuoli, & fideli. Priego Dio alla giornata mi da- | ghi maggior occafione, accio posfi in maggior parte dimoftrarli il mio grato animo, in| quefto, mentre Voftra Signoria mi amara, & mi comandara, & io mi offero a ogni |

occorrenza paratisfimo. Di Venetia. A di 8. Nouemb{re| 1565. | Di Vlostra] Sig{noria] humilisfimo feruitore | Giulio Bonagionta da S[an] Genefi.

Contents

1. 3 _ Spesso in parte del ciel lucent’e bella Cipriano Rore' 2. 4 Felice sei Trevigi Cipriano Rore 3, 5 Chi vol veder tutta raccolt’insieme Cipriano Rore'

6 II. Vedrai biondi capel 4. 7 Non mi toglia i] ben mio chi non arde Cipriano Rore!

5. 8 Musica dulci sono Cipriano Rore 6. 9 Fera gentil che con leggiadro modo [5 vv] Cipriano Rore 9 II. Perche si stretto e ’| nodo e la ferita [5 vv]

7. 10 Alma Susana ben felic’e °1 core [5 vv] Cipriano Rore

8. 861i Da l’estremo orizonte [5 vv] Cipriano Rore

9. 12 Tra piu beati e piu sublimi chori [5 vv] Cipriano Rore 13 II. Io qui non miro piu quel che solea [5 vv]

10. 14 Quest’affannato mio doglioso core [5 vv] Cipriano Rore

Hl. 0645 Vaghi pensieri [5 vv] Cipriano Rore

12. 17 Amor che t’ho fatt’1o [5 vv] Cipriano Rore 13. 18 Candid’e vago fiore [5 vv] Cipriano Rore 14. 19 Poi che m’invit’amore [5 vv] Cipriano Rore 15. 20 E se pur mi mantiene [5 vv] Cipriano Rore

16. 21 Alma Real se come fida stella [5 vv] Cipriano Rore

17, 22 Misero me ch’alle mie spes’imparo [5 vv] Andriano Anville

18. 23 Rex Asiae & Ponti [5 vv] Cipriano Rore Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (SAB5) R 215 Top and bottom edges of leaves badly deteriorated. Cantus, Altus, and Bassus: signed Cipriano a 4 & a 5 at signature C.

1. Attributed to Ingegneri in his Primo libro de madrigal a 4 (41578).

675

No. 264-1565 Cantus: 12-13: “a 5” omitted in headline. Bassus: 16: Cipriano Rore omitted in headline. Quintus: Tavola: at bottom in ink the Initials Y | SMO.

*Brussels, Biblitheque Royale de Belgique. (S) HI 99.250.A L.P. — ** Cracow, Biblioteka Jagiellonska. (B) (olim Berlin, PreuBische Staatsbibliothek ) Mus. ant. pract. R 630 Regensburg, Proskesche Musikbibliothek. AR 689 Partbooks covered in parchment with two white leather ties. Cantus: 12-13: “a 5” omitted in headline. Bassus: 16: Cipriano Rore omitted in headline.

Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (5) G.CS.4.A.31.1 Verona, Accademia Filarmonica. (SAT) N. 154

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:307; Huys, Catalogue des imprimés musicaux, 388; Gaspari, Catalogo. . . Bologna, 3:32—-33; Turrini, Catalogo... Verona, 27; Nuovo Vogel #2422.

Modern Editions Rore, Opera omnia, 5: nos. |-16 and 18.

ate 265 Waelrant, Canzon napolitane a quattro voce W2 (1565) Hubert Waelrant, a resident of Antwerp, established a partnership with Jean Laet to print music during the mid-1550s. While the possibility remains that he had his Canzoni napolitane issued in Antwerp, the Scotto publication of 1565 appears to be the only surviving edition. Seventeen of the pieces in the collection (nos. 1-7, 11, 13-15, 18, 20, 22, and 25-28) also appear in Winchester College, MS 153, a manuscript dated 1564—66 that was copied in Antwerp and presented to Elizabeth I of England (Forney, “Antwerp’s Role in the Reception and Dissemination of the Madrigal’).

Title Page [within a rectagular compartment decorated with dots:] ALTO | [below compartment] DI HVBERTO VVAELRANT | LE CANZON NAPOLITANE | A QVATTRO VOCE | DI NOVO STAMPATE. | [type orn.] | [pr. mk. Peace I] | IN VINEGIA, | Appreffo Girolamo Scotto. | M. D. LXV.

Collation and Headline 4 volumes in octavo upright; 16 leaves, pp. [1] 2-31 [32]. No cantus or tenor partbook is known to survive.

Signature title Le canzon Napolitane A 4. Signatures E-F*°. Signed E2, $4: title page unsigned.

Headline ALTO 3

Technical Notes Music font [V; Text font Italic III; Initials Plain Roman; White floral IJ; Watermarks Cardinal’s hat; Printed area Title page 12. x 8.6 cm Music page 12.7 x 8.8 cm.

Table of Contents [p. 32] TAVOLA DELL E [sic] CANZONI | NAPOLITANE | A QVATTRO VOCI | Di Huberto. | [type orn.] | [contents listed] | ZL FINE.; Italic, in order of appearance.

Contents

l. 2 Mill’anni sono ch’io non t’haggio vista 2. 3 Son molti giorn’haime ch’io pers’il core 3, 4 Mi bisogna servir questa crudele 676

No. 266—1565

4. 5 Non t’ho possuto mai donna mostrare 5. 6 Madonna io ti voria tutt’i] mio bene

6. 7 Tu sei la causa de la morte mia 7. 8 I dolci sguardi toi alta signora 8. 8 Non potria farmi peggio la mia sorte

9, 10 Madonna perche causa m’hai lassato

10. Ii Si troppo bella masimitiata 11. 12 Quanti ne vedi tutt’a te li tir

12. 13 Sacciate mo che poi fiera crudele

13. 14 Deh perch’abandonasti me crudel o donna 14. 14 O Dio che fosse quella costumanza 15. 16 Madonna mia per te son quasi morto 16. 17 Io segu’a chi mi fugg’e mi s’asconde

17. 18 Rimedio donna mia mortal ferita 18. 19 Chiamo la mort’ogn’hor che me leva 19. 20 Tutto lo giorno piang’haime meschino 20. 20 Port’acqu’al crin’e piglia vent’in rete

21. 22 Sappi madonna ch’1o t’haggi’a dispetto 22. 23 Son mort’e moro e pur credo morire 23. 24 In tutto voi ch’io mor’o traditora 24. 24 Madonna con chis’occhi m’hai ucctso 25. 26 Sta constante cor mio che t’am’ogn’hora 26. 26 Non te ricordi quand’eri figliola 27. 28 Madonn’habbi pieta del mio martire 28. 29 Non posso far cor mio che pur non pianga 29. 30 lo tho portato donna grand’amore 30. 3) - Sappt cor mio ch’io non riposo mai Locations and Notes ** Chatsworth, Devonshire Collections. (B) Oct. Tab. H See appendix C.

Munich, Bayerische Staatsbibliothek. (A) 4° Mus. pr. 2723/3 See appendix C.

Bibliographical Listings and Literature Nuovo Vogel #2957; Bayerische Staatsbibliothek, Katalog, 17:6855.

age 266 Quattro libri delle villotte alla napolitana a tre voci 1565!) See 226.

Title Page (within a lace frame:] CANTO | [below frame] LI QVATTRO LIBRI | DELLE VILLOTTE | ALLA NAPOLITANA | A tre uoci. | De diuerfi Eccellentiffimi Auttori Con due | Morefche, nuouamente riftampate | & con diligenza corrette. | {pr. mk. Peace I] | IN VINEGIA, | Appreffo Girolamo Scotto. |M. D. LXV.

Collation and Headline 3 volumes in octavo upright; 40 leaves, pp. [1] 2-79 [80]. Signature title Li quattro libri delle Villotte. A3. Signatures A~E ®; AA-EE*®; AAa—EEe*®. | Signed A2, $4: title pages unsigned.

Headline verso: 2 CANTO

recto: CANTO 3 677

No. 266—1565

Technical Notes Music font IV; Text font Italic (extra stanzas: Roman); Initials Plain Roman; White floral II; Watermarks Cardinal’s hat; Printed area Title page 12.7 huomo innamorato Giovan Leonardo de L’ arpa

2. 4 Io persi lo mio cor’ad un’1impresa De Larpa 3. 5 O belle trezze d’oro io per voi pasm’e moro De Larpa

4. 6 O bella man ch’avanzi di valore De L’arpa 5. 7 Parti canzona mia De L’arpa 6. 8 Le donne a Roma portano le perle De L’arpa

7. 9 Seguit’amor donna gentil e bella Ioan Dominico da Nola 8. 10 Credo ch’el paradiso al parer mio Ioan Dominico da Nola

9. Il Sappiat’amanti ch’amor fa gran guerra Cesaro Todino 10. 12 Tristo che gionge a cosi stretto passo Cesaro Todino 1}. 13 Cosi scolpita a gl’occhi mei ti porto Don Francesco Celano 12. 14 Come poss’io morir si non ho vita Euisdem 13. 15 Amor rilieva lo mio cor in cielo Joan Dominico da Nola 14. 16 Dal giomo ch’io mirai sua face bella Cesaro Todino 15. 17 Il vostro dolce sguard’ond’io son foco Del medesimo

16. 18 Quanti lasso sospir la nott’al vento d’Incerto

17. 19 Fuggend’il mio dolor’io m’era assiso Le Roy 18. 20 Menando gli ann! a pie d’un verde felce Cesaro Todino 19, 21 Del crud’ amor 10 sempre mi lamento d’Incerto 20. 22 Se ’I ciel non dess’aita a far’ogn’ anno Cesaro Todino 21. 23 Ahime che nel partir mi manca il core d’Incerto

22. 24 Villanella villanella d’Incerto 23. 25 Ahi dolce sonno ahi liet’e bel dormire Ioan Dominico da Nola 24. 26 Vita mia com’é spento quell’ Amore Ioan Dominico da Nola

25. 27 Io non posso lasciarti o vita mia Don Giovan Antonio 27. 29 Io mi vivea com’ Aquila mirando Stefano Lando 26. 28 Chi vuol veder’un bosco e spesso folt’e Cesaro Todino

28. 30 Un temp’ogn’hor piangeva d’incerto 29. 31 Amor lasciami stare Ioan Antonio Ferrelle Locations and Notes Bologna, Civico Museo Bibliografico Musicale. R 65 ** Chatsworth, Devonshire Collections. Oct. Tab. H (B) See appendix C.

Chicago, Newberry Library. (B) (olim Howard Mayer Brown Collection) *Linképing, Stifts- och Landsbiblioteket. (STB) London, British Library. (S) A.277 (5) (olim Landau) See appendix C.

' Venice, Biblioteca Nazionale Marciana. (B) Musica 378 #9 See appendix C.

Vienna, Osterreichische Nationalbiblithek. SA.77.F.18 **Zwickau, Ratsschulbibliothek. (ST) LXXXVIL.1

Bibliographical Listings and Literature Wiel, d’Este, and Faustini, “Biblioteca di S. Marco,” 228; Davidsson, Catalogue . . .bibliothéques suédoises,

74; Gaspari, Catalogo... Bologna, 3:205—6; Vollhardt, Bibliographie ... Zwickau, #77; F, Roediger, Catalogue des livres... Landau, 1:503-4.

Modern Editions Nola, Documenti biografici... l’opera, 2: nos. 7, 8, 13, 24, and 25.

686

a

No. 272—1566

272 Primavera, Primo libro de canzone napolitanea3 P5445=1566"4 Scotto used the standard structure of four duerni (four-leaf gatherings) for this publication, which meant that he had to eliminate the last irregular two-leaf gathering found in the 1565 first edition (263). He accomplished this by omitting the last three pieces and the dedication page. The rest of the contents are identical with the first edition. RISM does not list the following locations: Vienna, Osterreichische Nationalbiblithek. and Florence, Biblioteca Nazionale Centrale. Nuovo Vogel incorrectly records an incomplete copy (ST only) for Vienna, Osterreichische Nationalbibliothek.

Title Page [within a lace frame:] CANTO | [below frame] IL PRIMO LIBRO | DE CANZONE NAPOLITANE | A TRE VOC, | Di lofan] Leonardo Primauera. | CON ALCVNE NAPOLITANE | di Io[an] Leonardo di L’arpa, Nouamente da | lui composte & dato in luce. | [pr. mk. Fame IIT] | IN VINEGIA M D LXVL. | [rule] | Appreffo Girolamo Scotto.

Collation and Headline 3 volumes in octavo upright; 16 leaves, pp. [1] 2-31 [32].

Signature title I] primo lib. dell Canzone. A3. Signatures A~B®; C-D*; E-F®. Signed A2, $4: title pages unsigned.

Headline Primauera CANTO 3 Technical Notes Music font IV; Text font Roman; Initials Centaurs; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 12.9 x 8.5 cm; Music page 8.6 (4 staves) x 8.6 cm.

Table of Contents [p. 32] TAVOLA DELLE CANZONE | NAPOLITANE, A TRE. | [type orn.] | [contents listed] | IL FINE.; Roman, in order of appearance.

Contents

1. 2 Turco Giudeo ne Moro Primavera 2. 3 Ardenti miei sospiri Primavera 3. 4 Ardo moro languisco e chieggio aita Primavera

4. 5 Donne leggiadr’e voi vaghe donzelle Primavera

5, 6 Deh lasciatemi stare [no ascription] 7. 8 Sento tal foco e fiamma Primavera

6. 7 Bellezzi ch’emp’1l ciel di maraviglia Io.Leonardo de L’arpa

8. 9 Mille volte dicia Primavera

9. 10 Dormendo mi sonniava Gio.Leonardo

10. 1 Dapoi che tu crudel mi desti morte Primavera tl. 12 Dolc’amorose e leggiadrette ninfe D’incerto 12. 13 Questa donna crudel che tanto bella Primavera

13. 14 Amor lasciami stare Gio.Leonardo di L’arpa 14. 15 Si havessi tantillo di speranza Rinaldo Burno 15. 16 Tre donne belle fanno gran bataglia Primavera 16. 17 Se di lunga m1 trovo vita mia Primavera 17. 18 Miracolo non é se voi legati a me [no attribution]

18. 19 Sempr’ho fuggito amore Primavera

19. 20 E di quanto bene da sto mondo uscivi [no attribution]

20. 21 Donna glie ben raggione Primavera , 21. 22 Un temp’ogn’hor piangeva L’arpa 22. 23 Lucretia gentil Lucretia bella L’arpa 687

No. 272—1566

23. 24 Viver amando e niorir disperato Carlo Tetis

24. 25 Quando vidi madonna’i bei vostr’occhi Primavera

25. 26 Tanti migliara di pen’e martire L’arpa 26. 27 Villanella ch’all’acqua vai [no attribution] 27. 28 Maraviglia non e s’io fui ferito Primavera 28. 29 Anno ragion’affe queste citelle Primavera 29. 30 All’arme all’arme o fidi mei pensieri Primavera

30. 3] Correte oscur! amantt Primavera Locations and Notes Florence, Biblioteca Nazionale Centrale. (S inc.) Musica Antica 2465 First and last leaves (pp. 1-2 and 30-31) missing.

London, British Library. (SB) A.194 Cantus and Bassus: 01 instead of 10.

** The Hague, Gemeentemuseum. (T) (olim Scheurleer) 272 Vienna, Osterreichische Nationalbiblithek. SA.76.E.33 Bound in cardboard with initials P.E.F. on cover.

Bibliographical Listings and Literature British Union Catalogue, 810; Eitner. Quellen-Lexikon, 8: 67; Squire, Catalogue of Printed Music... British Museum, 2:305; Catalogus ... Scheurleer, 437; Haags Gemeentemuseum, Catalogus, 2:136; Nuovo Vogel #2267 bis.

«fe 273 Striggio, Primo libro delli madrigali a sei voci $6952 = 1566" Scotto condensed the number of gatherings from the four found in earlier editions to three duerni. He was able to accommodate all but the last madrigal, Perissone Cambio’s Anchor che col partire, from his 1561 edition in this shortened format by squeezing three madrigals into several two-page openings. For further information see 206.

Title Page

[within a lace frame:] CANTO | [below frame] DI ALESSANDRO STRIGGIO | GENTIL’7HVOMO MANTOVANO | IL PRIMO libro delli Madrigali a fei voci, | Nouamente con noua gionta rilftampato | [pr. mk. Fame V] | IN VINEGIA M. D. LXVIL. | [rule] | APPRESSO GIROLAMO SCOTTO. Alto, Tenor, Quinto, Sesto, and Basso have SEI instead of fe1.

Collation and Headline 6 volumes in quarto upright; 12 leaves, pp. [1] 2-24. Signature title Madrigali del Striggio a 6. Signatures A-C*; G—I*; D-F *; K-M‘*; N—P*; Q-S*. Signed A2, $2: title pages unsigned.

Headline verso: Prima parte. 2

recto: 3 CANTO

Technical Notes Music font 1; Text font Roman; Initials Dark floral I; Plain Roman; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page 15.5 x 13 cm; Music page 18.8 x 13.3 cm.

Table of Contents p. 24; TAVOLA DELLI MADRIGALI | [contents listed] | SERENATA. | [no. 17] | | Madrigali aggiunti. | [nos. 18-19] | IL FINE.; Roman, in order of appearance.

688

No. 273—1566

Contents

l. 2 I dolci colli ov’io lasctai me stesso 2 IJ. Et qual cervo ferito di saetta

2. 3 Ancor ch’io possa dire

3. 4 Nasce la pena mia

4, 4 Lasciat’”hai morte senza sol il mondo 5 IJ. Pianger l’aere & la terra e *l mar devrebbe

5. 6 Madonna poi ch’occider mi volete 6. 6 Se ben di sette stell’ardent’e belle 7 II. Fosti amante com’ io 7. 8 Quando vede *! pastor calar 1 raggi 8. 9 O messagi del cor sospiri ardent

10 IJ. Sara che cessi o che s’allenti mai 9. 10 Voglia mi sprona Amor mi guid’e scorge 10. =i La ver l’aurora che si dolce |’aura li. = 2 Che fai che pensi che pur dietro guardi 12. 12 Amor io fallo e veggio ’1 mio fallire 13 IT. Pero s’oltra suo stil’ella s’aventa 13. 14 Poi che spiegat’ho I’ale al bel desio 14 II. La voce del mio cor per !’aria sento

14. 15 S’ogni mio ben havete

15. 15 Quasi improvisa desiat’e chiara 16. 16 Fortuna alata 11 pie calva ja testa 17. 17 L’aria s’oscura e di minute stelle [5 vv] Serenata 18 IJ. Ma tu per darm’al cor maggior tormento [5 vv]

19 I. Apri omai l’usci’o mia gentil signora

20 - IV. Oime ch’1o spasmo apri la porta omai

18. 22 Rosa eterna immortal sacro giacinto Claudio da Correggio 22 Il. Er’a tanti minor merti |’alloro 19. 23 L’alma mia fiamma oltra le belle bella Claudio da Correggio Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (T5) U 229 Title pages: inscription: Di S. Stefano Tholomeo

** Cambridge, King’s College. (S) ** Dublin, Marsh’s Library. (STBS6) Z4. 3. 1-5 (10) See appendix C.

Florence, Biblioteca Riccardiana. (ABS inc.) Misc. 531.4>° Quintus lacks pp. 1-8, 17-24.

London, British Library. C.254.c; copy 2: (ATB) C.254 Modena, Biblioteca Estense. (SAT5) Mus. F.1159 Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 45/7 Tresor See appendix C.

Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (A) A.CS.1.C.33.2 See appendix C.

*Verona, Biblioteca Capitolare. N. 74

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:311; Lodi, Catalogo... Biblioteca Estense, 407-8; Squire, Catalogue of Printed

Music... British Museum, 2:545; Turrini, Patrimonio musicale... Verona, 52; Charteris, Catalogue. . . Marsh's Library, 60; Gaspari, Catalogo... Bologna, 3:173; Bayerische Staatsbibliothek, Katalog, 16:6400; Lodi, Catalogo. .. Biblioteca Estense, 407-08; Nuovo Vogel #2676.

Modern Editions Striggio, Primo libro de madrigali.

689

No. 274—1566

__ age

274 Striggio, Primo libro delli madrigali a cinque voci $6947=1566"7' As with his 1566 edition of Striggio’s Primo libro a 6, Scotto cut one full gathering from the present publication. The arrangement of the contents follows the 1560 Gardano edition, but all the added madrigals (except for Rore’s O voi che sotto l’amorose insegne) were omitted. For more information on other editions see 185. The altus partbook in Venice, Conservatorio di Musica Benedetto Marcello (Torrefranca) listed in Nuovo Vogel is actually a copy of an edition issued by Rampazetto in 1566. RISM does not list the quintus partbook in Turin, Archivio di Stato.

Title Page

[within a lace frame:}] CANTO | [below frame] DI ALESSANDRO STRIGGIO | GENTIL’HVOMO MANTOVANO | II Primo libro delli Madrigali a cinque voci, | Nouamente con noua gionta riftampato | {pr. mk. Fame V] | IN VINEGIA M. D. LXVI. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline > volumes in quarto upright; 16 leaves, pp. [1] 2—31 [32]. Signature title Madrigali del Striggioa 5. Signatures A~D*; AA—Dp‘; Aa—Dd*; AAaa~Dpdd‘; AAaaa—Dpddd*. Signed A2, $2: title pages unsigned.

Headline 3 CANTO

Technical Notes Music font I; Text font Roman; Initials Large myth; Plan Roman; Watermarks Cardinal’s hat; Anchor and circle with star; Printed area Title page 15.2 x 13 cm; Music page 18.6 x 13.2

Tabie of Contents cm.

[p. 32] TAVOLA DELLI MADRIGALI | DI ALESSANDRO STRIGGIO, A 5. VOCI, | LIBRO PRIMO. | [type orn.]; Roman, in order of appearance.

Contents

l. 2 O dela bella Etruria invitto duce 2 IT. Degno che dott’historie e colt! carmi

2. 3 Felice I’alma che per voi sospira 3. 4 Invidioso Amor del mio bel stato 4. 5 Mentre la donna anzi la vita mia 5. 6 Caro dolce mio ben chi mi vi toglie 6. 6 Giovane illustre sospr’il Mincio nato 7 II. Alma reale a cui somm’honestate 8 III. O sopra l’altre aventuros’etate

7. 8 Hor che lucente e chiara Epitalamio 9 IT. A i giglt e a le viole 10 III. Ecco ch’ei giunge a noi I] IV. Hor mentr’! bel pianeta 12 V. Che questi e quel ch’invola

8. 413 Chi brama al maggior caldo, esser di ghiaccio

9. 14 Pensai lasso, fra quest’alpestri monti

15 IT. Ma non giov’al mio mal, ne mutar loco

10. 15 Notte felice aventuros’e bella II, 15 Era la mia virtu quasi smarrita 12. 16 Era ’! bel viso suo qual’esser suole

13. 17 Donna felice & bella

, 690

No. 275—1566

17 II. Se ne la mente mia 14, 18 Madonna il vostro pett’e tutto giaccio 15. 18 Torbido il Mincio core, e piang’il mondo 19 [II.] Una celeste Nube fu’il mio sole 16. 20 Miser’ oime chi potra piu allegrarmi 17. 20 Misero piu d’ogn’huom misero e lasso 18. 21 Che deggio far dapoi ch’el mio bel sole 19, 22 Arse cosi per voi donna ’| mio core 20. 22 Ditemi o donna mia ditem’un puoco

21. 23 Illustre Alma gentile

24 II. Non puo ingegno mortale 22. 24 Si dole’é d’amar voi lo mio desio 23. 25 Ridon liete le rive e i verdi colli 26 [IJ.] Paghi dunqu’il mio pianto il grav’errore

24. 26 Quanto privo di te mia Nub’i veggo 25. 27 Non fiammeggiav’ancor nel’oriente

26. 28 Ardendo i grid’e moro

28 I. Et chi vede °! gran fuoco 27. 29 Voi se col raggio di virtute ardente 29 II. Ch’alzat’al suon di mie piu chiare squille

28. 30 Poi che mort’e colei che mentre visse

29. 30 O voi che sotto l’amorose insegne Cipriano 31 II. Si dira poi ciascun movendo I’ ali

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (SA) U 222 London, British Library. (TB) C.254.f Munich, Bayerische Staatsbibliothek. 4° Mus. pr. 87/2 See appendix C.

**Turin, Archivio di Stato. (5) Venice, Biblioteca Nazionale Marciana. (STB5) Musica 273!5)7 All copies: Cantus: 27: signed Cccc2 instead of D2. Tenor: 11 and 15: headline: CANTO instead of TENORE.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:311; Wiel, d’Este, and Faustini, “Biblioteca di San Marco,” 223; Barclay Squire,

Catalogue of Printed Music... British Museum, 2:545; Gaspari, Catalogo... Bologna, 3:173; Bayerische

Staatsbibliothek, Katalog, 16:6400; Nuovo Vogel #2660.

Modern Editions Rore, Opera Omnia, 5: no. 29.

sf

275 Vinci, Primo libro de madrigali a cinque voci V1671=1566"4 Scotto condensed the 1566 reprint by one gathering. Rearranging the contents and placing three instead of two madrigals on two-page openings enabled Scotto to retain all the madrigals found in the first edition. For information on other editions see 199.

Title Page [within a lace frame:] CANTO | [below frame] DI PIETRO VINCI SICILIANO | DELLA CITTA DI NICOSIA | IL PRIMO LIBRO DE MADRIGALI | A CINQVE VOCI. | Nouamente riftampato, 691

No. 275—1566

& da molti errori emendato. | [pr. mk. Fame V] | IN VINEGIA | M -D- LXVI- | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 5 volumes in quarto upright; 14 leaves, pp. [1] 2-27 [28]. Signature title Pietro Vinci a 5. Signatures A-C* C’*; G—I*I?; D-F*F?; K-M*; N-P®. Signed A2, $2 (A-C), $1 (final C, I, F): title pages unsigned.

Headline Seconda [tanza. 3 CANTO [no voice designation on verso] Technical Notes Music font IV; Text font Roman; Initials Dark floral I; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 15.5 HVOMO

PADOANO. | [type orn.] | [woodcut: SJE LE attioni miei Mag[nifico] Sig[nor] poteffero corrifpondere | alla grande offeruantia mia verfo la Cafa Villabruna, | ella certamente mi tenerebbe nel numero de fuoi de- | uoti & affetionati feruitori, {i come le fono. Ma cofi | deboli fono le forze mie, ch’io non polfo renderli te- | [timonio della mia fingolar affettione, & riuerentia | ch’io le porto. Pure cofi ricercato dal valorofo Ca- | pitano Curtio, il quale & per le rare fue qualita, & per | la congiontione in amore, che tiene con la Mag[nifica] Cala Villabruna, e da me | con ogni affetto 705

No. 283—1567

d’animo offervato, & accefo anco dal fommo valore, & | gran copia de virti di che V[ostra] Sig[noria] é dotata, ho voluto far’un forzo al mio po- | tere, & darli con la prefente operetta un picolo fegno di quel molto, ch’io vo | rei poter fare per moftrarmi tale, quale 10 defidero, la quale mi rendo certo, | che da lei fara allegramente riceuuta, & hauuta cara fi per la cortefe natura | fua, come per eller parto di M[esser] Giouan Ferretti Mufico Eccellentifs[imo] oggi di | infieme con la quale io la fupplico ad accettare |’ affetto del cuor mio, come | di fuo fedele, & deuoto feruitore. Ne le dico altro, faluo che pregandole | ogni contentezza, & felicita me le dono, & raccomando. Di Venetia a di 7. | Noue[m]b[re] M. D. LX. VII. | Di V[ostra] Sig[noria] | Deuoto Seruitore | Giulio Bonagionta da S. Genefi.

Contents

I. 3 Hor va canzona mia non dubitare 2. 4 Donna crudel tu m’hai rubat’il core 3. 5 Se ’1 dolce sguardo del divin tuo volto 4. 6 Come poss’io morir se non ho vita 5. 7 Sei tanto gratiosa e tanto bella 6. 8 Vita mia dolce poi che tanto t’amo

7. 9 Io che tropp’alt’amor volsi seguire Giouanni Ferretti 8. 10 Muirate che mi fa crudel amore

9 Ii Leggiadra giovinett’anima mia

LO. 12 Ti parl’e tu me rid’e poi stai cito ll. 8613 O Dio fammi passar sta fantasia 12. 14 Pieta ti mova e giust’amor ti sforza ° 13. 15 L’altr’hier andand’a spass’alla fontana 14. 16 Sappiat’amanti ch’amor fa gran guerra

15. 17 Basciami vita mia basciam’ogn’hora Giouanni Ferretti

16. 18 Se la pieta per me gia fusse spenta 17. 19 Mi voglio far’hormai lo fatto mio

18. 20 Venut’é ’] Maggio ch’ invit’a cantare | 19. 21 Tu mi rubasti al primo sguard’il core

20. 22 Pur sepp’il tuo partire

21. 23 Partomi donn’e teco lascio il core Locations and Notes Paris, Bibliothéque Nationale de France. (olim Bibliotheque du Conservatoire) Rés. 415 Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (5) G.CS.4.A.31.7 All copies: Quintus: 11: signed L2 instead of O2.

Bibliographical Listings and Literature

. —sfo_

Eitner, Quellen-Lexikon, 3:428; Lesure, Catalogue de la musique... Paris, 203; Nuovo Vogel #940.

284 Jacquet of Mantua, Orationes Complures J23 (1567) As with his hymns, Jachet’s Orationes complures appeared posthumously with a dedication by a third

party. A priest named Cornelio from Brescia dedicated the edition to Tranquillus, Prior of San Salvatore in Venice. The liturgical edition includes a setting of the St. John Passion, the Lamentations for four voices, and the complete Nunc Dimittis.

Title Page [within a lace frame:] CANTVS | [below frame] IACHETI MANTV4 | ORATIONES COMPLVRES AD OFFICIVM | HEBDOMAD SANCTZ PERTINENTES |[VIDELICET. | Pafiones cum quinque vocibus. | Lamentationes primo, fecundo & tertio die, cum 4. vocibus. | 706

No. 284—1567

Oratio Hieremi[aje profet{aje cum quinque vocibus. | Completorium NVNC DIMITTIS SERVVM TVVM Domine. | Et Salve regina cum quinque vocibus. | [pr. mk. Fame V ] | VENETIIS. M D LXVIL. | [rule] | APVD HIERONYMVM SCOTVM.

Collation and Headline 5 volumes in quarto upright; 12 leaves [A=14 leaves, 5=6 leaves], pp. [1] 2—24 [A: pp. [1] 2-28; 5: pp. [1] 2-12]. Signature title Jachet. A 5. Signatures A-C*; Aaa—BBb*Ccc®; AA—Cc*; AAaa—Cccc*; AAaaa‘BBbbb?. Signed A2, $3 (Ccc); $2 (A—C); $1 (BBbbb): title pages unsigned.

Headline Dominica in Ramis Palmarum. 2 Technical Notes Music font I; Text font Italic III; Initials Dark floral IJ; Small Bible; Watermarks Cardinal’s hat; Printed area Title page 16.7 x 13 cm; Music page 18.6 x 12.9 cm.

Table of Contents [p. 24; SAT only; p. 28, AJ INDEX MOTETORVM | CVM QVINQVE VOCIBVS. | [type orn.] | [contents listed] | FINIS.; Italic; in order of appearance.

Altus and Tenor have: INDEX LAMENTATIONE |...

Dedication [p. 2; 5 only] REVEREN[DISSIMO] PATRI DOMINO TRANQVILLO | Priori Digniffimo Sancti Saluatoris Venetijs. | [type orn.] | [woodcut E]JST ENIM optime pater, etiam ad hanc vf{que, etatem

comendata | confuetudo, vt qui velit noui aliquid imprimere, illud precipue, | digniffimo viro nuncupari {tudeat quod cum mihi obferuandum fit, | habeamque pre manibus, lacheti Celeberrimi

in Muficis modulos | fuper eam Hieremie partem, quam Threnos vocant, atque in Chri- | fti Paffionem nolui thefaurum tant[ale ceftimationis in lucem prodire, | nifi eum nomini tuo comendarem, cuiufquidem laudes indicare non | attingam, ne in religione egregij meriti pondere preeffus tenebras potius attuliffe videar | quam lucem addidiffe. Sufcipe igitur benigniffime pater, gualecunque munufculum | mea parcitas tibi offerre potest, meque in tuorum filior'um numero afcribere digneris, | Reuerend|a\e paternitatis tue humilis filius | D[on] Cornelius Brixius.

Contents

1. 2 Non in die festo ne forte tumultus Dominica in Ramis Palmarum 2. 6 Jesum Nazarenum Die Veneris

3. 8 Incipit lamentatio Hieremiae prophetae Prima dia 4. 9 Hee. Facti sunt Lectio 2 5. 10 Lamech. O vos omnes Lectio 3

6. 1] De lamentatione Hieremiae prophetae Secunda die

7. 12 Caph. Defecerunt prae lacrimis 2. Lectio

8. 13 Num. Plauserunt super te manibus 3. Lectio 10. 16 loth. Dabit percutienti se maxillam Lectio, 2.

9. 15 De lamentatione Hieremiae prophetae Tertia die.

11. 17 Incipit Oratio Hieremiae prophetae [5 vv] {Lectio. 3]

12. 18 (Cum invocarem exaudivit] In tribulatione 13. 19 [In te Domine speravi] In justitia tua libera me 14. 19 {Qui habitat in adjutorio] In protectione Dei 15. 21 [Ecce nunc benedicite] Omnes servi Domini

16. 21 Mihi Domine

17. 21 Te lucis ante terminum 18. = 22 Praesta pater omnipotens

19. 22 In manus tuas Domine 20. 22 Quia viderunt oculi mei

21. 23 Salve Regina

707

No. 284—1567

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. S 291 Cantus: 2: signed A3 instead of A2; 19: signed BBb2 instead of C2. Altus: 2: signed AAa3 instead of AAa2. Bassus: 2: signed AAa instead of AAaa.

** Cracow, Biblioteka Jagiellonska (B) (olim Berlin, PreuBische Staatsbibliothek) Mus. ant. pract. J 68

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 5: 259; Gaspari, Catalogo... Bologna, 2:244.

Modern Editions Schmitz, Operitalienische Figuralpassionen: no. 2.

ae

285 Lasso, Primo libro de madrigali a cinque voci L810 (1567) While retaining all the pieces found in previous editions, Scotto shortened this reprint by two leaves (see 180). For a discussion of other editions see 167. Nuovo Vogel, RISM B, and its appendix volume incorrectly list a tenor partbook in The Hague, Gemeentemuseum.

Title Page (within a lace frame:] BASSO | [below frame] DI ORLANDO DI LASSVS | IL PRIMO LIBRO

DE MADRIGALI | A cinque voci. | Nouamente [tampato e coretto. | [pr. mk. Fame V] | IN VINEGIA M D LXVII. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline

known to survive. |

5 volumes in quarto upright; 10 leaves, pp. [1] 2-19 [20]. No cantus, altus, or tenor partbook 1s

Signature title Orlando di Laffus A5. Signatures K-L“*M*. Signed K2 $2 (K—L) $1 (M): title page unsigned.

Headline SECONDA PARTE. 9 BASSO [no voice designation on verso] Technical Notes Music font IV; Text font Italic IJ; Initials Plain Roman; Small myth; Watermarks Cardinal’s hat; Printed area Title page 14.5 x 13.2 cm; Music page 18.9 x 13 cm.

Table of Contents [p. 20] TAVOLA DELLI MADRIGALI | DPORLANDO DI LASSVS | A CINQVE VOCLI. | LIBRO PRIMO. | [type orn.] | [contents listed] | JE FINE.; Italic, in order of appearance.

Contents

l. 2 Cantai hor piango e non men di dolcezza 2 II. Tengan dunque ver me !’usato stile

2. 3 Guarda ’| mio stat’a le vaghezze nuove 3. 3 Alma cortes’in piu bel lemb’involta 4 II. Ch’udirai un se si lontan risuona

4, 4 Gia mi fu co ’] desir si dolc’il pianto 5. 5 Quando ’| voler che con duo sproni ardenti 6 IT. Onde come colui che ’1 colpo teme

6. 6 Hor qui son lasso e voglio esser altrove 7. 7 Poi che ’] camin m’é chiuso di mercede 8. 7 Mentre che ’| cor da gl’amorosi vermi

8 II. Quel fuoco e morto e *} copr’un picciol marmo 708

No. 286—1567

9. 9 Poi che I’iniquo e fero mio destino

9 II. Diviso m’ha dal bel guardo divino

10. 9 Mia benigna Fortuna e ’! viver lieto 11. 10 O invidia nemica di virtute 10 If. Ne pero che con att’acerb’e rei 12. 1] Crudel acerba inesorab1] morte 13. 1 Pon fren’al gran dolor che ti trasporta 14. 12 Fiera stella s’el ciel ha forz’in noi

12 II. Ma tu prendi a diletto 1 dolor miei 15. 13 Quanto la sera scaccia ’] chiaro giorno 16. 14 S’10 tal’ hor muovo gl’occhi a mirar vo1 14 II. All’hor lasso la man debol’e stanca 17. 315 Con lei fuss’1o da che si part ’1 sole 18. 15 Ben mi credea passar mio temp’ hormai 19. 16 Sol’e pensoso 1 piu deserti camp1

17 II. Si ch’io mi cred’homai che mont’e piagge

20. 17 Pien d’un vago pensier che mi desvia

21. 18 L’altr’hier sul mezzogiorno 22. 19 Perche nemica mia mi vi mostrate Locations and Notes

Berlin, Staatsbibliothek.zu Berlin—- PreuBischer Kulturbesitz. (B) Mus. ant. pract. L.235 Originally bound with 1567!° and 15677,

** Turin, Archivio di Stato. (5)

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:61; Nuovo Vogel #1428; Boetticher, Orlando di Lasso, # 757.

Modern Editions Lasso , Sdmtliche Werke, 2.

ef 286 Lasso, Secondo libro delli madrigali a cinque voci L811=1567"" As with the companion Primo libro a 5 (285), Scotto eliminated two leaves from this reprint. For information concerning other editions see 167.

Title Page |

[within a lace frame:] BASSO | [below frame] DI ORLANDO DI LASSVS | IL SECONDO

LIBRO | DELLI MADRIGALIT | A CINQVE VOCI | Nouamente riftampati & con ogni diligenza

coretti. | [pr. mk. Fame V] | IN VINEGIA M D LXVII | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 5 volumes in quarto upright; 10 leaves; pp. [1] 2-19 [20]. No cantus, altus, or tenor partbook is known to survive. Signature title Libro Secondo Laffus A5. Signatures K-L‘*M*. Signed K2, $2 (K—L); $1 (M): titlepage unsigned.

Headline verso: CANZON PRIMA PARTE. 2 Orlando di Laffus

recto: SECONDA PARTE. 3 BASSO , 709

No. 286—1567

Technical Notes Music font IV; Text font Italic If]; Initials Dark floral I and IJ; White floral I and II; Small Bible; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 14.7 < 13 cm; Music page 18.7 x 13 cm.

Table of Contents [p. 20] TAVOLA DELLI MADRIGALI | DE ORLANDO DI LASSVS | A CINQVE VOCI. | LIBRO SECONDO. | [type orn.] | [contents listed] | ZZ FINE_; Italic, in order of appearance.

Contents

1. 2 Standom’un giorno solo alla fenestra Canzon Orlando di Lassus 3 II. Indi per alto mar vid’una nave 4 III. In un boschetto nov’! rami santi 4 IV. Chiara fontana in quel medesmo bosco 5 V. Una strania Fenice ambe due 1’ale 6 VI. Al fin vidd’io per entro’i fior’e l’herba

2. 7 Mentre fioriv’amor |’alta mia spene 8 Ij. Cosi aspettando da te ingrat’andai 3. 8 Vostro fui vostro son & saro vostro 4. 9 Quel chiaro sol che tragg’indi lontano

9 II. Che se la vers’ond’a no1 men’1l giorno

5. 10 Quanto piu v’am’ogn’hor piu bella sete Antonio Barre 10 II. Nasca’n me dunqu’ogn’hor nuovo desio Antonio Barre

6. 11 Euro gentil se d’amoroso ardore

12 I]. Et in sembiante riverent’e humile 7. 12 Volgi cor mio la tua speranza homai 13 II. Et a noi restara fra sdegn’et 1re

8. 14 Ben si vedra se la nemica mia Hettor Vidue

9. 15 In dubbio di mio stat’hor piang’hor canto ~ Paulo Animuccia

10. 16 Questi ch’inditio fan del mio tormento Orlando di Lassus 11. 16 In gual parte del ciel in qual idea

17 II. Per divina bellezza indarno mira 12. 18 Io son si stanco sotto ’I grave peso 18 IT. Hora per far le mie dolcezz’amare 13. 19 Candid’all’hor del ciel sces’angioletta Locations and Notes Berlin, Staatsbibliothek zu Berlin—- PreuBischer Kulturbesitz (B) Mus. ant. pract. L 237 Originally bound with 1567°° and L810 (1567).

** Turin, Archivio di Stato. (5)

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 6:61; Nuovo Vogel #1441; Boetticher, Orlando di Lasso, # 758.

Modern Editions Lasso, Samtliche Werke, 2: nos. 1-4, 6, 7, and 10-13.

ste 287 Lasso, Terzo libro delli madrigali a cinque voci L812=15677° In comparison with earlier editions of the Terzo libro, this reprint has been shortened by one gathering (four leaves). See 232. 710

No. 287—1567

Title Page [within a lace frame:] BASSO | [below frame] DI ORLANDO DI LASSVS | IL TERZO LIBRO | DELLI MADRIGALI | A CINQVE VOCI. | Con vna Canzone alla Francefe. | Nouamente riftampati & con ogni diligenza coretti. | [pr. mk. Fame V | | IN VINEGIA M D LXVIL. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 5 volumes in quarto upright; 8 leaves, pp. [1] 2—16. No cantus, altus, or tenor partbook is known to survive.

Signature title Libro Terzo Laffus A5. Signatures K-L*. Signed K2, $2: title page unsigned.

Headline 3 BASSO [no voice designation on verso] Technical Notes Music font IV; Text font Italic Ill; Initials White floral II; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 15.5 x 13.1 cm; Music page 18.9 = 13.1 cm.

Contents

l. 2 L’alto signor dinanz’a cui non vale 2. 2 Non ha tante serene stell’il cielo Sestina 3 II. In sonn’eterno spero chiuder gl’occhi 3 III. Secchi vedransi tutti i verdi boschi [4 vv] 4 IV. Io vo fuggendo per deserte piaggie 4 V. Deh che fuss’io con lei in chiuse valli 4 VI. Ma saro spent’ inanzi che quest’ onde

3. 5 Quant’ invidia ti port’avara terra

6 IT. Quant’ mvidi’a quell’anime ch’ in sorte

4, 6 ' Dicesi che la morte

5. 7 Amor mi strugg’il cor fortuna °1 priva

6. 7 Madonna poi ch’uccider mi volete lachet Berchem

7. 8 Questi son lasso questi 8. 8 S’amor non é che dunqu’é quel ch’io sento Paulo Animuccia 9 II. Et s’10 ’] consento a gran torto mi doglio

9. 10 Quant’ invidia vi port’aure beate

10 IT. Et mentre piu la terr’accend’il sole

10. 11 Bella guerriera mia perche si spesso

1] II. Ma se con |’opr’ond’io mai non mi satio

ll. 12 La vita fugge et non s’arrest’un hora

12. 12 Quel dolce suon per cui chiaro s’intende Crist Ameyde[n]

13. 13 Amor che ved’ ogni pensier aperto

14 II. Ben veggio di lontano il dolce lume

14. 14 Non s’incolp’il desire

15. 15 Io piango & ella °! volto Hettor Vidve

16. 15 Scorgo tant’alt’1] lume che m’infiamma 17. 16 Se si alto pon gir mie stanche rime 18. 16 Toutes les nuict que sans vous je me couche

16 IL FINE

Locations and Notes Berlin, Staatsbibliothek zu Berlin—- Preufischer Kulturbesitz. (B) Mus. ant. pract. L 240 Originally bound with RISM L237 (1567) and 1567".

** Turin, Archivio di Stato. (5)

Bibliographical Listings and Literature Nuovo Vogel #1453; Boetticher, Orlando di Lasso, #758. 711

See 232. | a No. 287—1567

Modern Editions

288 Rossetto, Lamento di Olimpia R2729 (1567) As Rossetto notes on the title page, he was in the service of Cardinal Ferdinando de’ Medici. He dedicated Lamento di Olimpia to the cardinal’s sister, Isabella de’ Medici. Daughter of Cosimo I, the illfated Isabella was born in 1541. At the age of seventeen, she married the Roman Paolo Giordano Orsini, duke of Bracciano. In 1567 she separated from Orsini and returned to Florence. Nine years later, the duke murdered her. At least two other music publications contain dedications to Isabella: Rossetto’s Primo libro de madrigali a 6 (1566) and Casulana’s Primo libro de madrigali a 4 (1568) (see 301). In addition, Philippe de Monte composed two madrigals for her: // piu forte di Roma in

celebration of her wedding, and Porta si lieti giorni un’altra aurora at her separation from Orsini (Einstein, Italian Madrigal, 2:499 and 508). Isabella was not only a patron of music, but also an accomplished musician. Rossetto set seventeen stanzas (stanzas | and 19-34) from Canto 10 of Ariosto’s Orlando furioso for his madrigal cycle. Perhaps he chose this canto to symbolize his dedicatee, since it tells the story of Olimpia, daughter of the count of Holland, who was betrayed and abandoned on a desert island by her husband Bireno for another woman. He arranged the stanzas into groups of six, five, and six, enlarging the number of voices from four to six from group to group. The same holds true for the other madrigal cycle in this edition, where the number of voices increases by one for each of the six stanzas, from five voices to ten voices.

Title Page [within an engraved compartment:] CANTO | IL LAMENTO DI OLIMPIA | DI STEFANO ROSSETTO MVSICO | DELL REVER[ENDISSI]"® CARDINAL DE MEDICI | Con vna

Canzone del medefimo, a quattro, a cinque, | a fei, a sette, a otto, a noue, & dieci voct | ALL’ILLVSTRISSIMA ET ECCELLENTISSUIMA] | Signora, la Signora Donna ISABELLA de ’Medici | Orfina Ducheffa di BRACCIANO. | DA LVI NOVAMENTE COMPOST], | & con ogni

diligentia corretti. | IN VINEGIA, | APPRESSO GIROLAMO SCOTTO. | [rule] |M D LXVII. | [type orn. ]

Colophon [p. 31; lacking in T] pr. mk. Peace II.

Collation and Headline 5 volumes in quarto upright; 16 leaves, pp. [1-2] 3-29 [30-32]. No altus partbook is known to survive. Signature title Lamento di Olimpia del Roffetto. Signatures (S) A~D*; (T) E-G‘M* [sic]; (B)

N-Q‘; (5) R-V*. Signed A2, $2: title pages unsigned.

Headline 3 CANTO [no voice designation on verso] Technical Notes Music font II]; Text font Roman; Initials Large knight; Large myth; Large Bible; Tree; Dark floral II; Centaurs; Watermarks Cardinal’s hat; Printed area Title page 20.7 x 13.5 cm; Music page 18.7 x 13 cm.

Table of Contents [p. 30] TAVOLA DEL LAMENTO DI OLIMPIA | ET CANZONE DI STEFANO ROSSETTO | [type orn.] | [in two columns:] [contents listed] | [column 2:] Madregale A 5. | [no. 2] | Canzone. | {no. 3] | IL FINE.; Roman, in order of appearance.

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No. 288—1567

Dedication [p. 2] [filigree type orn.] | ALL’ILLVSTRISS[I]“* ET ECCELLENTISS|[I]™“ SIGNORA, | LA SIGNORA DONNA ISABELLA DE MEDICI ORSINA | DVCHESSA DI BRACCIANO. | [type orn.] | [woodcut I]O M’ERA propolto di non voler piu per mezzo delle | {tampe publicare alcuna mia opera, poi che quelle | che fin a hora di mio vi fi veggono, haueuano a ba- | [tanza potuto quietare in me vn tal defiderio. Ma poi | che V[ostra] Eccell[enza] f degno di comandarmi che io douel- | fi metter’in luce quelte, che per [eruirla fuorono da me | compoflte fopr’il Lamento di

Olimpia, facilmente mi | fono moffo dal mio primo proponimento, fi per lo | defiderio mio dubidirla, f perche v{cendo effe fuori per comandamento, & | fauore di V[ostra] Eccell[enza] verranno per tal cagione, con piu deftra forte a f[o- | prauanzare le prime, & ad acquiftarfi d’autorita & gratia. Percioche da po! | che per mia fomma ventura mi fi pore occafione di [eruirla: confiderando | quant’eccellentemente [ono accordate in lei le lodeuoliffime virtu dell’ani- | mo con le mirabili bellezze del corpo, incominciai 4 non [odisfarmi d’ogni | mediocre perfettione, ma ad e{fempio dell’armonia perfettiffima, che in | V[ostra] Eccell[enza] fi ritroua, m’ingegnai che le mie opere fe |’aflomigliaffero per quan | to era conceffo alle forze dell’ingegno mio. Con la fua {corta adunque efca- | no fuor! [ecuramente quefte mie fatiche; le quali effendofi ella degnata di | gradire come creature d’un fuo feruidore fidelif{fimo, & obligatiffimo, hauro | percio cagione di {perarne piu tofto lode, che meftiero di procacciarne [cu- | fa; non per ch’10 mi dia a credere, che lopera mia fia fenza menda; ma fi be- | ne perche a cui ella s’inuia é tale che abbonda d’ogni perfettione. Noftro Si[gnore] | Iddio le conceda di confeguire ogni defiderato fine. Di Fiorenza a di 20. | Nouemb{re] M. D. LX VIL | Di V[ostra] Eccellenza | Seruitore affettionati{fimo | Stefano Roffetti.

Contents l. 3 Fra quanti amor fra quante fed’al mondo [4 vv] II lamento di Olimpia 4 If. Il fals’amante che’1 pensat’inganni [4 vv] 5 Ill. Rimase a dietr’il lito e la meschina [4 vv] 6 _ TV. Nessuno trov’a se la man ritira [4 vv]

7 V. Ecorr’al mar graffiandosi le gote [4 vv] 8 VI. Quivi surgea nel lito’estremo un sasso [4 vv] 8 VIL. Vide lontan’o le parve vedere [5 vv] 9 VIII. E dove non potea la debil voce [5 vv]

10 TX. Ma 1 venti che portavano le vele [5 vv] 11] X. Econ la faccia in giu stesa su ’! letto [5 vv] 12 XI. Huomo non veggio qui non ci veggi’opra [5 vv] 13 XII. Io sto in sospetto e gia di veder parmi [6 vv] 14 XIII. Ma presupong’ancor cor ora arrivi [6 vv] 15 XIV. Tu m’hai lo stato mio sotto pretesto [6 vv] 16 XV. Debbo fors’ ire in Frisa ov’io potei [6 vv]

17 XVI. Deh pur che da color che vann’im corso [6 vv] 18 XVII. Corre di nuov’in su l’estrema sabbia [6 vv]

2. 19 Non al suo amante piu Diana piacque Madregale 3. 20 Donna non donna gia ma Dea mortale! [5 vv] Canzone 21 II. Della tenera etad’a pena fuora [6 vv] 22 III. Poscia rivolto al tuo senno vivace [7 vv] 24 IV. Qual gia Diana la faretra e l’arco [8 vv] 26 V. Dunque chi cantera qual si convene [9 vv] 28 VI. Ma io che poss’altro che col desio [10 vv] Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (ST5) U.153 Canto: 25: headline OVINTO instead of CANTO. Tenor: 25: signed M instead of H.

1. Headline: “AJI I!lustrissima & Eccellentissima Signora la Signora Donna Isabella de Medici Orsina.”

713

No. 288—1567

London, British Library. (B) D.198 Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (5) G.CS.4.A.31.4

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8:320; British Union Catalogue, 903; Nuovo Vogel #2435; Gaspari, Catalogo ... Bologna, 3:162; Squire, Catalogue of Printed Music... British Museum, 2:433.

stn 289 Striggio, Rore, [/ Cicalamento S6959=156773 Bonagiunta presumably edited and underwrote this edition containing two programmatic madrigal cycles by Striggio and Rore’s setting of Dido’s lament from Virgil’s Aeneid. The title page includes the rubric “con gratia et privilegio.” Archival sources reveal that the book was granted a license on

10 September 1567 (Agee, “The Privilege and Venetian Music Printing,” 268). The elaborate woodcut of the goddess Minerva atop a lion belonged to the Venetian printer Giovanni Maria Bonelli the Elder (see chapter 4). He was probably responsible for the publishing and distribution of the book, while Scotto printed it for Bonagiunta. The dedicatee, Giovanni Ferro of Macerata, must have been an avid music lover since no fewer than five different music publications were dedicated to him. These include Adriani, Primo libro de madrigali a 6 (298), Donato, Secondo libro de madrigal a 4 (304), and the Corona della Morte (313), all of 1568. In addition, Ferretti dedicated his Secondo libro delle canzoni alle napolitana of 1569 (321) to Ferro. The Scotto firm reprinted // Cicalamento in 1569 (331) and in 1584. In these two later editions, Rore’s setting of Dido’s Lament was replaced with a third madrigal cycle by Striggio, [/ Gioco di

primiera. } Title Page

IL CICALAMENTO | DELLE DONNE AL BVCATO, | ET LA CACCIA DI ALESSANDRO STRIGGIO, | CON VN LAMENTO DI DIDONE. | Ad Enea, per la fua partenza, DI CIPRIANO RORE, | a quatro, cinque, fei, & fette voci. | Di nouo polte in luce per Giulio Bonagionta da San Genefi | Mufico della I[luftrifs[ima} Signoria di Venetia in S. Marco | & con ogni diligentia

corretti. | CON GRATIA ET PRIVILEGIO. | CAN [pr. mk. Minerva atop a lion] TO | IN VINEGIA M D LXVIL. | [rule] ; APPRESSO GIROLAMO SCOTTO.

Colophon [p. 20] pr. mk. Fame I.

Collation and Headline 7 volumes in quarto upright; 10 leaves, pp. [1—2] 3-19 [20]. No sextus or septimus partbook is known to survive. Signature title Primo Lib. del Cicalamento del Striggio. Signatures (S) A~B*C’; (A) G-H ‘I’; (T) D-E‘F*; (B) K-L*M?; (5) N-O*P*. Signed A2, $2 (A—B); $1 (C, I, F, M, P): title pages unsigned.

Headline SECONDA PARTE. A 7. 3 Di Alessandro Striggio CANTO [no voice designation on verso]

Technical Notes Music font IJ]; Text font Roman; Initials Large myth; Large knight; Large Bible; Dark floral Il; Watermarks Heart with star; Printed area Title page 18.6 x 13.1 cm; Music page 18.9 x 13.1 cm.

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No. 289—1567

Table of Contents [p. 20; lacking in A]; TAVOLA | DEL CICALAMENTO DELLE DONNE,| [contents listed] | DELLA CACCIA. | [contents listed] | LAMENTO DE DIDONE AD ENEA | [contents listed] | IL FINE; Italic,

in order of appearance, pieces listed under headings (i.e., Cicalamento, Caccia, etc.)

Dedication [p. 2] AL MOLTO MAGJNIFI]©° ET VALOROSO SIG[N]°® | IL SIGINOR] GIOVANNI FERRO DA MACERATA | DIGNISSIMO CAVAGLIER LORETANO | Et mio offeruandiffimo Signore. | [woodcut S]’Io mi accordaffi con |’oppinione di coloro, che {tima- | no effer importante errore la intermiffione dello [cri- | uere, & infiememente gran biafmo 4 tutti quelli, che | porgono qualche dono, 4 quel Signore, che effi, & il | mondo riuerifcono a fimiglianza degli antiqui, che | drizzauano imagine a quei Dei che haueano in vene- | ratione, V[ostra] Sfignoria] haurebbe certo non fol cagione, ma gran | ragione di tenermi per huomo non folo mal creato, | & poco conofcitor di fauori, che ella mi ha in piu volte fatto, ma per ingrato | ancora (vitio da me alieno,) Et effendo io di contrario parere, a quel di cofto | ro, mi é paruto bene il tacere meco [teffo, la riuerenza, l’affetto viuo, & la fin- | golar deuotione, ch’io porto a lei, & alle fue riguardeuoli condittioni, &

da | qui é nato, ch’io fon trafcorfo tanto a non [criuere, & a non mandarle alcune | di quelle Mulficali compofitioni, che lei (fua mercé) alcuna volta guardando | e con occhio, e con mente grate, illuftraua, e rendeua belle. Hora hauendo- | ne raccolto una quantita, e per fodiffar al debito, che con V{ostra] S[ignoria] tengo, e per | compiacer ad alcuni miei affetuofi amici, ragioneuol cofa mi pare di confa- | crare (come faccio) al [uo virtuofo nome, [otto Pombra del quale, quafi fot- | to il fortiffimo [cudo d’ Aiace fecure dalle vane morditure de maligni, fe ne | vadino, & nella cafa di V[ostra] S[ignoria] vero ricetto degl’huomini vir[t]uofi vede[n]do quefta | mia fatica raccoma[n]data alla gran prudenza, & incomparabil valore di V[ostra] S[ignoria] fia | grata, il quale é tanto, e tale, che va di pari a quel di {uoi nobilisfimi progeni- | tori, & in particolare alle gloriofe conditioni, del Magnifico, & eccellente | Sig[nor] fuo Padre, e{fempio veramente all’ eta noftra a tutti 1 buoni, fi per le rare | qualita fue, fi per le profunde dottrine delle leggi per il cui fondato f{tudio, | meritamente poteua chiamarfi padre loro, onde poi fu degno da fommi Pon | tefici elfer inalzato a tutti quei gradi, & maneggi di che la fua gran [cientia, & | [apere erano meriteuoli: la prego adunque a degnarfi di accettar que[to mio | picciol dono come quello, che gli viene datto dalla mano d’un {uo antico, e | verace [eruitore, Il quale riceuera cio in molta gratia, & per vero te{timonio | del reciproco Amore, ch’ella gli porta. Di Venetia a di 12. Settemb[re] 1567. | Di V[ostra] Sig[noria] Perpetuo Seruitore | Giulio Bonagionta da S[an] Genefi.

Contents

1. 2 Nella vaga stagion che preme suole! [4 vv] Alessandro Strigio 3 II. Buongiorno belle donne [7 vv] 4 III. Ho udito che la fante [7 vv]

5 IV. Non ti ricorda quando venn’a marito [7 vv] 6 V. Orsu stendiamo questi panni [7 vv]

2. 8 Dalle gelate braccia di Titone? [4 vv] Alessandro Striggio 9 Il. Su su presto presto presto a la caccia [5 vv] 11 III. Ecco ch’al bosco sian vicini homai [6 vv]

13 IV. Mirate a quet Cingiali [6 vv]

15 V. Ecco 11 sol chiaro dianzi che s’asconde [7 vv]

3. 17 Dissimulare etiam? [5 vv] Cipriano Rore 18 Il. Quin etiam hyberno moliris [6 vv] 19 Ili. Mene fugis? [7 vv] :

1. Headline: “Cicalamento delle donne.” 2. Headline: “La Caccia.” 3. Headline: “Lamento de Didone a Enea.”

715

No. 289—1567

Locations and Notes *Brussels, Bibliotheque Royale de Belgique. (SATBS) Feéetis 2219/17 Cantus and Quintus: pagination different from other partbooks. Altus: 12: top half of number in headline missing.

London, British Library. (B) C.254.1

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 8: 307; 9: 312; Fétis, Biographie universelle, 281; Squire, Catalogue of Printed Music... British Museum, 2:544; Nuovo Vogel #2654.

Modern Editions Striggio, Cicalamento delle donne: no. 1; Striggio, Caccia: no. 2; Rore, Opera omnia, 6: no. 3.

ate 290 Troiano, Terzo libro delle sue rime & canzoni a 3 T1265 (1567) Masimo Troiano addressed his dedication to Monsignor Alberto Unico, deacon of the Cathedral of Treviso. He also dedicated each piece in his Terzo libro to various other people. Some came from the noble families of Naples such as the Caracciolos, the della Marras, and the de Izis. Others were connected with northern cities, such as the bishop of Treviso, Gardenigo[Gradenigo?] of Padua, Francesco Cornaro of the well-known noble Venetian family, and Andrea Zucchello of Treviso, the dedicatee of Nasco’s Secondo libro de madrigali a 5 (1557). Troiano even dedicated a canzona all napolitana to another composer, Ippolito Chamater6é. Troiano signed his dedication “‘infelice,” as he did two years later in his Musica de’ Virtuosi (333). Scotto reprinted Troiano’s Terzo libro in 1568 (310).

Title Page [within a rectangular compartment decorated with dots:] CANTO | [below compartment] DI MASSIMO TROIANO | DA NAPOLI | IL TERZO LIBRO | Delle fue Rime e Canzoni alla Napolitana a tre voci | Colla battaglia della gatta e la Cornachia con vna | Amafcharata alla Turchefca a cinque voci | Et vna Morefca nouamente fatte | & date in luce. | [pr. mk. Fame IID] | IN VINEGIA M D LXVIL. | [rule] | Appreffo Girolamo Scotto.

Collation and Headline 3 volumes in octavo upright; 20 leaves, pp. [1—2] 3-39 [40].

Signature title Napoletane. A 3 (first signature of gathering only). Signatures A-B°C*; DE*°F*. G-H8I*. Signed A2, $4 (A-B); $2 (C, F, I): title pages unsigned.

Headline Il Troiano. CANTO 3 [no voice designation on verso] : Technical Notes _ Music font IV; Text font Italic III [extra stanzas=Roman]; Initials White floral II; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 12.7 < 8.5 cm; Music page 9 x 8.5 cm [four staves]; 12.8 x 8.5 cm [full page].

Table of Contents [p. 40] TAVOLA DELLE CANZONE | ALLA NAPOLITANA A 3. ET A 5. | VOCI DI MASSIMO TROIANO. | [type orn.] | [contents listed] | JZ FINE.; Italic, in order of appearance.

Dedication [p. 2] AL MOLTO REVEREN.?? MONSIG[NO}®® | Il Signor Alberto Vnico digniffimo Decano

| nel Domo de Treuifo mio Signore. | [woodcut H]AVENDO @ mandare alle stampe per | compiacere ad alcuni mei amici queste | Canzoni alla Napolitana, m’ha parfo per | piu rifpetti, mandarle fotto il virtuofo no- | me di Vl ostra] Sig[noria} fenza il quale, andarebbo- | no fenza la 716

No. 290—1567

loro Stella principale. La on- | de la priego fi degni cantarle e goderle, | con quello immenfo amore che gliele inuio, e fapendo che a V\ostra| | Sig[noria| non piaciono quelli titoli, e giro di parole che ufar foglio- | no gli adulatori: taccio quanto V[ostra| Sig|noria] fia virtuofiffima, & | ripiena di moltiffime parte: tutte degni di laude, e de infinito | honore: il foccorfo de l’alto fattore, fia fempre con Viostra| Sig{noria]| e da | me fi parta la maluagita de la fortuna. Da Treuifo a di 10. | di Marzo. 1567. | Di V[ostra] Sig[noria] molto Reuerenda | affettionato di core | L ’infelice Maffimo Troiano.

Contents

1. 3 Da che parti da Napole gentile! Il Troiano

2. 4 Dove lasso n’andr6*

3, 5 Vanne vanne o pensiero* Il Troiano

4. 6 Piangend’amaro me vogtio morire* Il Troiano 5. 7 O core mio questo ch’io dico fallo? Il Troiano 6. 8 Non posso piu durare® I] Troiano 7. 9 lo haggio amata & ameraggio ancora’ I} Troiano

8. 10 Vanne canzona mia carca di stento® Il Troiano 9. 1] Ogni speranz’ogni confort’oimene” Il Troiano 10. 12 Non Vanne voglio piuper campare no ne no!® I] Troiano ll. 8613 cortesia! Il Troiano 12. 14 Mandato sono per ambasciatore!* Il Troiano

13. 15 Chi me l’havesse ditto!? Il Troiano 14. 16 Fora fora martell’e gellosia!* I] Troiano

15, 17 Liber’e sciolto’andand’un giorn’a spasso!° Il Troiano 16. 18 Allori pini e mirti!® Il Troiano 17. 19 Stare mi voglio sempre in festa e gioco!’ Il Troiano 18. 20 Quando ch’io miro o sol de gli occhi mei!® Il Troiano

19. 2] Che debbo fare hoime st’anno senza té!” Il Troiano

22 [II] Sai c’hai da fare hoime”” 20. 23 O Dio quanto sei bella”! I] Troiano : 21. 24 All’arm’all’arme o spirti mei dolenti”” Il Troiano

22. 25 Poi che pieta non ha di me pietade”?’ Il Troiano 1. Headline: All Jilustre Signor Petro de Izis. 2. Headline: Alla mia cara. I. de C. 3. Headline: A? Magnifico Messer Giovan Battista Colomba. 4, Headline: Al Molto Eccellente Signor Scipione Fiorillo. 5. Headline: A/ molto Magnifico Signor Bartolomeo Codegori. 6. Headline: Al magnifico Sig[nor] Gerolamo Camprete. 7. Headline: Al molto magnifico Messer Ippolito Chamatero. 8. Headline: 4/ Magnifico Mlesser| Camillo Lazaruoli 9. Headline: Al molto Rever[endo] Mo[n|sig[nor]| Gio|van] Battista Oliva. 10. Headline: Al molto magnifico Messer Giulio Bosso. ~ 11. Headline: A/ molto Magnifico Messer Michele Varucha. 12. Headline: All’Hlustre Signor Francesco Cornaro. 13. Headline: Al Magnifico Signor Bonifatio Pallialoga di Tiberti. 14. Headline: Al Molto Reverle|n[do] Monsig[nor] M, Fransesco Maria Maroni. 15. Headline: A/ molto Magnifico Sig[nor] Aniballe Troiano: mio Zio carissimo. 16. Headline: All’'I]lustrissomo Sig[nor| Don Carlo Caracciolo. 17. Headline: All’Ilustre Sig[nor] Pietro Antonio Caracciolo. 18. Headline: Ai molto Reverendo Messer pre Inocento Bianco. 19. Headline: Alla carissima Signora Juditta.

20. Headline: Resposta della sua Diva. 21. Headline: Al molto Magnifico Signor Geronimo Rover. 22. Headline: Al magnifico Signor Giovanne Angilo de Socij. 23. Headline: A/ Reverendo Messer Pre Gioseppe Orsino.

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No. 290—1567

23. 26 Strali fiamm’e catene* Il Troiano

24. 27 Canta o mia rozz’& aspra villanella”° Il Troiano 25. 28 Ste vecchie maledette de sta terra*® Il Troiano

26. 29 Va c’haggio gia mutata fantasia”’ Il Troiano 28. 31 O saporita piu che ne lo ravano”® Il Troiano 27. 30 Hoime ch’io mi pensava che piu forza?’ Il Troiano

29. 32 Sono venut’a far le bone feste? I] Troiano 30. 33 Ama chi t’ama e chi non t’ama lassa’® I! Troiano

3]. 34 Na gatta e na cornachia”! Il Troiano 32. 36 Cinque noi siamo nat’a la Torchia*? Troiano

33. 38 Fa lan fan fon fan” Troiano Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (T) U 249 *Linképing, Stifts- och Landsbiblioteket.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 9:459; Fétis, Biographie universelle, 8:259, Davidsson, Catalogue .. . bibliothéques suédoises, 420-21; Nuovo Vogel #2756; Gaspari, Catalogo . . . Bologna, 3:259-60; Cardamone, Canzone villanesca, 113-14.

sf

291 Primo libro de gli eterni mottetti a cinque et sei voci 1567° In his dedication to Sigismondo Borgaso, canon of Treviso, Bonagiunta called the writer Giovan Battista Zuccarino of Feltre his dear friend. Zuccarino wrote several occasional texts. Some of his sonnets appear in the music anthology, Trionfo di musica di diversi (1579°). In 1586 he issued the Corona di dodici sonetti. . . alla Gran Duchessa di Toscana (1586''), containing settings of his poems by twelve notable composers including Palestrina, Marenzio, Monte, the two Gabrielis and Porta. With the exception of Ubi est Abel, all the Lasso and Rore motets appear here for the first time.

Title Page [within a lace frame:] ALTO | {below frame] PRIMO LIBRO DE GLI ETERNI | MOTTETTI DI ORLANDO LASSO | CIPRIANO RORE ET D’ALTRI ECCEL[LENTISSIM]] | MVSICI, A CINQVE ET SEI VOCI, | Di nouo pofti in luce per Giulio Bonagionta da San Genefi | Mufico della [lhuftrifs[tma] Signoria di Venetia in S[an] Marco | & con ogni diligentia corretti. | [pr. mk. Griffin I] IN VINEGIA M D LXVILI. | [rule] ] APPRESSO GIROLAMO SCOTTO.

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1-2] 3-23 [24]. No cantus, tenor, bassus, or quintus partbook 1s known to survive. Signature title Primo Lib. de gli Eterni. A 5. & A 6. (first signature of gathering only; not at first

gatherings). Signatures (A) G-I*. Signed G2, $2: title page unsigned. 24. Headline: Al molto Illustre Signor Giovan Francesco Varrile. 25. Headline: Al Monsignor Don Giovanni Varago. 26. Headline: A/ molto Illustre Signor Pietro de Izis. 27, Headline: Al molto Eccellente Sig{nor] il Siginor] Gardenigo da Padua. 28. Headline: Al molto Magnifico Signor Toscano Toscani. 29. Headline: Al Molto Illustre & Reverendiss{imo] Monsig[nor] Vescovo di Treviso. 30. Headline: Al molto Reuerendo Monsig[nor] il Sig{nor|] Andrea Zucchello. 31. Headline: All ‘IHustre Signor Don Giovanni della Marra. 32. Headline: Amascarata Rima e Musica del Troiano. 33. Headline: Moresca Rima e Musica del Troiano.

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No. 29]—-1567

Headline Orlando Laffo. [fleuron] 3 [fleuron] ALTO Technical Notes Music font III; Text font Roman; Initials Large knight; Large myth; Large Bible; Dark floral II; Centaurs; Watermarks Cardinal’s hat; Printed area Title page 18.7 x 13.2 cm; Music page 19 x 13 cm.

Table of Contents [p. 24] TAVOLA DELLI MOTETTI | A CINQVE ET SEI VOCI. | LIBRO PRIMO. | [type orn.] | [contents listed] | MOTTETTI A SEI. | [nos. 13~15] | IL FINE.; Roman, in order of appearance.

Dedication [p. 2] [type orn.] | AL MOLTO MAGNIFICO ET REVER[EN]?° | MONSIG[NOR] SIGISMONDO BORGASO | Canonico di Treuifo, Signore offeruandiffimo. | [type orn.] | [woodcut S]ONO piu giorni molto Reuerendo Monfig[nor] ch’io ha- | uendo fatto raccolta d’alcumi Mottetti di Orlando | Laffo Cipriano Rore, & altri eccellenti(s[tmi] Mufici de | rari dell’ eta noftra,

tra me (teffo [taua penfando [otto, | che [cudo, & protettione, doueffi mandarli in luce, & | raccomandar que[ta mia picciola, ma lodeuole fatica; | quando, per mia auentura, ragionando di quelto mio | penfiero, come [oglio far [pe{fo, con l’honorato | M[esser] Giouan Battifta Zucarino mio caro amico, & molto affettionato feruito- | re di V[ostra] Sig[noria] fcorfi dalle non meno affettuofe, che vere lodi, ch’egli afcriue | alla virtuofa, & honorata perfona voftra, non poter far elettione migliore { ne piu giudiciofa, che dedicarla alla piu ben compolta anima, che a di noftri | foggiorni in quelto fecolo, & nella quale fi [corge chiaramente quella Mu- | fica perfetta, e diuina, ch’é la concordanza, & unione di tutte le virtu. Ecco | dunque, che fenz’altra familiarita

o feruitu, ch’io m’habbia con lei ma fo- | lo accefo da raggi ardenti delle fue viue virtu, humilmente le apprefento | quefto mio picciol dono, dico picciolo, rifpetto a voltri gran meriti, ma in- | uero grandiffimo alle mie debili forze, & la prego ad accettarlo con quel | lieto animo, ch’io l’apprefento infieme con me fteffo. I] che mi fara fegno | certiffimo d’hauer fatto acquifto della fua buona gratia, della quale fono | non pur defiderofo ma ambitiofo, fopra le piu care, & pretiofe cofe del mon- | do. Et baciando |’honorate mani di tutto core me li dono, & raccomando | pregandole da Dio N[ostro] Sig[nore] quel contento, & vera felicita, che fi defia. | Di Venetia a di 22. Luio. M D LXVII. | Di V[ostra] Sig[noria] Reuerenda. | Perpetuo Seruitore | Giulio Bonagionta da S[an] Genefi.

Contents

1. 3 Quis est homo qui timet Dominum Orlando Lasso 2. A Ubi est Abel frater tuus Orlando Lasso

3. 45 Quem dicunt homines Orlando Lasso I. Tu es Christus filius Dei vivi 4. 66Ad te levavi oculos meos Cipriano Rore II. Miserere nostri Domine 7 III. Quia multum repleti sumus despectione

5. 8 Parcius Estenses proa vos Ferraria Gioseffo Zarlino

9 II. Clara sit innumeris majorum fama tropheis 6. 10 Ave regina coelorum Michel de Comis 7 Mi Ave regina coelorum Innocentio Alberti

8. 12 Sub tuum praesidium confugimus Portinaro 9. 13 Super omnia ligna Cedrorum Leandro Mira 10. 14 Inclina Domine aurem tuam Stefano Rosetto 15 Il. Miserere mei Domine

11. 16 Da pacem Domine in diebus nostris’ Giacomo Migret

12. 17 Descendit de coelis Londarito \. Headline: “Fuga in diathesaron Inferius.”

719

No. 291—1567

13. 18 Jesu nostra redemptio [6 vv | Orlando Lasso 19 II. Inferni claustia penetrans [6 vv] 20 III. Ipsa te cogat pietas [2 vv] 21 IV. Tu esto nostrum gaudium [6 vv]

14. 22 Vidi conjunctos viros [6 vv] Cesare Schiett 22 II. Vidi angelum Dei [6 vv] Cesare Schieti 15. 23 Peccantem me quotidie [6 vv] Andrea Gabrieli Locations and Notes *Rome, Biblioteca del Conservatorio di Musica Santa Cecilia. (A) A.CS.1.c¢.50 Bound in colored paper, printed with design, on cardboard. Alto: 19: signed C2 instead of 12.

Bibliographical Listings and Literature Lincoin, Latin Motet, 799; Mischiati, 3ibliografia... dei musicisti veronesi, Antologie #65.

Modern Editions Lasso, Sdmtliche Werke, 7: no. 2 and 3; vol. 9: no. 1; vol. 13: no. 13; Rore, Opera omnia, 6: no. 4.

age 292 Secondo libro delle Fiamme madrigali a cinque et sei voci 15673 The second of three books that comprise the Libro delle Fiamme series, this collection contains sixteen madrigals and one motet. The inclusion of a Latin motet in an ostensibly secular publication seems unusual, but the fame of its composer, Orlando di Lasso, presumably accounts for its presence.

Bonagiunta dedicated the book to Antonio Villabruna of Feltre, who was also the dedicatee of Zappasorgo’s Napolitane a 3 libro primo of 1571 (382). There might also be a connection with the dedication of Ferretti’s Canzone alla nupolitana of 1567 (283), where Bonagiunta refers to the “Casa Villabruna.” In the dedicatory letter to the Secondo libro delle Fiamme, Bonagiunta mentions the literary figure Giovan Battista Zuccarino, also from Feltre, who contributed a sonnet to Bonagiunta’s later anthology, Corona della morte (312). The first madrigal in the present edition, Dai bei raggi lucenti d’honor Villa Bruna by Merulo, pays homage to the dedicatee. Einstein (/talian Madrigal, 1:323) suggests that the text of Benvenuti’s Giunto Adrian fra l’anime beate, which mourns the death of Adrian Willaert, might have been written by Zuccarino. Scotto reprinted this collection in 1570 (356).

Title Page [within a lace frame:] CANTO | [below frame] SECONDO LIBRO DELLE FIAMME | MADRIGALI A CINQVE ET SEI VOCI| DE DIVERSI ECCELLENTISSIMI MVSICI | Di nouo

pofti in luce per Giulio Bonagionta da San Genefi | Mufico della Ilustrifs[ima] Signoria di Venetia in S[an] Marco. | & con ogni diligentia corretti. | [woodcut: Burning book with laurel and palm frond] | IN VINEGIA M D LXVIL. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1-2] 3-23 [24]. No tenor partbook is known to survive. Signature title I] Secondo Libro delle Fiamme A 5. Signatures (S) A—C*; (A) G—I*; (B) K—-M%; (5)N-—P*. Signed A2, $2: title pages unsigned.

Headline Claudio da Coreggio. _ [fleuron] 3 [fleuron] CANTO Technical Notes Music font III; Text font Roman: Initials Large myth, Large Bible; Large knight; Dark floral I; Watermarks Cardinal’s hat; Printed area Title page 17.9 x 13 cm; Music page 18.8 x 13 cm.

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No. 292—1567

Table of Contents [p. 24] TAVOLA DELLI MADRIGALI | A CINQVE ET SEI VOCI. | LIBRO SECONDO. | [type orn.] | Roman; in order of appearance by number of voices.

Dedication [p. 2] [type orn.] | AL SIGNOR ANTONIO VILLABRVNA DA FELTRE | Signore & Patron mio offeruandiffimo. | [type orn.] | [woodcut Q]VEL vincolo, con il quale, magnifico Sig[nor] mio, tutte le | perfone, che vi cono[cono, & me [pecialmente (mer- | cé del magnifico animo voltro) con indiffolubil nodo | legate, talmente altretto mi tiene, che ouunque mi | volgo, e quinci, e quindi di obligatione infinita mi vi | veggo tenuto, I] che duoi notabellifimi effetti in me | caula, Puno infinita allegrezza, l’altro immenfo defi- | derio di farui cofa grata, & fe l’effetto che il [econdo | di quefti potrebbe, anzi dourebbe caufare Paguagliaffe al primo, veramente | non voglio dire che in tutto foffe equale, alla virtu, alla nobilta, alla muni- | ficentia, & alla grandezza di V[ostra] Sig[noria] (che la Citta di Feltre illuftrano) ma al- | meno in minima parte [arebbe balteuole il grato animo mio fargli palefe. | Mancando adunque quelto, qual cofa credero che le fia grata, & a me alle- | uiamento di obligo? fe non le fatiche ch’io ho fatto in raccogliere le prefen- [ ti compofitioni? Quelte adunque con ferma [peranza che le fiano grate con | tutto il core le offero, & coli come offerendo quelta picciol cofa alquanto | (benche poco) efco di obligo, cofi ancho apreffo il Magnifico Mefer Batti- | {ta Zuccarino, come quello, che é€ [tato caufa della caufa ch’io fono entrato | in debito, del quale fe non morte me ne potra [ciogliere, & a quella mi dono, | & offero. Di Venetia adi 26. Giugno. 1567. | Di V[ostra] Sig[noria] | Deuoto feruitore | Giulio Bonagionta da S. Genesi.

Contents

l. 3 4Da bei raggi lucente Claudio da Coreggio II. Quindi giusto desio m’infiamm’il core ,

2. 5 Di questa biond’& vaga Alessandro Striggio

3. 6 _ La pastorella con la verg’in mano Alessandro Striggio 4. 7 Voi ch’in vista di duol mesta & oscura Anibal Padoano Ivi é la spenta e fral terrena spoglia 5. 9108 II.Solinga Tortorella Vettor Raimondo II. Ma io lasso che solo

6. 10 Occhi miei dolci 1o son ferito a morte Vettor Raimondo 1] Ii. Deh perch’ oscura e trista

7. 12 Se di penne giamai candide & belle Pietro Taglia

8. = 13 Poi ch’il mito largo pianto Amor ti piace D’Incerto 9. 14 Oime ch’in tutt’io son fuor del mio core Michel de Comis

10. 15 Giunto Adrian fra l’anime beate Lorenzo Benvenuti 16 IT. Di qua 1 grandi del mondo pianser tutti ll. «17 Non mi parto da voi dolce mia vita Cesare Schieti

12. 18 Super flumina Babilonis Orlando Lasso 19 Il. Uhic sedimus & flevimus 13. 20 Questa fera gentil che scherz’e fugge [6 vv] Giovan Ferretti

14. 21 Dolce ritorn’ Amor cortese e pio [6 vv] Alessandro Striggio

15. 22 Questi ch’inditio fan del mio tormento [6 vv] Alessandro Striggio

16. 24 Era nubil il ciel la terr’ombrosa Cesare Schietti Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (S) R.216 ** Brussels, Bibliotheque Royale de Belgique. (A) XI. 64.826.B.2.LP London, British Library. (B) D.31.c Rome, Biblioteca del Conservatorio di Music Santa Cecilia. (5) G.CS.4.A.31.2

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 1:106; Huys, Catalogue des imprimés musicaux, #31; Squire, Catalogue of Printed

Music... British Museum, 1:171; Gaspari, Catalogo... Bologna, 3:33; Vogel-Einstein, 1567).

72)

No. 292—1567

Modern Editions . Torchi, L ‘arte musicale in Italia, 1: no. 2; H. Meier, Fiinf Madrigale: no. 11.

—_ 293 Primo libro de madrigali de diversi autori a notte negre a 4 1567'4 Part of a series initiated by Gardano in the early 1540s, this publication was reprinted some thirteen times during the sixteenth century. The present edition is an abbreviated version of Scotto’s 1558 edition. For more information see 163; on the pre-1558 editions and attributions in concordant sources for individual pieces see 65.

Title Page [within a lace frame:] CANTO | [below frame] IL PRIMO LIBRO DE MADRIGALI | DE DIVERSI AVTORI A NOTTE NEGRE | A QVATRO VOCTI | Con vna nuoua gionta nouamente - riftampati | & con ogni diligenza coretti. | [pr. mk. Fame V] | IN VINEGIA M D LXVIL. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 4 volumes in quarto upright; 12 leaves, pp. [1] 2-23 [24]. Signature title J] Primo Libro de Diuerfi. A 4 (first signature of gathering only). Signatures A-C*;, G-I*; D-F*; K-M‘. Signed A2, $2: title pages unsigned.

Headline verso: lachet Berchem. [fleuron] 2 [fleuron]

recto: {fleuron] 3 [fleuron] CANTO

Technical Notes Music font IV; Text font Italic IJ; Initials Dark floral II; Centaurs; White floral I; Small Bible; Dark floral I; Ghost; Watermarks Cardinal’s hat; Printed area Title page 16.1 x 13.2 cm; Music page 18.6 x 13 cm.

Table of Contents [p. 24] TAVOLA DELLI MADRIGALI | DE DIVERS] AVTORI |] A QVATRO VOCLI. | LIBRO PRIMO. | [type orn.] | [contents listed] | JL FINE.; Italic, in order of appearance.

Contents

l. 2 Qual anima ignorante over piu saggia Iachet Berchem 2. 3 Qual vista sarra mai occhi miei lassi [no attribution] 3. 4 Per inhospiti boschi hispiti & herm1 Constantio Festa

4. 5 Non veggi’ove scampar mi possa hormai Francesco Rossello

5. 6 Vezzosi fiori & vaghi Vbert Naich 6. 6 Cosi mi guid’amore Archadelt 7. 7 La dove il sol piu tardi a noi s’adombra [no attribution]

8. 8 S’io credissi per morte essere scarco Anselmo de Reulx 9. 9 Nasce fra I’herb’un fiore Constantio Festa

10. 10 Solea lontan in sonno consolarme Francesco Rossello ll. 11 Madonna io son un medico perfetto Vbert Naich 12. 12 Se la presentia vostra [no attribution] 13. 12 Tant’é l’ardor la fe che meco porto [no attribution] 14. 13 Qual fia ’] dolor nella crudel partita (no attribution]

15. 14 Nasce bella sovente Yvo

16. 15 Dormend’un giorn’a Baia a l’ombr’amore Ferabosco

17. 16 Benche la donna mia Vbert Naich 722

No. 294—1567

18. 17 Apri, apri apri Ja porta’ homai Yvo

19. 18 Donna gentil i bet vostr’occhi ardenti (no attribution] 21. 20 Con lei fuss’io da che si parte ”] sole Jaques de ponte 22. 20 Che dolce piu che piu giocondo stato Vbert Naich

20. 19 Che giova saettar un che si more [no attribution]

23. 21 Quel si grave dolore Archadelt 24. 22 Chi vuol veder crin d’oro cresp’et biondo lachet Berchem 25. 23 Da bei rami scendea Archadelt

Locations and Notes ** Cracow, Biblioteka Jagiellonska. (B) (olim Berlin, Preu8ische Staatsbibliothek) Mus. ant. pract. S 925 Wolfenbiittel, Herzog-August-Bibliothek. 1.2.1-4 Musica (#2) See appendix C.

Bibliographical Listings and Literature Harran, Anthologies of Black-Note Madrigals, 1, pt. 1: xxi-Ivii; Schmieder, Musik, #565; Vogel-Einstein, 1567?.

Modern Editions Harran, Anthologies of Black-Note Madrigals, 1; Arcadelt, Opera omnia, 7: nos. 6, 21, 23, and 25; Festa, Opera omnia, 8: no. 3; Roussel, Opera omnia, 3: 4 and 10; Ferrabosco, Opera omnia: no. 16; Rampollini, Primo libro del musica: nos. 20.

age 294 Secondo libro de madrigali de diversi autori a notte negre a 4 1567'° The contents of the 1567 volume do not follow previous editions of the second book, but instead contain sixteen pieces from the first book that Scotto did not incorporate in his 1567 abridged edition of the Primo libro (293). To these sixteen, he added eight more works, mostly by Arcadelt. Nos. 16 and 18-20 first appeared in Arcadelt's Quinto libro de madrigali of 1544, no. 24 in his Quarto libro of 1541, and no. 21 in Z/ vero secondo libro of 1539, all issued by Gardano.

Title Page [within a lace frame:] CANTO | [below frame] IL SECONDO LIBRO DE MADRIGALI | DE DIVERSI AVTORI A NOTTE NEGRE | A QVATRO VOCTI | Con vna nuoua gionta nouamente riftampati | & con ogni diligenza coretti. | [pr. mk. Fame V] | IN VINEGIA M D LXVIIL. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 4 volumes in quarto upright; 12 leaves, pp. [1] 2-24. Signature title // Secondo Libro de Diuersi A 4. (first signature of gathering only). Signatures A-C *; G-I'4; D-F 4; K-M*. Signed A2, $2: title pages unsigned.

Headline Iachet Berchem. _ [fleuron] 3 [fleuron] CANTO [no voice designation on verso]

Technical Notes Music font lV; Text font Italic JI]; Initials Dark floral I]; White floral I; Centaurs; Small Bible; Watermarks Cardinal’s hat; Printed area Title page 16.1 < 13.1 cm; Music page 18.7 x 13 cm.

Table of Contents p. 24; TAVOLA DELLI MADRIGALI | DE DIVERSI AVTORI, A 4. VOCI. | LIBRO SECONDO. | [type orn.] | [contents listed] | JL FINE.; Italic, in order of appearance. 723

No. 294—1567

Contents

l. 2 Quando son piu lontan da bei vostr’occhi Iachet Berchem 3. 3 Quell’ardente desir ch’amor mi diede Iachet Berchem

2. 2 Amar un sol amante é vero amore Iachet Berchem

4. 4 Io mi son giovinetta & volontieri Ferabosco

5. 5 Novo piacer che nelli human’ ingegni Archadelt 6. 6 Io Questi soavi fiori Iaques buus 7. 7 non so dir parole Ferabosco 8. 8 Per Dio tu sei cortese Vbert Naich

9. 9 Troppo scarsa madonna Iachet Berchem

10. 10 Non ved’hogg’il mio sole P. Bracharaio

ll. il Perche piu acerba set’& piu rubella Verdelot

12. 12 Temp’é da’incominciar quel piant’homai _ [no attribution] 13. 13 Lasso ch’io non so ben hora ne °! giorno [no attribution]

14. 14 Fammi sentir di quell’aura gentile Constantio Porta 15 II. Aguaglia la speranza col desire Constantio Porta

15. & vezosafiore sel [no attribution] 16.16 17Bianca Amorosetto Archadelt

17. 18 Cogliete da le spin’hormai le rose Iachet Berchem 18. 19 Le rose insieme 1 gigli & le viole Vbert Naich 19. 20 Dolci rime leggiadre Archadelt 20. 21 Hor tregu’havran’i miei caldi sospiri Archadelt 21. 21 Deh fuggite o mortali [no attribution] 22. 22 Si dolcement’amor del tuo morire Filippo de Monte 23. 23 Donna da bei vostr’occh’i] lum’ ardente Filippo de Monte 24. 24 Si grand’é la pieta c’ho di me stesso Archadelt Locations and Notes

Wolfenbiittel, Herzog-August-Bibliothek. 1.2.1-4 Mus. (#3) | See appendix C. Cantus and Altus: 12: | rubbed out of 12; 25 instead of 24. Tenor: 25 instead of 24. Bassus: 115: Headline BASOS instead of BASSO.

* Madrid, Biblioteca Nacional. (T) M 1756/5

Bibliographical Listings and Literature Harran, Anthologies of Black-Note Madrigals, |, pt. 1: xxv; Vogel-Einstein, 1567°; Schmieder, Musik, #565;

Anglés and Subira, Catalogo... Madrid, 3:20, listed with incorrect date of 1562.

Modern Editions Harran, Anthologies of Black-Note Madrigals, 1 : nos. 1-16; Arcadelt, Opera omnia, 5: no. 24; vol. 6: nos. 16, 19, and 20; vol. 7: no. 5; Ferrabosco, Opera omnia: nos. 4 and 7; Rampollini, Primo libro de la musica: no. 5; Porta, Opera omnia, 24: no. 14.

__ate

295 Terzo libro del Desiderio. Madrigali a quattro voci 1567'° For information about the series see 276. Bonagiunta dedicated the Terzo libro del Desiderio to Antonio Roncale. According to Ongaro (“Venetian Printed Anthologies,” 51), Giovanni Domenico Roncale, father of Antonio, was knighted by the Doge Venier in 1554. The collection contains three new madrigals by Lasso, a canzone by Rossetto, and works by several musicians connected with the Veneto. An eight-voice dialogue by Annibale Padovano honors Archduke Charles II of Austria.

1. Attributed to Ruffo in 94 and 118.

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No. 295—1567

Padovano, who had left his post as organist at St. Mark’s in 1566, entered the service of the archduke’s brother, Emperor Maximiltan IT.

Title Page TERZO LIBRO DEL DESIDERIO. | MADRIGALI A QVATTRO VOCI | DI ORLANDO LASSO ET D’ALTRI ECCEL[LENTISSIM]] | MVSICI CON VN DIALOGO A OTTO. | Di nouo pofti in luce per Giulio Bonagionta da San Genefi | Mufico della Illuftrifs[ima] Signoria di Venetia in S[an] Marco | & con ogni diligentia coretti. |CCAN [pr. mk. Eagle on top of globe] TO | IN VINEGIA M D LXVII. | [rule] | APPRESSO GIROLAMO SCOTTO.

Collation and Headline 4 volumes in quarto upright; 12 leaves; pp. [1-2] 3-23 [24]. No altus, tenor, or bassus partbook is known to survive.

Signature title Defiderio Libro Terzo A 4 (first signature of gathering only; not at A2). Signatures A-C*. Signed A2, $2: title page unsigned.

Headline Orlando Laffo. A 4. [fleuron] 5 [fleuron] CANTO [no voice designation on verso]

Technical Notes Music font II]; Text font Roman, Initials Large knight; Small Bible; Dark floral If; Ghosts; Watermarks Cardinal’s hat; Printed area Title page 18 x 12.4 cm; Music page 18.6 x 13 cm.

Table of Contents [p. 24] TAVOLA DELLI MADRIGALI | A QVATTRO VOCTI. | LIBRO TERZO | [type orn.] | [contents listed] | [IL FINE.; Roman, in order of appearance.

Dedication [p. 2] [type orn.] |] AL MOLTO MAGJNIFI]®° SIG[N]°® ANTONIO RONCHALE | DA ROVIGO FV DEL MAGNIFICO SIGNOR | GIOVAN DOMINICO JL CAVALIERE. | [type orn.] | [woodcut L]’OFFICIO di animo generofo Mag[nifico] Sig[nor] mio, é l’effer | de beneficij memore, cofi come il contrario, é pro- | prio d’animo vile. Per il che da fubito terrore affali- | to

quafi vno che fognandofhi cole horrende tutto tre- | mante & [gomentato fi fueglia: Raccorda[n|domi gl’in- | finiti oblighi, che con la Cafa Albana ho contratto: | f per la qualita, &

quantita di quelli: {i per vedermi | chiufa la via di poter in parte (benche minima) grati- | ficarmegli. Ne ho hauuto non folamente [pauento, ma ne [on [tato longa- | mente confulo. Pur’alla fine confiderando, che piu gl’animi grati, che li pre- | [enti richi a V[ostra] Sig[noria] fonno grati, per alfimigliarfi nella bellezza dell’animo, & | nelli doni di fortuna a quelli da i quali dipende: Et

doue I’obligo ha un’infini- | to principio, ho voluto fe non con le eftrinfeche, almeno con le intrinfeche | forze, moftrargli la gratitudine de l’animo mio, laquale v{cendo fincera- | mente dal petto, [pero anco appreffo lei, che per tale fara conofciuta, fapen- | do per certo che in lei, come in arde[n]tif{fimo imitatore della Magnificentia, li- | beralita & molte altre virtu del Sig[nor] Giouanni {uo Zio, ogni buone qualita han- | no luoco. Onde ricordandomi che V[ostra] Sig[noria] fommamente fi diletta della Mu- | fica, & hauendo raccolte alcune compofitioni de diuerfi Mufici, ho voluto | dedicarle al nome f[uo, [perando, che fi come in effe, v’interuiene vna con- | formita de Voci; parimente vi debba concorrere vna conformita d’animo: | Laqual fara che, ella accetti quelto picciol prefente, co[n] quella fncerita, ch’io | gliel’offerifco, & fi degni comandarmi. Di Venetia a di 11. Giugno. 1567. | Di V[ostra] Sig[noria] | Deuoto [eruitore | Giulio Bonagionta da S[an] Genefi.

Contents

1. 3 Lasso ch’1l crederia Orlando Lasso

2. 4 Ove d’altra montagn’ombra non tocchi Orlando Lasso

3, 5 Buon’ hora prende il giorno Orlando Lasso 4. 5 S1 mi vida es vuestra vida Gioseffo Zarlino 725

No. 295—1567

5. 6 Come si m’accendete Gioseffo Zarlino 6 II. Anzi a sue fiamme ahi lasso

6. 6 Com/al partir del caro unico figlio Canzon Giouan Nasco 7 II. Cosi con dolor tal anzi maggiore 8 III. E come al dipartir del sol s’oscura 8 IV. Ma se potrd veder giamai quel giorno

7. 9 Stavasi 11 mio bel sol al sol assiso Stefano Rosetto

8. 10 Ecco pur riede il sole Canzon Stefano Rosetto 11 IJ. Con mormorar soave [2 [if. Surgon l’herbette molli 13 IV. Di verdi e nove spoglie 14 V. In questa allegra e cara 15 VI. Hor per ciascun paese

9. 16 Amorosetto fiore Madalena Casula.

10. 17 Allapparir del giornoGiouan Anibal Florio. Zoilo. 11. 18 Se ti duoli augelino 12. 19 Bench’ indarno i gran pianti Constantio Porta. 13. 20 Quand’1l soave mio’ fido conforto Gioseffo Zarlino 21 IJ. In atto’& in parole la ringratio

14, 22 Cinto di chiare palme. Dialogo [8 vv] Anibal Padoano. Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (S) R 219

Bibliographical Listings and Literature

«fe |

Gaspari, Catalogo . . . Bologna, 3:33; Vogel-Einstein, 1567*; Mischiati, Bibliografia . . . dei musicisti Veronesi, Antologie #66.

296 Primo libro de canzon napolitane a tre voct 15678 An earlier edition of this collection appeared in 1565 (267). The elimination of the last piece found in the 1565 edition enabled Scotto to compress the contents of present edition to fit into four instead of five gatherings.

Title Page CANTO | IL PRIMO LIBRO | DE CANZON NAPOLITANE | A TRE VOCI, | CON DVE ALLA VENETIANA | Di Giulio Bonagionta da S{an] Genefi. | Et d’altri Auttori di nouo nftampate. | [pr. mk. Fame IIT] | JV VINEGIA, | Appreffo Gieronimo Scotto, | [rule] | M@ D LXVIL.

Collation and Headline 3 volumes in octavo upright; 16 leaves, pp. [1] 2-31 [32].

Signature title Napolitane di Giulio Bonagiunta. A 3. (first signature of gathering only). Signatures 4—B°, C-D°, E-F ®. Signed Aij, $4: title pages unsigned.

Headline Francefco Bonardo. CANTO 3 [no voice designation on verso] Technical Notes Music font IV; Text font Italic III; Initials Dark floral HI]; Plain Roman; Watermarks Cardinal’s hat; Printed area Title page 12.3 x 8.7 cm; Music page 8.6 x 8.6 cm (4 staves).

Table of Contents [p. 32] TAVOLA DELLE CANZONE | ALLA NAPOLITANA A TRE VOCT. | [type orn.] | {contents listed] | JZ FINE.; Italic, in order of appearance.

726

No. 297—1567

Contents

[. 2 O bocca dolce piu che cannamele Giulio Bonagionta

2. 3 Gersera’andai da la mia manza bella Francesco Bonardo

3. 4 Tanto tanto t’adoro Claudio da Coreggio

4, 5 Dolci colli fiorit’a me si cari Francesco de Laudis 5. 6 A cas’un giorno mi guido la sorte Giulio Bonagionta 7 II. Vaga d’udir come ogni donna suole Bonagionta 8 III. Con quel poco di spirto che gl’avanza Bonagionta 9 IV. Mentre ch’ella le piaghe va sciugando Bonagionta

6. 10 Ho’inteso dir che le virtu si trova Francesco Bonardo 7. 1] Madonna tu te bechi lo cerviello Francesco Bonardo 8. 12 Son stato cacciator cinqu’anni’e un mese Francesco Bonardo 9, 13 Alla Sibilla me ne voglio gire Claudio da Coreggio 10. 14 All’arm’all’arm o fidi miei pensieri Incerto ll. 15 Me bisogna servir questa crudele Incerto 12. 16 Non trovo pace ne tregua ne guerra Incerto 13. 17 Segretario t’ho fatto come sai Francesco de Laudis

14. 18 O saporito volto Incerto {5. 19 Scis’a una fonte vidd’una citella Incerto

16. 20 Cosi va cosi va chi ha ventura Francesco Londarito 17. 21 Chi non adora quesse trezze d’oro Incerto 18. 22 Correte amanti sventurat’e scuri Iuo de Vento 19. 23 Facciami quanto vol fortuna ria Incerto 20. 24 Due cos’al mondo sonno senza pare Incerto 21. 25 Donna tu m’hai lasciat’& 10 sperai Incerto 22. 26 Trenta capilli da Castellamare Francesco Londarito 23. 27 ’ Quando mio padre me dette marito losefo |Guami?] 24. 28 All’arm all’arm o fidi miei pensieri Incerto

25. 29 Poi ch’eri cosi forte scropulosa Incerto 27. 31 E vorave saver colonna mia Giulio Bonagionta 26. 30 Daspuo ch’al mio dolor no ghe ceroto Giulio Bonagionta Locations and Notes

See appendix C. :

Augsburg, Staats- und Stadtbibliothek. (S) 8° Tonkunst Schletterer 48 (1) Venice, Biblioteca Nazionale Marciana. (B inc.) Musica 1513 Includes: title page; pp. 1-2; 17-22; 17—32; and table of contents.

Vienna, Osterreichische Nationalbibliothek. SA.76.E.23 Bound in cardboard; cover contains initials: P. E. F. within a frame. Cantus: incorrectly bound as follows: 16, 17, 22, 23, 20, 21,18, 19, and 24, 25, 30, 31, 28, 29, 26, 27. Bassus: title page: headline BASSVS in rectagular compartment decorated with dots; 17: signature title Napolitane del Bonagionta Lib. primo. A 3.; signed C3 instead of E3.

Bibliographical Listings and Literature Nuovo Vogel #381.

___te

297 Il Gaudio, Primo libro de madrigali a tre voci (1567) This is the hitherto lost first edition of an important anthology known only from the 1586 second edition issued by the Scotto press (1586'’). J] Gaudio was commissioned by Bonagiunta, who dedicated it to Giovan Battista Bianchini and Ludovico Leggerini, two gentlemen from Rovigo. In his dedication, Bonagiunta alluded to musical activities in Rovigo, particularly with the magnificent

Roncale family (Casa Roncale). Antonio Roncale was the dedicatee of another Bonagiunta 727

No. 297—1567 publication, the Terzo libro del Desiderio (295). Bonagiunta also thanked the Venetian literary figure Giovanni Molino for his help with musical affairs in Rovigo. The two printer’s marks depicting a

rooster with the motto “Excubo ac vigilo” on the title page, and with the inscription “Tota nocte excubo’ at the back of the book, belonged to the bookman Pietro da Fino, who presumably helped with the financing and/or distribution. The collection includes two six-part canzoni. The first offers a fine example of a canzone de diversi, that is a single madrigal cycle collaboratively set by a group of composers (see chapter 9). All of the composers had a personal connection with Bonagiunta, either as colleagues at the chapel of St. Mark’s or as “contributors” to his other anthologies. No secondary source, including RISM and the catalogue of the Torrefranca collection, mentions this first edition.

Title Page IL GAVDIO | PRIMO LIBRO DE MADRIGALI | DE DIVERSI ECCELLEN[TI] MVSICI| A

TRE VOCI. | Di nouo pofto in luce per Giulio Bonagionta da San Genefi | Mutfico della Iluftrifs[ima] Signoria di Venetia in S[an] Marco | & con ogni diligentia corretti. | CON GRATIA ET PRIVILEGIO | TENO [pr. mk. Rooster with motto: Excubo ac vigilo] RE | IN VINEGIA M D LXVII. | [rule] | APPRESSO GIROLAMO SCOTTO.

Colophon [p. 24] pr. mk. Rooster with motto: Tota nocte excubo.

Collation and Headline 3 volumes in quarto upright; 12 leaves [1-2] 3~23 [24]. No cantus or bassus partbook is known to survive.

Signature title Madrigali de diuersi Auttori A 3. Signatures (T) D-F*. Signed D2, $2: title page unsigned.

Headline Claudio da Coreggio A 3. [fleuron] 3 [fleuron] TENORE Technical Notes Music font IJ; Text font Roman; Initials Large myth; Large Bible; Large knight; Dark floral Iand ]]; Watermarks Anchor and circle with cross; Printed area Title page 17.4 x 12.4 cm; Music page 18.6 x 13 cm.

Table of Contents [p. 24] TAVOLA DELLI MADRIGALI | DE DIVERSI AUTTORI A TRE VOCI | LIBRO PRIMO. | [type orn.]; Roman, in order of appearance, divided by madrigals and canzone.

Dedication [p. 2] [type orn.] | ALLI MOLTO REVER[EN]?! ET MAGNANIMI SIG[NO]®! | M[ESSER] GIOVAN BATTISTA BIANCHINI, | ET M[ESSER] LVDOVICO LEGGERINI | DA ROVIGO | Padroni miei fingolariffimi. | [type orn.] | I] vedere virtt in preggio, & [tima de buoni, é cagio-

. | ne che ogn’huomo ff affatichi in far profitto in effe. | Di qui é che fi legge di molti Eccellfentissimi] Filofofi d’Athe- | ne, che vedendofi dal mondo illuftrare per l’opere lo- | re virtuofe, talmente fi accendevanlo nel frequentare | con gli [critti loro, imitando quel Agri- | cultore, che piu volontieri femina, qua[n]do troua la ter- | ra maggiormente difpofta. Cofi io affaticandomi, & cercando di operare nel | bel giardino della virtuofa arte delle Mufica, & trouandomi a queifti giorni | haver feminato alcune mie femenze Mulicali in Rovigo nel fertile terreno | della Magnifica Cafa Roncale, mercé da l’aiuto de Mefer Giovanni Molino, | & vedendo il frutto, che n’é nafciuto per il conto, & [tima. che n’hanno fatto, | & fanno tuttavia, ho deliberato a guifa di quel provido agricultore, cono- | [cendo quanto fertile, & liberale, fia il nobil terreno dell’animo di voi Reve- | rendiff]imi] Sig[nori] miei, di feminare quefte mie raccolte vigilie, fi per ben collocar- | le, come [0 che elle faranno, come anco per deftare altri [piriti di maggior | valore, ch’io non fonno, a confacrar al nome loro, qualche altro bello, & | virtuofo parto. Di Venetia a di. 1 Ottob[re] M. D. LX VII. | Deuoto Seruitore | Giulio Bonagionta da S{an] Genefi. 728

No. 298—1568

Contents

1. 3 Se non m’ingann’amore Claudio da Coreggio 4 II. Ecco che gl’é pur vero

2. 5 Donna gentil che sopra’altre bella Barlomeo Spontone 3. 6 Donna senza cercar campagn’e boschi Barlomeo Spontone 4. 7 Stavasi’il mio bel sol al sol’ assiso Madalena Casulana 5. 8 La pastorella di dormir gia stanca Camillo Borghese 6. 9 Mai non vo piu cantar com’io solea Canzona Claudio da Coreggio 10 IJ. I die’in guard’a San Pietro hor non piu no Andrea Gabrielli 12 III. Proverbio, ama chi t’ama é fatto’antico Francesco Bonardo 13 IV. Forsi ch’ogn’huom che legge non s’intende Antonio Grecco

14 V. In silentio parol’ accorte’e sagge Leandro Mira

16 VI. De passati miei danni piango e rido Danielle Grisonio

7. 17 S’io non v’amo & adoro Canzona Stefano Rosetto 18 II. Ma si com’e pur vero 19 III. Se quando voi tal’hora 20 IV. [1 bel ch’in voi risplende 21 V. Chi non sa com’impiaghi 22 VI. Se quand’) vago’aspetto

23 VII. Io credo che bastar tu debbi sola’

Locations and Notes Venice, Conservatorio di Musica Benedetto Marcello, Collection Torrefranca.

Modern Editions: (uncatalogued; classification numbers: 197 or 25865). Single partbook bound in modern binding; on back of front cover: Ex libris Fausto Torrefranca.

Gabrieli, Complete Madrigals, \: no. 7; Casulana, Madrigali: no. 4.

— 1568 —

298 Adriani, Primo libro de madrigali a sei voci A310 (1568) Francesco Adriani was born in the town of San Severino near Ancona. The date of his birth remains unknown, but the year 1539 which was proposed by Fétis and appears in New Grove must be wrong, since Gesner's Pendactae of 1548 contains an entry entitled “Francisci Adriani cantiones et Mutetti”

(see appendix E). The listing could refer to an edition of motets and an edition of madrigals or canzone villanesca alla napolitana. The Scotto 1596 /ndici de libri di musica lists an edition of fourvoice canzone by Adriani. No music edition by Adriani survives before the present one. It is fitting that Adriani dedicated his Primo libro de madrigali a sei voci to Giovanni Ferro of Macerata, a patron from his native Ancona. Ferro was the favored benefactor of Giulio Bonagiunta, who also had ties to the Marche region (see 289).

Title Page ,

[within a lace frame:| BASSO | [below frame] IL PRIMO LIBRO | DE MADRIGALI A SEI

VOCI| DIFRANCESCO ADRIANLI, | [type orn.] | Nouamente polto in luce, & con ogni diligenza

corretti. | [pr. mk. Peace II] | IN VINEGIA, | APPRESSO GIROLAMO SCOTTO | [rule] | M D LXVIIL.

Colophon (p. 32] pr. mk. Peace I.

1. Headline: “canon in unitate.”

729

No. 298—1568

Collation and Headline 6 volumes in quarto upright; 16 leaves, pp. [1-2] 3-31 [32]. No cantus, altus, tenor, quintus, or sextus partbook is known to survive.

Signature title // primo Lib. di Francefco Adriani. A6. Signatures N-Q*. Signed N2, $2: title page unsigned.

Headline Canzone Prima parte. 3 BASSO [no voice designation on verso] Technical Notes Music font III; Text font Italic III; Initials Large Bible; Large myth; Large knight; Dark floral II; Small Bible; Centaurs; Watermarks Cardinal’s hat; Printed area Title page 18.2 x 13.3 cm; Music page 18.8 x 13.1 cm.

Table of Contents [p. 32] TAVOLA DELLI MADRIGALI | DI FRANCESCO ADRIANI, A SEI VOCT, | LIBRO PRIMO. | [type orn.] | [contents listed] | JZ FINE.; Italic, in order of appearance.

Dedication [p. 2] [type om.] | AL MOLTO NOBILE ET ECC[ELLEN]'=® CAVALLIERO | IL CAVALLIERO GIOVANNI FERRO | Signor & patron mio offeruandiffimo. | [type orn.] | [woodcut VJOLENDO Mag[nifico| Sig[nor] mio mandar fuori alcuni miei Madrigali, | i quali faranno i primi frutti de studij in quefta mia giouentu, mi é | parfo per molte cagioni dedicarli a V[ostra] Sig[noria] Percioche da miei | primi anni, ne quali me stef{fo con tutto l’animo a quefto eccellen- | tiffimo studio de numeri Muficali confecrai, hebbi ancora cono- | fcenza di V[ostra] Sig[noria] Mag[nifica] nella quale pur all’hora io viddi rifplen- | der tutte quelle virtu fingulari, & dote diuine dell’animo, che | a vero gentil‘huomo fi conuengano, a le quali reftai di maniera | obligato, che mentre tuttauia in me crefceua lo ftudio, & uno | amore intenfo verfo la Mufica, vgualmente ancora fi nodriua, | & crefceua in me vna fingulare affettione verfo V[ostra| Sig[noria] tuttauia rinfrefcandofi piu la memo- | ria dell’eccellenza dell’animo fuo. A tal che i Frutti d’ogni mio ftudio nato, & nudrito con | l’offeruanza, che a V[ostra] Sig[noria| Mag{[nifica] ho portato, & porto, giudicavo meritamente a lei douerfi; | oltre che con tale occafione fi dara pur fine a vn mio antico, & accefo defiderio di mostrar al | mondo con qual fincera affettione la reuerifca, & offerui. Laffo poi adrieto molt’altre cagio- | ni, che tutte a cio mi sforzauano, come

i meriti dell’eccellenza, & grandezza dell’animo | fuo, l’humanita, & cortefia, con che mi ha Jempre fingularmente abbracciato, il chiara- | mente conofcere che questo mio debile, & ofcuro parto fotto la protettione del fuo nome, | Illuftre prendera viua forza; & chiariffima luce, & con quefto fine preghero V[ostra] Sig{noria] Mag[nifica] | non si sdegni humanamente ricevere questi miei Madrigali da picciola mano indrizzati ma | da vn’animo certo affettionatiffimo v{citi. Di Venetia il di 24. Aprile M D LXVII. | Di V[ostra| Sig[noria] Mag{[nifica] | Humiliffimo feruitore | Francefco Adriani.

Contents

l. 3 A la dolc’ombra delle belle frondi Canzone 4 II. Non vidd’il mondo si leggiadri rami 4 III. Un lauro mi diffes’all’hor dal cielo 5 IV. Pero piu ferm’ogn’hor di temp’in tempo 6 V. Selve sassi campagne fium’e poggi 6 VI. Tanto mi piacque prim’1l dolce lume 7 VII. Altr’amor altre frond’et altro lume

2. 8 In qual parte del ciel in qual’idea

9 II. Per divina bellezza indarno mira 3. 10 Di pensier in pensier di mont’in monte I] IT. Per alti monti e per selv’aspre trovo

4. 12 Anima bella che gia fost’honore

13 II. Deh s’hai pieta di me che pur t’amai

5. 14 Tutt’il di piango e poi la notte quando 730

No. 299-1568

15 II. Lasso che pur da I’un’a l’altro sole

6. 16 Ancor che la partita

7. 16 Godi sposa novell’e suon’e canti

18 II. Non piu battut’afflitt’e vil’ancella

8. 19 S’ogni mio ben havete

9, 20 O pass! sparsi o pensier vagh’e pronti 21 II. O bel vis’ov’amor insieme pose 10. 22 Hor ch’il ciel e la terr’e ’l vento tace 23 IJ. Guerr’é *] mio stato d’ira e di duol piena

ll. 24 I dolci coll’ov’io lasciai me stesso 25 II. E qual cervo ferito di saetta 12. 26 Datemi pac’o duri miei pensieri

26 II. In te 1 secreti suoi messagg’ amore

13. 27 La vita fugg’e non s’arrest’un hora

28 II. Tornam’ avanti s’alcun dolce mal 14. 28 Che fai che pensi che pur dietro guardi 29 IJ. Deh non rinovellar quel che n’ancide 15. 30 Quand’il soave mio fido conforto 31 IJ. In att’& in parole la ringratio

, fe .

Locations and Notes

Verona, Accademia Filarmonica. (B)N. 1

See appendix C. Covered in cardboard. Signed: “Dono di Bartolamio Cartero.”

Bibliographical Listings and Literature

Eitner, Quellen-Lexikon, 1:45; Turrini, Catalogo... Verona, 1; Nuovo Vogel #7.

299 Arcadelt, Primo libro di madrigali a quatro voci A1340=1568'4 In 1568 Scotto printed Arcadelt’s Primo libro for the first time in upright quarto. The change in

orientation of the format enabled him to shorten the book by one gathering (from five to four) without sacrificing some of the contents (only one piece, Corteccia’s Fammi pur guerra, was omitted). Scotto reprinted the book in the same format in 1570 (337). Bridges (“Publishing of Arcadelt’s First Book,” 200-1) provides further details concerning format and other typographical aspects of the two editions; on earlier editions and attributions to individual pieces see 17.

Title Page (within a lace frame:] ALTO | (below frame] DI ARCHADELT IL PRIMO LIBRO | DI MADRIGALI | A QVATTRO VOCTI; | [type orn.] | Di nuouo riftampato, & con ogni diligenza coretto. | [pr.mk. Fame I]| JN VINEGIA, | APPRESSO GIROLAMO SCOTTO. | [rule] | 4D LXVIIT. Collation and Headline 4 volumes in quarto upright; 16 leaves, pp. [1] 2-32. No cantus or tenor partbook is known to survive.

Signature title Primo Lib. D’Archadelt. 44. Signatures (A) I-M*; (B) N-O*. Signed /2, $2: title pages unsigned.

Headline Archadelt. 5 ALTO [no voice designation on verso] Technical Notes Music font IV; Text font Italic III; Initials Dark floral II; Plain Roman; Small Bible; Centaurs; Watermarks Cardinal’s hat; Printed area Title page 17 x 12 cm; Music page 18.7 x 13 cm.

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No. 299-1568

Table of Contents p. 32; TAVOLA DELLI MADRIGALI A QVATTRO VOCI. | [contents listed] | JE FINE. ; Italic, alphabetical.

Contents

J. 2 Il bianch’e dolce cigno Archadelt 3. 43 Voi Ahive sen’andat’al la donna mia 4. cieloArchadelt Archadelt

2. 2 Pungente dardo che ’! mio cor consumi Giachet Berchem

5. 5 Occhi miei lassi mentre ch’io vi giro Archadelt 6. 6 Ragion’e ben ch’alcuna volt’io cantt Giachet Berchem 7. 6 Quanta belta quanta grati’e splendore Archadelt

8. 7 Poss’io morir di mala [no attribution]

9, 8 Io vorrei pur fuggir crudel’amore Corteccia

10. 8 Non ch’io non voglio mai altro pensiero Archadelt 11. 9 Deh dimm/’amor se |’alma di coste1 Archadelt (12. 10 Lassar’il velo 0 per sol o per ombra Francesco Layole

13. = 11 Nova donna m’apparve Archadelt

14. 12 Io dico che fra voi potenti dei Archadelt 15. 12 Ancidetimi pur grievi martiri Archadelt

16. 13 Chi potra dir quanta dolcezza provo Archadelt 17. 14 Dunque credete ch’io Archadelt 18. 14 Quant’é madonna mia folle ’1 pensiero [no attribution]

19. 15 Felice me se de bei lum’un raggio Archadelt

20. 16 Quando co ’! dolce suono Archadelt

21. 16 Giovenetta regal pur’ innocente Archadelt

22. 17 Sapet’amanti perch’amor’é cieco [no attribution]!

23. 18 Lodar voi donn’ingrate Archadelt 24. 18 Deh come pur’al fin lasso vegg’10 _ Archadelt 25. 19 Se vi piace signora il mio dolore Archadelt 26. 20 O s’io potessi donna Giachet Berchem 27. 20 Che piu fuoc’al mio fuoc’o fiamm’al core Archadelt 28. 21 Qual Clitia sempr’al maggior lum’intenta Archadelt 29. 22 Deh se lo sdegn’altiero Archadelt 30. 23 Io mi pensai che spento fuss’il fuoco Archadelt 31. 24 Il ciel che rado virtu tanta mostra Archadelt 32. 24 Bella Fioretta io vorrei pur lodarvi Archadelt 33. 25 Benedett’1 martiri ch’1o sostegno Archadelt

34. 26 Se ’] tuo partir mi spiacque Archadelt 35. 26 Quanti travagl’e pene Archadelt 36. = 27 Se per colpa del vostro fiero sdegno [no attribution] 37. 28 Fra piu bei fiori che mai creass’il cielo Archadelt

38. 28 Quai pomi mai qual’oro Archadelt

39. 29 Ver’ infern’é ’! mio petto [no attribution] 30 II. Senza fin’ardo e son di speme privo 40. 30 Non v’accorget’amanti [no attribution]? 41. 31 Quand’ io pens’al martire [no attribution]°

42. 32 Ahime dov’é ’! bel viso Archadelt

1. Attributed to Giachet Berchem in A1321=1546'° and all subsequent editions. 2. Attributed to Arcadelt in A1321=1546'° and all subsequent editions, except for A1329=15577' and the present edition which has no ascription. 3. Attributed to Arcadelt in A1321=1546!'° and all subsequent editions.

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No. 300—1568

Locations and Notes Bologna, Civico Museo Bibliografico Musicale. (AT) R 44

Bibliographical Listings and Literature Bridges, “Publishing of Arcadelt’s First Book” 200—1; Nuovo Vogel #118; Gaspari, Catalogo... Bologna, 3:22.

Modern Editions Arcadelt, Opera omnia, 2; Corteccia, First Book of Madrigals for Four Voice, no. 9; Layolle, Collected Secular Works for 4 Voices: no. 12.

—_ a

300 Becchi, Libro primo d’intabulatura da leuto B1509= 15687" Antonio di Becchi was born in Parma in 1522 (Holland, New Grove 2:329). Nothing else is known of his life. The contents of the Libro primo d’intabulatura, his only music publication, follow the same organization as other Venetian lute publications. Grouped according to genre, the edition begins with dance music, continues with arrangements of madrigals and chansons, and concludes with fantasias and ricercars. Brown omits Rome, Biblioteca del Conservatorio di Musica Santa Cecilia as a location. Identifications of the original vocal works, their composer attributions, and the first printed source are taken from Brown, /nstrumental Music, 1568.

Title Page LIBRO PRIMO | D?INTABVLATVRA DA LEVTO, | DI M[ESSER] ANTONIO DI BECCHI PARMEGIANO. | COMPOSTA DA LVI NOVAMENTE, ET DATA IN LVCE, CON ALCVNI | Balli, Napolitane, Madrigali, Canzon Francese, Fantasie, Recercart. | [pr. mk. Fame I] | IN VINEGIA, | APPRESSO GIROLAMO SCOTTO. | [rule] | M D LXVIIL.

Collation and Headline 1 volume in quarto oblong; 46 leaves, pp. [1] 2-91 [92]. Signature title Intabolatura di Antonio di Becchi libro primo. Signatures A~L4‘M’. Signed A2, $2 (A-L) $1 (M): title page unsigned. Headline 2 [left corner]; [in margin placed vertically:] Pass’e mezzo alla Millanesa.

Technical Notes Music font Italian lute tablature; Rhythmic font I; Text font Roman; Watermarks Cardinal’s hat; Printed area Title page 13.6 Meo Fior. 26. 28 Forz’é lasso ch’io mora”® Fiesco

27. 29 Quando tal hor di voi ci fate degni?’ Ans. Per. 28. 30 Gettara prim’amor I’arc’e gli strali?® Ansel. Peru.

29, 31 Credimi vita mia credimi questo” Essenga Locations and Notes

Bologna, Civico Museo Bibliografico Musicale. R 207 London, British Library. (S) (olim Landau) A. 277 (1); copy 2: (S) A.192 ** Paris, Bibliothéque Nationale de France. (B) (olim Bibliothéque du Conservatoire)

Bibliographical Listings and Literature British Union Catalogue, 875; Gaspari, Catalogo... Bologna, 3:204, F. Roediger, Catalogue des livres _,. Landau, 1:504; Vogel-Einstein, 1570’.

_ebe

362 Gorzanis, Primo libro di napolitane in leuto G3035=1570* Gorzanis’s edition is one of only two issued by the Scotto press to contain a lute intabulation below a vocal line in mensural notation for each piece (see 363). The upper part of the lute tablature doubles the vocal line. The upright orientation of the book is also unusual for lute tablature publications, which commonly appeared in oblong quarto format. The blind lutenist dedicated this volume to Giorgio Kiesel, son of Giovanni Kiesel di Kaltenbrunn of the noble family of Styria (Tonazzi, “Tl cinquecentista Giacomo Gorzanis,’ 11).

Title Page [type orn.] | JL PRIMO LIBRO DI NAPOLITANE | CHE SI CANTANO ET SONANO | IN LEVTO, | Nuouamente compofte da lacomo Gorzanis Leutanifta | Cittadino della Magnifica Citta di Triefte. | [pr. mk. Anchor V] | IN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 4@D LXX.

Collation and Headline 1 volume in quarto upright; 14 leaves, pp. [1-2] 3-27 [28]. Signature title none. Signatures 4—B"C °. Signed A2, $2 (4—-B) $1 (C): title pages unsigned.

Headline [centered Arabic page numbers only] Technical Notes Music font [JI and Italian lute tablature; Rhythmic fontI; Text font Italic III; Initials Plain Roman; Large Bible; Watermarks Anchor and circle with star; Crown with trefoil; Printed area Title page 18.3 x 12.9 cm; Music page 16.3

27. 29 Deh lasciatemi star tanti pensieri!> |

28. 30 Cassandra mia gentil Cassandra bella

29. 31 Amor lasciami stare! ?

30. 32 Quando mirai sa bella faccia® 31. 33 Se scior si ved’il laccio che mi strinse!®

32. 34 O core di diamante®

33. 35 Credeva che la fiamma si stutasse® Locations and Notes Florence, Biblioteca Nazionale Centrale. E. 6. 5. 71°

1. Arrangement of canzone napolitana attributed to Anselmo Perugino in 1571° (383). 2. Arrangement of canzone napolitana attributed to Meo in 1570! (361). 3. Arrangement of canzone napolitana attributed to Anselmo Perugino in 1570!° (361). 4. Arrangement of canzone napolitana attributed to Nola in 1570'8 (360). 5. Arrangement of canzone napolitana attributed to Mazzone in 1570!® (360). 6. Arrangement of canzone napolitana attributed to L’Arpa in 1570'* (360). 7. Arrangement of anonymous canzone napolitana in 1570?! (352). 8. Arrangement of canzone napolitana attributed to Nola in 156722 (see 349). 9. Arrangement of canzone napolitana attributed to Primavera in 15707! (352). 10. Arrangement of anonymous canzone napolitana in 15603 (See 266). 11. Arrangement of anonymous canzone napolitana in 1566’ (See 279). 12. Arrangement of anonymous canzone napolitana in 1565!" (263). 13. Arrangement of canzone napolitana attributed to Arpa in 1565!” (263). 14. Arrangement of canzone napolitana attributed to Troiano in T1267, 1569 (332). 15. Arrangement of canzone napolitana attributed to Primavera in 1565!” (263). 16. Arrangement of anonymous canzone napolitana in 1570'° (361).

840

No. 364—1571

Bibliographical Listings and Literature Brown, Instrumental Music, 1570s.

— 1571 —

364 Candido, Mascherate musicalia 3,a4,&a5 C805 (1571) Serafino Candido dedicated his publication to Ridolfo Tradel, a nobleman from Augburg. As the title page notes, the publication includes nine mascherate or masking songs, a form of the villanesca in which the singers or maskers play a specific character-type or profession, usually identified in the first strophe of the song. According to Cardamone (New Grove 3:683), a variety of personages appear in the songs, from milk vendors (no. 19) and soapmakers (no. 14) to pilgrims (no. 18) and musicians (no. 27). An unusual feature of the collection is the use of a fanciful title for each piece. Cardamone, in a private communication, pointed out that most of the pieces in the volume are about amorous encounters with

women of all kinds, many of whom have Roman or antique names usually adopted by courtesans. Candido’s edition is divided into two discrete sections. The separate title page and grouping of the contents by number of voices for each parte suggests that the publication might have been sold in two installments. The number of leaves of the canto is much smaller than the other two partbooks, since it does not contain any of the three-voice pieces. The canto partbook also differs from the other partbooks in containing a canzona poem with the heading “Apollo solo” (pp. 17~—18), and a long monologue in versi sciolti, which includes a madrigale poem with the heading “Il sapatello eremita solo” (pp. 34-39). Rather than utilize the canto partbook for transcription of the contents, I have followed the pagination

and orthography of first lines found in the alto partbook. I have also juxtaposed in brackets the pagination of the canto. Although no printed edition of the bassus partbook is known to survive, a manuscript source, Boston University, Mugar Library, Landon Collection, Box 4, Folder 4, contains a complete copy of the bassus only.

Title Page |

[within a lace frame:] CANTO | [below frame] DELLE MASCHERATE | MVSICALI | Di Serafino Candido da Monte Reale, | non manco artificiofe, che diletteuoli, | fopra varij amorofi auenimenti. | PARTE PRIMA. | A tre, a quattro, & a cinque voci, | [pr. mk. Anchor VI ] | IN VINEGIA, |

APPRESSO GIROLAMO SCOTTO, | [rule] | 44 D EXXT. The following title page appears on p. 19 of the cantus partbook [AT=p. 45]: [within a lace frame:] CANTO | [below frame] DELLE MASCHERATE | MVSICALI | Di Serafino Candido da Monte Reale, | non manco artificiofe, che diletteuoli, | fopra varij amorofi auenimenti. | PARTE SECONDA . | A tre, a quattro, & a cinque voci, | {pr. mk. Anchor VI] | JN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 44 D LXXI.

Collation and Headline 4 volumes in octavo upright; 20 leaves [AT=36 leaves] pp. [1-3] 4-39 [40]; [AT: pp. [1-3] 4-7] [72]|. No printed edition of bassus partbook is known to survive.

Signature title CANTO [ALTO, TENORE] del Candido. a.3.4.&5. Signatures O-R°5*; A-D®E*, F-I°K*, Signed Q2, $4 (Q-R ), $2 (S): title pages unsigned.

Headline 4 A quattro voci. LA BELLA Technical Notes Music font IV; Text font Italic II]; Initials Large myth; Plain Roman within a lace frame; Watermarks Two balls with trefoil; Printed area Title page 12. 8 x 8.6cm; Music page 13.7 < 8.7 cm.

Table of Contents [p. 40] [AT: p. 72] TAVOLA DELLE MASCHERATE | DI SERAFINO CANDIDO | a tre, quattro,

& cinque voci. | [contents listed] | Della fecdda parte | delle mafcherate. | [contents listed] | /L FINE.; Italic, alphabetical; separated into two parts. 84]

No. 364—1571

Dedication [pp. 2-3] AL MOLTO MAGNIF{/|°° | ET HONORANDO SIGNOR | RIDOLFO TRADEL | Augustano. | [type orn.] | Mio Signore OBeruandifimo. | woodcut FJRA vniuerfal confuetudine appref- | fo a Lacedemoni, Magnifico & ho | norando Signor mio, che conduceua | no nel publico le lor Vergini ignu- | de, e le Mogli vestite. Fu diman- | dato vna volta a Carillo qual fuf- | fe di cofi fatta vfanza la caggio- | ne. Rifpofe; alle Vergini s’hanno | a trouar mariti, alle mogli non gia; | ma conferuarfi cafte a coloro, che le poffedono. A fomi- | glianza di quelli ho fatt’io; Che partorito hauendo queste | pouere figliuoline, e vergini fi, che a pena conofcano per | mio credere, non ch’altri, il padre isteffo. L’hé portate co’l| favor vostro dinanzi a gl’occhi del mondo, come vedete, del | tutto ignude. E mi da il cuore, che trai pareri diuerfi di | cotante diuerfita di perfone, che le vedranno (quantunque | non fi fcorghino in effe compiutamente tutte quelle parti, che| a ben compofta bellezza fi richiedono) fi trouera nondimeno | occhio, che fi adentro non miri, e le fi prenda, e per fue le fi| [p. 3] tenghi. Ma poniam cafo che la Gatta (come fi dice) non ca- | da in piedi. Ei non fia bene, che le pouere fanciulle cofi mal’in | arnefe, com’elle fono, tinte dal fuoco della vergogna paffion | laudata, fe ne ritornino a cafa mifere, e fole. Per cid vi | priego, che, come vostra cofa le riceuiate, & di conueneuo- | li vestimente le prouediate. E fe voglia le viene di girfe- | ne a difcretion della forte peregrine anzi che no; e a voi non | torna in grado ouunque vadino il farle {corta; Piacciaui, | priego, almeno, gentiliffimo Giouane, di far ricco il lor fron| te, con la ricchezza del vostro nome, il quale é in fi fatta | riverenza appresso a gli huomini: che’l fuo folo ornamento | le fara da qual fi voglia pericolo ifcampar libere, & a gli | occhi di ogn’vno renderalle gratiofe, e riguardeuoli. Di | Vinegia il di X. di Giugno. M D LXXI. | D{i] V[ostra] S{ignoria] | Seruitore di cuore. | Serafino Candido.

Contents Alto Canto

1. 4 Gimo cercando un fanciullett’alato [3 vv] Amor fugitivo

2. 6 Quest’é colui ch’a tutt’il mond’invola [3 vv] —_ Amor prigioniero

3. 8 Gimo cercando tutti tre lo core [3 vv] Il cor perduto

4. 10 Vulcan donn’e 1 Ciclopi siamo noi [3 vv] I Fabri d’Etna 5. 12 Hor chi tha fatta figlia quacquaruta [3 vv] La Contessa

6. 14 Visetto d’Ariento angelicato [3 vv] La Scabiosella 7. 16 Quessa gonella rossa che portate [3 vv] La betta pinta 8. 18 S’10 son lontan da voi dolce ben mio [3 vv] La Monacella

9. 20 O dolce sonno aventurosa mano [3 vv] Il vero falso

10. 22 Mi part’ahi lasso da la propria vita [3 vv] La dolc’aspra 11. 24 Fronte serena ond’io primier’entrai [3 vv| La fresca rosa 12. 26 Se mi vuoi male e voi mi far morire [3 vv] La bella buona

13. 28 Ahi perche chiamo piu crudel’Amore [3 vv] La gentil donna

14. 30 Facemo donne I’arte del sapone [3 vv] Il sapone

15. 32 [4] Ionon chieggio da voi gentil mia donna [4 vv] La bella dalla guarnacca

16. 34 [6] Ostelluzza d’amor dolce mia vita [4 vv] La vera stella 35 [7] II. Stringimi vita mia stringimi ’! core [4 vv]

17. 36 [8] Noi siamo pellegrini e da |’Egitto [4 vv] Li pellegrini 18. 38 [10] Latte latt’allo latt’o donne belle [4 vv] Il fresco latte 19. 40 [12] Sterope Piramon Bront’e Vulcano [4 vv] La fucina di Lipari

20. 42 [14] Del padre Giove e di memoria siamo [4 vv] Il fonte Castalio

21. 44 [16] Se quest’almo pastore [4 vv] Il fonte Castalio 45 [19] Title page of Parte seconda

22. 46 Le tributarie genti [3 vv] La regina

23. 48 Quest’ acqua non é acqua é€ tutto fuoco [3 vv] La vacantia

24. SO Lasciastimi piangendo [3 vv | La ninfa Metaura

25. 52 Tra verdi campi la stagion novella [3 vv] La ninfa Naria 26. 54 Noi donne tutti tre sapemo fare [3 vv] Urania con Caliope

27. 56 Non veggio e non vorrei [3 vv] La castagna

28. 58 Bianca che vesti di bianco colore [3 vv] La cecca ciacca

29. 60 [20] Quel limpido ruscello [4 vv] L’acqua cocente 842

No. 365—157]

61 [21] II. Mapoiche con diletto [4 vv]

30. 62 [22] Felice é la catena [4 vv] L’amor felice

63 [23] II. Chi non ved’1) mio pianto [4 vv] 31. 64 [24] Dolce animetta mia perche ti lagni [4 vv] La fanciulla insubria

32. 66 [26] Nonson fra l’alte stelle [5S vv] La bella Aurora 67 [28] II. Scuoprasi inanti al giorno [5 vv]

of 38. .

33. 68 [30] Ecco Cupido io torno [5 vv] Lo smarrito

34. 70 [32] Eccovi belle donn’un’insalata [4 vv] La cena illustre

Locations and Notes

Vienna, Osterreichische Nationalbibliothek. (SAT) SA.76.E.7

Bound in stiff vellum. Title pages contain signature “Raijmundus fugger.” Cantus: 19: no signature R2; 23: signed R instead of R4, page number at upper left instead of upper right; 8 instead Altus: 67: signed F2 instead of £2. Tenor: 45: second title page: “ALTO” instead of “TENORE.”

A copy of the SAT was once in the Landau collection.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 2:306; Nuovo Vogel #476; F. Roediger, Catalogue des livres... Landau, 1:502; Mabbett, “Serafino Candido.”

«fo 365 Corfini, Primo libro de motteti a 5-8 C3930 (1571) Jacopo Corfini was appointed organist at San Martino in Lucca in 1557, where he remained until his death in 1591. He dedicated the present edition to Alfonso II d’Este, duke of Ferrara. We learn from the dedication that he studied in Ferrara with the organist Jacques Brumel. Sherr (Corfini, Secondo libro) speculates that Corfini must have spent time in Venice, since the dedications of most of his publications are signed from there. More likely, he went to Venice to oversee the publication of his works, as we have seen with other composers.

Title Page [within a lace frame:] BASSO | [below frame] DI IACOPO CORFINI | ORGANISTA DEL DVOMO | DI LVCCA, | IL PRIMO LIBRO DE MOTETTI | A Cinque, Sei, Sette, & Otto voci. | Nuouamente pofti in luce. | [pr. mk. Anchor V] | JIN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | M@. D LXXT.

Collation and Headline 6 volumes in quarto upright; 20 leaves, pp. [1—2] 3-39 [40]. No cantus, altus, or tenor partbook is known to survive. Signature title Del Corfini. A. 5. Libr. 1. Signatures (B) Q—V *; (5) X—Bb *; (6) Cc—Ee +.

Signed Q2, $2: title pages unsigned. Headline A. 5. 3 BASSVS [no voice designation on verso]

Technical Notes Music font III; Text font Italic [Il; Initials Large Bible; Large knight; Large myth; Small Bible; Dark floral I; Tree; Watermarks Crown with trefoil; Cardinal’s hat; Printed area Title page 18.8 x 13.2 cm; Music page 18.7 x 13.2 cm.

Table of Contents [p. 40] [type orn.] | TAVOLA DELLI MOTETTI DEL | PRIMO LIBRO DI IACOPO CORFINI | a Cinque, fei, fette, & otto voci. | [type orn.] | [contents listed in two columns] Motetti a 5, | [nos. 1-16] | [column 2:] Motetti a 6. | |nos. 17-22] | Motetti a 7. | [nos. 23-26] | Motetti a 8. | [nos. 27-28] | FINIS.; Italic, alphabetical; separated according to number of voices. 843

No. 365—1571

Dedication [p. 2] [type om.] | ALL’ILLVSTRISS[L]™° ET ECCELL{[ENTISSI|’© | SIGNOR DVCA DI FERRARA | Mio Signor & Padrone ColendiBimo. | [type orn.] | [woodcut O]Ltre a quel commune

, obliga, del quale dee | effer aftretto ogn’huomo verfo Prencipe fi | gloriofo, io tengo ancora quefto particola- | re con voftra Eccellenza IllustriBima di | hauer apprefo i primi femi della Mufica | nella fua honorata Citta di Ferrara, & | da Meffer Giaches Brunel fuo feruitore. | La onde fi come fin da quel tempo la riuerifco nell’animo conti- | nuamente, cofi hd giudicato mio debito, di prefentargli quefti piu | maturi frutti, che da me fiano potuti v{cire: fupplico voftra Ec | cellenza IlluftriBima che non guardando tanto alla baffezza | del dono, quanto all’ardente mia diuotione, fi degni accettarli | con quella benignita, con la quale fuole accettare l’opere de | gl’altri fuoi feruitori. Et le bafcio con ogni humilta le mani, | pregandole da N{ostro] S[ignore}] Salvatore] Felice fine de fuoi defiderij. Di venetia | il primo di Marzo. 1571. | Di Viostra] Eccellenza IluftriBima. | Minimo feruitore. | lacopo Corfini.

Contents

1. 3 Ecce nunc benedicite Dominum [5 vv]

2. 4 Sic Deus dilexit mundum [5 vv]

3. 5 Omnes gentes plaudite manibus [5 vv]

6 II. Elegit nobis haereditatem suam [5 vv]

4. 7 Veni sponsa Christi [5 vv] 5. 8 In me saevaruit [5 vv] 6. 9 De profundis clamavi [5 vv]

10 IT. Sustinuit anima mea in verbo eius [5 vv]

7. 11 Congregati sunt inimici nostri [5 vv] 12 II. Disperde illos [5 vv]

8. 13 Gratiam tuam [5 vv]

9. 14 Pacem relinquo vobis [5 vv] 10. 15 Viderunt omnes [5 vv]

ll. 16 Libera me Domine [5 vv] |

12. 17 Tribulatio cordis mei [5 vv] 13. 18 Custodi Domine Deus [5 vv] 14. 19 Aurea dum specto ridentis [5 vv]

20 IJ. Tum vero summo videor [5 vv] 15. 21 Hodie Christus natus est [5 vv]

16. 22 Salve crux sancta [5 vv]

17. = 23 Peccavi supra numerum arenae maris [6 vv] 24 II. Quoniam iniquitatem meam [6 vv] 18. 9-25 Locutus sum in lingua mea [6 vv]

19. 26 Mlumina oculos meos [6 vv]

27 IT. In manus tuas Domine [6 vv] 20. 28 O crux splendidior cunctis astris [6 vv] 29 Ii. Dulce lignum dulces clavos [6 vv]

21. 30 Peccantem me quotidie [6 vv]

22. 31 Domine ne in furore tuo arguas me [6 vv]

23. 32 Exultans jubila Luca [7 vv]

24. 33 In illo tempore dixerunt Pharisei [7 vv] 25. 34 Nunc dimittis servum tuum Domine [7 vv]

26. 35 Creator omnium [7 vv]

27. 36 Domine secundum actum meum [8 vv]

28. 38 Vos enim tn libertatem [8 vv] Locations and Notes

Bologna, Civico Museo Bibliografico Musicale. (B56) S 34

844

No. 366—157]

Bibliographical Listings and Literature

a

Eitner, Quellen-Lexikon, 2:55; Gaspari, Catalogo... Bologna, 2:407.

366 Ferretti, Primo libro delle canzonialla napolitanaa5 F514 (1571) The title page to the unique copy of this edition is missing. Various typographical features as well as similarities with the 1571 edition of J/ secondo libro (367) suggest a dating of 1571 for the present edition. See 283 for a description of other editions.

Title Page (Di Giovan Ferretti 11 primo libro delle canzoni alla napolitana a cinque voci]

Collation and Headline 5 volumes in quarto upright; 12 leaves; pp. [missing 1—2], 3-6 [missing 7-8], 9-23 [24]. No altus, tenor, bassus, or quintus partbook is known to survive.

Signature title Del Ferretti. A.5 Lib.1. Signatures [A]-C *. Signed A2, $2: title page unsigned.

Headline 3. CANTO [no voice designation on verso] Technical Notes Music font UI; Text font Italic I]; Initials Plain Roman within a lace frame; Watermarks Crown with trefoil; Printed area Music page 14.1 < 13.3 (six staves).

Table of Contents [p. 24] [type orn.] | ZAVOLA DELLE CANZONI | ALLA NAPOLITANA | A CINQVE VOCI | LIBRO PRIMO. | [contents listed] | JZ FINE; Italic, in order of appearance.

Contents

l. 3 Hor va canzona mia non dubitare 2. 4 Donna crudel tu n’hai rubat’il core 3. 5 Se ’] dolce sguardo del divin tuo volto 4, 6 Come poss’io morir se non ho vita [missing pp. 7-8]

7. 9 lo che tropp’alt’amor volsi seguire 8. 10 Mirate che mi fa crudel’amore 9. 11 Leggiadra giovinett’anima mia

10. = 12 Ti parl’e tu me rid’e poi stai cito

ll. (13 O Dio fammi passar sta fantasia 12. 14 Pieta ti mova e giust’amor ti sforza 13. 15 Laltr’ hier andand’a spasso alla fontana 14, 16 Sappiat’amanti ch’amor fa gran guerra IS. 17 Basciami vita mia basciam’ogn’hora 16. 18 Se la pieta per me gia fusse spenta 17. 19 Mi voglio far’hormai lo fatto mio 18. 20 Venut’é | maggio ch’invit’a cantare 19. 2] Tu mi rubasti al primo sguard’il core

20. 22 Pur sepp’il tuo partire Locations and Notes

Zurich, Zentralbibliothek. (S inc.) Mus. 600 (1) and Mus. 600a (3) See appendix C. Missing pp. 1-2 including title page, and 7-8. Mus. 600 (1): pp. 3-6 misbound as “inner forme” with pp. 1-2 of Ferretti’s Secondo libro (367).

845

No. 366—1571 Mus. 600a (3): pp. 7-24 misbound along with pp. 3-6 of Ferretti’s Secondo libro (367) at the end of Alessandro Romano, Secondo Libro (371).

Bibliographical Listings and Literature Nuovo Vogel #942.

__afo

367 Ferretti, Secondo libro delle canzoni alla napolitanaa 5 F519 (1571) See 321. Nuovo Vogel incorrectly lists the cantus partbook in Zurich, Zentralbibliothek as incomplete.

Title Page [within a lace frame:] CANTO | [below frame] DI GIOVAN FERRETTI | JZ SECONDO LIBRO DELLE | CANZONI ALLA NAPOLITANA | A CINQVE VOCI, | Nuouamente pofte in luce. | [pr. mk. Anchor V] | IN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 4. D LXX7.

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1] 2-23 [24]. No altus, tenor, bassus, or quintus partbook is known to survive.

Signature title De/ Ferretti. A. 5. Lib. 2. Signatures A-C *. Signed A2, $2: title page

Technical Notes , unsigned.

Headline 3 CANTO [no voice designation on verso]

Music font III; Text font Italic I; Initials Plain Roman within a lace frame; Watermarks

Contents . Table of Contents .

Crown with trefoil; Printed area Title page 18.3 x 13.2 cm; Music page 18.9 x 13.3 cm.

[p. 24] [type om.] | ZAVOLA DELLE NAPOLITANE | DEL SECONDO LIBRO | Di Giouan Ferretti a cinque voci. | [type orn.] | [contents listed] | JL FINE.; Italic, alphabetical. See 321.

Locations and Notes Zurich, Zentralbibliothek. (S) Mus. 600 (1) and Mus. 600a (2) See appendix C. Mus. 600 (1): Inner forme of first gathering (pp. 3-6) of Ferretti, Primo libro delle napolitane (366) misbound as inner forme of the present edition. Mus. 600a (2): Inner forme (pp. 3-6) of the present edition, in turn, is misbound at the end of Alessandro, Secondo libro delle napolitane (371) and incorrectly identified as from Ferretti’s Primo libro. 9: signed Die instead of Dei at B.

Bibliographical Listings and Literature Nuovo Vogel #947.

age 368 Ferretti, Quarto libro delle napolitane a cinque voci F527 (1571) On Ferretti and the five-voice canzone alla napolitana see 283. Several of the canzoni in this edition (nos. 2, 7, 26, 28, 22, and possibly 17) are modeled after three-voice pieces found in Bonagiunta’s Primo libro de canzon napolitane a 3 (267). The Scotto press issued Ferretti’s Quarto libro at least three more times, in 1573 (F528), 1579 (F529), and 1583 (F530). 846

No. 368—1571]

Title Page {within a lace frame:] CANTO | [below frame] DI GIOVAN FERRETTI | IL QVARTO LIBRO | DELLE NAPOLITANE | A CINQVE VOCTI. | [type orn.] | Nuouamente pofto in luce. | (pr. mk. Anchor V] | IN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 44. D LXX7,.

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1-2] 3-24. No altus, tenor, bassus, or quintus partbook is known to survive. Signature title Del Ferretti. A. 5. Lib. 4; C: Del Ferret i [sic] A.5. Lb. 4. Signatures A-C%. Signed A2, $2: title page unsigned.

Headline 3 CANTO [no voice designation on verso] Technical Notes Music font III; Text font Italic II]; Initials Large knight; Plain Roman with filigree frame; Watermarks Crown with trefoil; Printed area Title page 18.2 x 13.3 cm; Music page 16.6 x 13.3 cm [seven staves] .

Table of Contents p. 24; TAVOLA DELLE NAPOLITANE | DEL QVARTO LIBRO DI GIOVAN | Ferretti a cinque voci. | [contents listed] | JL FINE.; Italic, alphabetical.

Dedication |p. 2] [type orn.] | ALZ’ILLVSTRE SIG[|NORE] ET PATRON | MIO OSSERVANDISSIMO | IL

SIGNOR CRISTOFORO POGGI | [type orn.] | [woodcut S]J come a perfuafione di V[ostra] S[ignoria] Per la molta autorita, che | fempre ha hauto fopra di me in commandarmi, mi de- | stai,

& diedi principio a far la Mufica a cinque voci | delle vilanelle alla Napolitana, cofi ancora confidato- | mi affai nel bel giuditio di V\ostra\ S[ignoria] per le lodi, che cantan | dole infieme, l’é piaciuto dare ad alcune di cofi fatta | maniera di compofitioni, m’afficurai poi mandarle alle | stampe. Et fe bene nel comporle ho fempre hauto confideratione di farne vna | fcielta di quelle ch’io ho giudicato piu belle per dedicarle a Viostra] S{ignoria] non m’é pe- | ro ftato conceffo dalle grandi occupationi, & trauagli che continuamente | m’hanno tenuto fuffocato refpirare tanto, che haueffi potuto fodisfare me fteffo | in quefto defiderio, anzi m’hanno trattenuto fin qui fuor d’ogni mio penfiero. | Hora le prefento a V. S. & defidero che ella creda che io per cio, non intenden | do di voler pagare gl infiniti oblighi ch’io ho con lei, ma ben la fupplico che fi| degni accettare con quefto picciol dono come per arra, la bona, & pronta vo | lunta che io ho di feruire in tutte le occafioni che me fi prefenteranno V{ostra] S{ignoria] alla | quale humilmente bacio le mani & mi raccomando. Di Venetia il primo | di Luglio. 1571. | D[i] V[ostra] S[ignoria] Illustre. | Affettionatiffimo Seruitore. | Giovan Ferretti.

Contents

1. 3 Quella che gl’occhi suoi guerra mi fanno

2. 4 Me bisogna servir questa crudele 3. 5 Parmi di star la nott’in paradiso 4. 6 Hiersera andai da la mia manza bella 5. 7 Tempo saria patrona mia gentile 6. 8 Pregovi donna non lhabbiat’a sdegno

7. 9 Tanto t’adoro o donna

8. 10 Mai vide donna tanto saporita 9. 1] Io v’am’e taccio 0 dolce vita mia 10. 12 Sta cianciosella mi vol far morire Il. = 13 O la o la chi mi sa dar novella

12. 14 O sol o luna o giorno

13. 15 Io son ferito e fugg’ogni conforto

14. = 16 Corret’amanti a veder questa fiamma

15. V7 Chi servira piu amore

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No. 368—1571]

16. 18 Poi ch’ eri cosi forte scropulosa 17. 19 Non trovo pace ne tregua ne guerra

18. 20 Pensai pil d’ogni amante esser contento ,

19. 2) Io non posso l’asciarti [sic] anima mia 20. 22 Se fosse’haime de marmoro sto core 21. 23 Son stato cacciator cinqu’ann’e un mese 22. 24 Hoime meschino che so’innamorato Locations and Notes Zurich, Zentralbibliothek. (S) Mus. 600 (3)

Between pp. 10 and 11, added folio with MS bassus of 2 canzone on each side; both contain heading: “Ba’*sus | La 2 Canzone del Segond® libro del fereti” in a late 16th-century hand.

Bibliographical Listings and Literature Nuovo Vogel #955. __afo__

369 Fiorino, Nobilté di Roma... villanelle a tre voci F948=1571° The title page of La nobilta di Roma informs us that Gasparo Fiorino was a native of Rossano (probably in the Veneto and not in Calabria) in the service of the cardinal of Ferrara. Fiorino dedicates his edition to Orazio della Noia, prince of Sulmona, who was married to Antonia d’ Avalos, the widow of Giangiacomo Trivulzio (see 133). According to the dedication, the opening piece was composed for the wedding of Giacomo Marieri and Isabella Priorata. In the present edition, Fiorini dedicates this aria to Beatrice della Noia, sister of the prince of Sulmona. It includes one hundred quatrains, each dedicated to a different Roman “‘gentil donna.” The remaining works have separate dedications to various people, including several aristocrats, the Neapolitan composer, Giovanni Leonardo dell’ Arpa, and the academy of Rossano. The last piece is a lament on the death of Orazio della Noia’s mother,

Isabella Colonna, princess of Sulmona.

Fiorino presents his villanelle in two ways, the first in the traditional manner as three-voice pieces and the second as transcriptions for solo lute. He notes on his title page that Francesco di Parise, “the most excellent musician in Rome,” was responsible for the lute intabulations.

Several aspects of the edition’s layout are unusual for an Italian publication. All the voice parts and lute intabulations appear in one volume instead of the customary set of three partbooks. In order to accommodate both the lute and vocal versions of each piece on a two-page opening, the three vocal parts appear in choirbook format on one page with the lute intabulation facing them on the adjacent verso or recto folio. The lute tablature and three-voice parts alternate their placement on recto and verso folios for each piece. Extra stanzas of text appear at the bottom of the page containing the solo lute part. The Scotto press reprinted this collection in 1573!? (F949).

Title Page ;

[type orn.] | LA NOBILTA DI ROMA. | VERSI IN LODE DI CENTO | GENTILDONNE ROMANE, : | Et le vilanelle a tre voci di Gasparo Fiorino, della Citta di Roffano, | Mufico dell'Tlluftriffimo & Reuerendiffimo Signore | Cardinale di Ferrara. | Intauolate dal Magnifico M[ESSER] FRANCESCO Di Parife, | Mufico eccellentifsimo in Roma. | [type orn.] | WVOVAMENTE POSTE IN LVCE. | [pr. mk. Fame I] | JV VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 4 D LXXT.

Collation and Headline 1 volume in quarto upright; 44 leaves, pp. [1-3] 4—87 [88]. Signature title De/ Fiorino a 3. libro primo. Signatures A-L*. Signed A2, $2: title page unsigned.

Headline {centered Arabic page numbers only]

, 848

No. 369—1571

Technical Notes Music font III and Italian lute tablature; Rhythmic fontJ; Text font Italic III; Initials Large Bible; Plain Roman; Watermarks Crown with trefoil; Printed area Title page 17.4 x 13.1 cm; Music page 18.7 < 13.2 cm.

Dedication [p. 3] ALL’ILLVSTRIS[S]}’° ET ECCELLENTUSSI™° | SIGNOR D[ON] HORATIO DELLA

NOIA | PRENCIPE DI SVLMONA. | Signore & Padrone mio ColendiBimo. | [woodcut I\Llustriffimo & Eccellentiffimo Signore, Effendo pia- | ciuto a V[ostra] Eccellenza di far chiara dimoftratione, con | la benignita, & cortefia fua fingulare, di hauere | aggradito il picciol dono, che io per fegno della di- | uotione dell’animo mio le feci delli verfi all’hora, | quando furno partoriti, con l’occafione dell’Hono- | ratiffime nozze, dell ’Illuftre Signor Giacomo Marieri, & Signora Ifa- | bella Priorata, fua conforte, nelle quali lei trouandofi con quelle nobili Da- | me, allequali fu conceffo di poterui interuenire, moftro per la molta gratia | c’haueua con loro piu ch’altro Prencipe che vi fuffe, di hauer piu gusto, | & dilettatione d’altri, mi parrebbe di far gran torto a me Steffo, & a loro, | fe le procuraffi altro patrone & protettore, douendo mandarili in luce, in com | pagnia de molte altre vilanelle che ho fatte di poi fopra quella isteffa, & | altre matterie, & de molta mufica, che vi ho difpofta. Piacera per tanto a \ V{ostra| Eccellenza, di riceuere hora di nuouo il tutto, fotto la fua protettione, & | con effa difendere loro dalle calunnie, & dar animo a me di continuare, nel | penfiero, che io ho tutta via di celebrare, & effaltare fuggetti cofi rari,

& | qualificati, & dimoftrarmi per feruitore, non indegno della buona gratia | di V\ostra] Eccellenza, alla quale bafcio humilmente le mani, con ogni riuerenza, | & prego perpetua profperita, & contento. Di Roma a li 25. Genaro.|M DLX XI. | Di Viostra] Eccellenza Tilustriffima, | Humiliffimo & deuotiffimo Seruitore. | Gafparo Fiorino della citta di Roffano.

Table of Contents [p. 88] TAVOLA. DELLI NAPOLITANTE A TRE VOCTI, | Di Gafparo Fiorino, Della Citta di Roffano. | [contents listed] | 7Z FINE; Italic, alphabetical.

Contents

1, 4 Come ’I sol fra le nuvole si scopre’

2. 26 Romane belle

3. 28 Acendi pur tutte le faci Amore? 4, 30 Con tue lusingh’ Amore?

5. 32 Non vad’ Affrica piu superb’e altiera*

6. 34 Amor l’aspre catene 7. 36 Ogn’un me dice ch’io vad’alla guerra® 8. 38 Se tua belta infinita’

9. 40 Come da set’oppresso |’infelice® 10. 42 Dal di ch’io fei partita’ ) ll. 44 Vivo sol contemplando i chiari rai!®

1. Headline: Sopra quest’aria s'‘hanno da cantare i versi seguenti. La Hlustrissima Signora Donna Beatrice della Noiia; pp. 6—25 contain ninety-nine quatrains, each dedicated to a different Roman lady. 2. Headline: Alla Illustrissima Signora Donna Vittoria della Noiia Aqua viva, Co[n]tessa di Caserta. 3. Headline: All ’llustrissimo Signor Filippo da Este, mio signore. 4. Headline: Sopra l’arme dell Illustriss{imo] Slignor| Federico Sforza & la Illustris[sima] S[ignora] Beatrice Orsina sua Consorte. 5. Headline: All 'Illustrissimo Signor Cesare Doria, mio Signore. 6. Headline: Vilanella a soggetto della felice memoria dell'Illustriss|imo]| S[ignor| Agnolo da Cesi. C.M.

7. Headline: 4//'Iilustre Signor Fabio Mattei. T.C. 8. Headline: All Jlustre Signor Carlo Mezza barba. 9. Headline: All Illustre Signor Lodovico Busca, Signor mio. 10. Headline: All Tilustre Signor Camillo Fantuccio, mio Signore.

849

No. 369—1571

12. 46 Cedano le piramide d’Egitto!!

[3. 48 Amor s’io mai sprezzai tuoi strali e l’arco!? 14. 50 Na volta m’hai gabbato ladroncella!? IS. 52 Ancor che co ’! partir l’alma si mora 16. 54 Non arse cosi il ciel quando Fetonte!* 17. 56 O la o la chi mi sa dar novella 18. 58 Io vo morir non sia alcun che di vita 19. 60 Io son ferito e fugg’ogni conforto 20. 62 Madonna tu mi fingi dell’amico

21. 64 Se si vedessi fuore 23. 68 L’alma ch’errando va

22. 66 Angelica tua mano D’incerto 24. 70 Voi altre donn’havete una natura 25. 72 Se quel Turco crudel ci move guerra

26. 74 Affaciati uno poco

27. 76 Fra quante faccie ho visto per lo mondo!* 28. 78 Con quesse labra tuoi dolci rosate'®

29. 80 Quant’ han gia detto

30. 82 Siamo voi donn’et io quelli doi fonti 31. 84 Ne tempesta giamai d’horrido cielo!” 32. 86 Piange *! Thebro sospira l’aria e i sassi!® Locations and Notes Bologna, Civico Museo Bibliografico Musicale. S 34 ** Ferrara, Biblioteca Comunale Ariostea. ** Florence, Biblioteca del Conservatorio. Unavailable for examination.

London, British Library. K.8.d.17 Washington, Library of Congress. M 1490, F52 case

Contains signature “Hodchr [?] Michael Westrop” on flyleaf. :

Bibliographical Listings and Literature

a

Eitner, Quellen-Lexikon, 3:461; Brown, Instrumental Music, 1571,; Nuovo Vogel #990; British Library, ; Catalogue of Printed Music, 21:111; Gaspari, Catalogo... Bologna, 3:229-30.

370 Gorzanis, Secondo libro delle napolitanea tre voci G3036 (1571) Of the eight extant editions by Gorzanis, only the present publication contains vocal works without lute intabulations. The blind lutenist published six editions of lute intabulations. His first book of napolitane

(362) was unusual in including lute transcriptions alongside the vocal models. Gorzanis usually dedicated his books to local nobility, but with this volume he set a higher goal in honoring the younger

11. Headline: Sopra l’arme deil’Illustre Sig[nor] Giacomo Marieri, & la Signora Isabella Priorata sua consorte. 12. Headline: Al mio Signore Aggapito Grillo Gentil huomo Genovese. 13. Headline: Al mio Signore & padrone, H Slignor| Andrea l'Arcaro, Gentil huomo Genovese. 14. Headline: 4] Molto magnifico. M.F.B.V.A.G.V. 15. Headline: Del mio Signor Giovan Leonardo dell’Arpa, musico Eccellentissimo. 16. Headline: Di Sulpicio Santuccio Romano, virtuosissimo, & mio caro amico. 17. Headline: Sopra l’Accademia della nobile Citta di Rossano; p. 85, bottom: Quattro ottave sopra dell'Illustrissimo Signor Giulio Antonio d’Acqua Viva, Conte di Caserta & la Illustrissima Signora Donna Vittoria dell Noija Aqua Viva, sua consorte.

18. Headline: Sopra la morte dell’Illustrissima & Eccellen{te] S[ignora] Donna Isabella Colonna, Principessa di Sulmona; p. 86, bottom: Due ottave sopra la Illustrissima Signora Donna Beatrice della Noija.

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No. 370—1571

brother of Emperor Maximillian II, Charles, archduke of Inner Austria (Styria). Robert Lindell (“Wedding of Archduke Charles,” 253-69) suggests that Gorzanis dedicated the book to the archduke on the occasion of his marriage to Maria of Bavaria. Although Gorzanis makes no mention of the wedding in his dedication, he does include a piece in praise of Martha, a musician at the Imperial court.

Title Page [within a lace frame:] CANTO | [below frame] DJ GIACOMO GORZANIS | LEVTONISTA ET CITADINO | della Magnifica Citta di Triefte. | IL SECONDO LIBRO | delle Napolitane a tre voct.

| [type orn.] | Nuouamente pofte in luce. | [pr. mk. Anchor VI] | JN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 44D LXXT.

Collation and Headline 3 volumes in octavo upright; 16 leaves, pp. [1-2] 3-31 [32]. Signature title Di Jacomo Gorzanis. A. 3 Lib. 2. Signatures 4—B*; C_D®; E-F®. Signed A2, $4: title pages unsigned.

Headline CANTO 3 Technical Notes

Music font IV; Text font Italic II; Initials Plain Roman within a lace frame; Tree; Watermarks Crown with trefoil; Printed area Title page 12.4 < 8.6 cm; Music page 8.5 x 8.6 cm.

Table of Contents [p. 32] ZAVOLA DELLE | NAPOLITANE DEL | Secondo Libro di Giacomo | Gorzanis 4a tre voci. | [type orn.] | [contents listed] | JZ FINE.; Italic, alphabetical.

Dedication [p. 2] AL SERENISSIMO | PRINCIPE CARLO | Arciduca d’Austria Sig[nor] Sig[nor]| mio | Clementiffimo. | [woodcut L]A memoria, ch’io tengo di Viostra| Sereniffima | Altezza, come humiliffimo feruitor fuo, | & la vera affettione, ch’io gli porto, tan- | to radicata nel profondo del mio core, | quanto foftenuta, come da ferma colonna, | dal defio della feruitu, mi fpingono hora | a dedicarli questi frutti della mia virtu | con quell’animo inchinato, che fogliono far coloro, che portan | nell’Idea della mente fua per fempre f{colpita l’effigie delli ama- | ti lor patroni & fe parra: forfe ad alcuno ch’io habbi puoco | confiderato al picciol mio dono, & al gran merto di Viostra] Serenif- | fima Altezza efcufi appo quelli il buon zelo, che tutto mi | rauuiua in voi Sereniffimo Signor mio, et fammi (ancor che cie | co) vedere con gli occhi dell’animo quanto gli fia obligato, il| quale fe poteffe V[ostra] Altezza a pieno comprendere, certo farei | come ancho fono, che queste mie villanelle alla Napolitana far | rebeno, come faranno, (Poi ch’altra forte di dono non mi € con | ceffo di farli per hora dalla fortuna) accettate con quel giocon | do, & grato afpetto, come cofa propria di effa. Alla qual di con- | tinuo offero la fede & la feruitu mia, & humilmente di core mi | raccomando alla V[ostra| Sereniffima Altezza. Di Venetia alli. 15. | di Luglio. 1571. | D[i] V[estra] Sereniffima Altezza | Humiliffimo Seruitor & vaffallo | Giacomo Gorzonis Lautonista da Trieste.

Contents

l. 3 Chi in donna bella loca lo suo core 2. 4 Aspetto aspetto quel che non vien mai

3. 6 Nessuno ti cognosce se non io 4. 8 Haggio fatto le spese nove mesi 5. 9 Piaga che medicina non ci trovo

6. 10 Marta gentil che ’] mio cor m’ha morto

7. 1) Che giova stratiare un che si rende

8. = 12 O duri miei pensier datemi pace 9. 13 Scarpello si vedra di piomb’o lima 10. 14 Chi dona lo suo core a donn’ingrata 11. 15 Di te io mi lamento o vecchiarella 12. 16 Sta vecchia quando passo di qua via 851

No. 370—1571

13. 17 Basciami con ssa bocca saporita 14. 18 L’altro giorno mi disse donna stana 15. 20 A vita tu mi dai donna gentile 16. 21 Se regnasse pieta quant’é bellezza 17. = 22 Bocca pi dolce cha zuccaro e mele 18. 23 Da questo petto m’hai fora schiantato 19, 24 Fuggi cor mio la furia di Cupido

20. 25 II bel vis’e i begl’occhi e 11 bel parlare

21. 26 Dolor sempre mi dai e non m’aiti 22. 27 Questa mortal ferita ch’al cor sento 23. 28 Se pansa che castica tante gente Canzon di pansa

24. 29 Non € cosa ch’io miri

25. 30 S’10 stesse in pregionia condennato 26. 31] Non é amor che mi trapassa 1] core Locations and Notes Augsburg, Staats- und Stadtbibliothek. (S) 8° Tonkunst Schletterer 48 (10) See appendix C.

Bologna, Civico Museo Bibliografico Musicale. (TB) S 249 London, British Library. (S) (olim Landau) A.277 (6) Paris, Bibliotheque Nationale de France. (olim Bibliothéque du Conservatoire) Rés. 500 Vienna, Osterreichische Nationalbibliothek. SA.76.E.13 A copy was once in Kénigsberg [now Kaliningrad], Ko6niglichen- und Universitatsbibliothek.

Bibliographical Listings and Literature Eitner, Quellen-Lexikon, 4:309; Nuovo Vogel #1263; Miller, Die musikalischen Schdtze... Koénigsberg,

185; F. Roediger, Catalogue des livres... Landau, 1:504; British Library, Catalogue of Printed Music, 24:285; Gaspari, Catalogo... Bologna, 3:234; Lesure, Catalogue de la musique... Paris, 244.

__ fe

371 Alessandro Romano, Secondo libro delle napolitane a 5 M2329 (1571) Alessandro Romano signed this edition from Milan, suggesting that during this period he worked for some patron in that city. The dedication to Vittoria Castelletta, who was from the nearby town of Rho, supports this hypothesis. For more information on the composer see 128. The Scotto press reprinted this collection in 1575 (M2330).

Title Page

[within a lace frame:] CANTO | [below frame] DI ALESSANDRO ROMANO | MVSICO

ECCELLENTISSIMO | IL SECONDO LIBRO DELLE NAPOLITANE | A cinque voci con vna canzone del medefimo nel fine. | Nuouamente pofte in luce | [pr. mk. Anchor V] | JN VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 44. D LXXT.

Collation and Headline 5 volumes in quarto upright; 12 leaves, pp. [1-2] 3—24. Signature title Del Romano. A 5. Libr. 2. Signatures 4A—C*; G-I*; D-F *; K-M‘*; N-P*. Signed A2, $2: title pages unsigned.

Headline 3 CANTO [no voice designation on verso] Technical Notes Music font IJ; Text font Italic II; Initials Crest; Virtues; Large knight; Large myth; Large Bible; Watermarks Crown with trefoil; Printed area Title page 18.4 x 13.2 cm; Music page 19 x 13.4 cm.

852

No. 371—-1571

Table of Contents [p. 24; lacking in S] [type orn.] | TAVOLA DEL SECONDO LIBRO | DELLE NAPOLITANE | a cinque voci, di Alessandro Romano. \ [type orn.]; Italic, alphabetical.

Dedication [p. 2] [type orn.] | ALLA ILLVSTRE ET VIRTVOSA | SIGNORA LA SIGNORA VITTORIA \ Caftelletta

da Ro mia Signora & Patrona | fempre Offeruandifima. | [type orn.] | [woodcut Q]Ve/te mie noue compofitioni, a guifa di nouelli fiori, | nati non per i giardini delicatiffimi di Pafo 6 di | Gnido, ma per prati poco meno che fterili e paluftri: | vorriano pure dimostrare quella poca vaghezza, | che gli concede il cielo, Ma per che quefto far non | ponno fenza il Sole; a voi Illuftre & virtuofa Si- | gnora mia fi pongono innanzi, accio che voi fola gli | fiate, il Sole, che non folo i fiori fuole aprire, ma fe | la importuna nebbia gli offende, egli coi viuaciffimi raggi fuoi gli difende. | Pregoui per quella voftra cortefia, e bellezza che vi fa e Sola, e Sole, che di | tanto fauore gli fiate benigna donatrice. In quefto modo farete gli oblighi | miei maggiori, che per effer fin hora stati infiniti fi potra dire con difufato mo | do, che allinfinito habbiate aggionto qualche parte. Perfuadeteui poi, che fi | come queste compofitioni non poteuano capitare in mani piu belle, e piu vir- | tuofe delle voftre, cofi non trouarete dono che piu di core vi fia donato, ba- | fciandoui fempre con ogn’atto di modeftia le delicatiffime mani voftre | Di Milano il di. Primo di Maggio. 1571. | D{i| Viestra} S{ignoria] Illuftre. | AffetionatiBimo & Seruitore. | Aleffandro Romano.

Contents :

I. 3 O bella faccia mia non mi dar pene 2. 4 Se mi pensasse cha tu mi voi morto 3. 5 Madonna con ques’occhi toi lucenti 4. 6 Io moro e mi distrugo per tuo amore 5. 7 Dolce sospir che m’escano del core 6. 8 Questa crudel per cui piango e sospiro 7. 9 Tu cruda sei con chi ti adora & ama 8. 10 Tu ti pensavi di farme morire 9. 1] Se m’ami come dici 0 cianciariella

10. 12 Non so che m’haggio fatto alla fortuna 11. 8613 Occhi lucenti assai piu che le stelle 12. 14 S’el foco de vostr’occhi mi distrugge 13. 15 Se questa crudelta questi tormenti

14. 16 A sa finestra afacciate no poco LS, 17 Ladra traitora turca renegata 16. 18 Occhi leggiadri onde sovente amore 17, 19 Madonna piu che mai voi sete cruda 18. 20 Rose novelle amorosette rose Canzone 2] IJ. Cipressi e |’auri che gli estivi ardori 22 II. Ombrosa valle e de bei fior dipinta 23 IV. Leggiadro fonte che con le chiar’onde 24 V. E tu leggiadra e dolce primavera Locations and Notes Paris, Bibliothéque Nationale de France. (olim Thibault) Res. Vmc. 66 All parts: flyleaf contains coat of arms of the countess of Chambure.

** Vesoul, Bibliotheque Municipale. (5)

Zurich, Zentralbibliothek. (S) Mus. 600.a . See appendix C. Title page and dedication page missing large part of right side of leaves. Bound in with pp. 3—6 of 367.

A copy was once in the Wolffheim collection.

Bibliographical Listings and Literature Versteigerung... Wolffheim, 2:412; Nuovo Vogel #1814; Lesure, Catalogue de la musique... Paris, 545; Mischiati, Bibliografia ... dei musicisti veronesi, #4. 853

No. 372-—1571

ago 372 Monte, Secondo libro delli madrigali a sei voci M3345 (1571) In this reprint of Monte’s Secondo libro a 6, Scotto compressed the 1569 edition by one full gathering. The contents of both editions are identical, but the 1571 reprint has several instances of three madrigals placed on two-page openings. See 326.

Title Page [within a lace frame:] ALTO | [below frame] DI FILIPPO DI MONTE | MAESTRO DI CAPELLA | DELLA S[ACRA]| C[ESAREA]| MAESTA DELL’IMPERATORE | MASSIMILIANO SECONDO. | 1! Secondo Libro delli madrigali, a Sei voci. | Di nuouo da lui composti & dati in luce. | [pr. mk.

Anchor V] | IV VINEGIA, | APPRESSO GIROLAMO SCOTTO, | [rule] | 4. D LXX7.

Collation and Headline 6 volumes in quarto upright; 12 leaves, pp. [1] 2-23 [24]. No tenor, bassus, or sextus partbook is known to survive.

Signature title Filippo di Monte A. 6. Lib. 2. Signatures (A) G-/*; (5) N-P*. Signed G (ist leaf) G2, $2: title pages unsigned.

Headline 3 ALTO [no voice designation on verso] Technical Notes Music font IJ; Text font Italic IIJ; Initials Plain Roman within a lace frame; Watermarks Crown with one flower; Printed area Title page 18.5 Azzatolo, Secondo libro de villotte alla padoana a 4 (251) 2. N87 (1565) Nasco, Canzon villanesche alla napolitana a 4, libro primo (260) Munich, Bayerische Staatsbibliothek, Johann Georg Werdenstein Collection Another Augsburg book collector, Werdenstein lived from 1542 until 1608. His music books were also purchased by Duke Wilhelm II of Bavaria in 1594, Other binder’s volumes in the Bayerische Staatsbibliothek not containing Scotto editions also originally belonged to Werdenstein, among them 4° Mus. pr. 107, 4° Mus. pr. 119, 4° Mus. pr. 134, and 4° Mus. pr. 185.

1. 4° Mus. pr. 87 Tresor Five partbooks bound in white vellum; voice parts written in ink on covers; tied with green ribbons. The bottom of the title page of the first publication (Rore, Libro primo delle fiamme, 1569) contains the following inscription: “Sum Ioh. Georgij a Werdenstein, 1573.” The date “1571” instead of “1573” appears in the tenor, bassus, and quintus partbooks.

This set of partbooks therefore did not belong to Herwart (as implied by the Slim catalogue) but to Werdenstein.

0. R2515 (1569) Rore, Primo libro delle fiamme a 4 & a 5 (330)

1. 1570'4 Secondo libro delle fiamme a 5 & a 6 (356)

2. 1568! Terzo libro delle fiamme a 5 (311)

3. $6947=15667! Striggio, Primo libro delli madrigali a 5 (274) 2. 4° Mus. pr. 97 Tresor Contains Catalogue no. 157. See Lewis, Antonio Gardano, 1: 139-40.

Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 14 Tresor Contains Catalogue nos. 200, 202. See Lewis, Antonio Gardano, 2: 160.

Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 56 Contains Catalogue nos. 21, 20, 7. See Lewis, Antonio Gardano, 1: 138.

Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 106 Tresor Contains Catalogue nos. 34, 31, 44. See Lewis, Antonio Gardano, |: 140.

942

Binder ’s and Collector's Volumes Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 113 Contains Catalogue no. 64. See Lewis, Antonio Gardano, 1: 141.

Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 162 Tresor Contains Catalogue no. 220. See Lewis, Antonio Gardano, 2: 161-62.

Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 172 Contains Catalogue no. 86. See Lewis, Antonio Gardano, 1: 143.

Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 192 Tresor Five volumes bound in brown leather; simple gold fleurons on each comer with the date 1566 stamped in gold in center with name of each voice part. On cover of tenor partbook written in black ink in a sixteenth-century hand: “Di Vicenzo Ruffo, Primo de Madrigali a 4 voc. | I] libro secondo | II libro primo 4a § | II libro secondo | I] libro terzo | Primo libro de Madrigali 4 4 voci di Giaches de Wert | Il libro primo a 5 Vocj | Il libro secondo.” The Ruffo editions are no longer contained in these volumes.

0. W865 (1561) Wert, Primo libro de madrigali a 4 (203) 1, W855 (1558) Wert, Primo libro de madrigali a 5 (162) 2. W860 (1561) Wert, Secondo libro de madrigali a 5 (201) Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 2722 Bassus partbook only; bound in white leather, blind tooling with BASSVS and crest on cover. Contains two metal clasps.

0. V1010 (1580) ~=Vecchi, Canzonetti, libro primo a 4 (Gardano) 1. €1518=157074 Casulana, Secondo libro de madrigali a 4 (339)

2. 1576 Musica di XIII autori.. . a 5 (Gardano)

3, L866 (1573) Lasso, Primo libro de madrigali a 5 (Scotto) 4, L868=15737! Lasso, Secondo libro de madrigali a 5 (Scotto) 5, L870=157372 Lasso, Libro terzo de madrigali a 5 (Scotto)

6. 1575"! Secondo libro de madrigali a 5 de floridi virtuosi (Scotto) 7. $6965 (1579) Striggio, Secondo libro de madrigali a 5 (Scotto) 8. P$452 (1573) Primavera, I Frutti a 5 libro quarto (Scotto) 9. F516 (1579) Ferretti, Primo libro delle canzoni alla napolitana a 5 (Scotto) 10. F521 (1578) Ferretti, Secondo libro delle canzoni alla napolitana a 5 (Scotto) 11. F525 (1575) Ferretti, Libro terzo delle canzoni alla napolitana a 5 (Scotto) 12. F529 (1579) Ferretti, Libro quarto delle napolitane a 5 (Scotto)

13. 1570'4 Secondo libro delle Fiamme madrigali a 5 & a 6 (356) 14. P5443=1565'° Primavera, Primo libro & secondo libro de madrigali a 5 & a 6 (262)

15. 1579° Trionfo di musica a 6 libro primo (Scotto) 16. $6955=1578" — Striggio, Primo libro de madrigali a 6 (Scotto) 17. $6969 (1579) Striggio, Primo libro de madrigali a 6 (Scotto)

18. G72 (1580) Gabrieli, Secondo libro de madrigali a 6 (Gardano) 19. F532 (1576) Ferretti, Primo libro delle canzoni alla napolitana a 6 (Scotto) Munich, Bayerische Staatsbibliothek, 4° Mus. pr. 59554 Tresor Four volumes (cantus, tenor, bassus and quintus partbooks) bound in white leather with elaborate blind tooling. Dated 1570 in black with each voice part on front covers. Contains unique copies of books 1-3 and 6—8 of the Phalése motet series.

0. 1564 Liber primus cantionum sacrarum 5 vv (Phalése) 1. 1564 Liber secundus cantionum sacrarum 5 vv (Phalése) 2. 1566 Liber tertius cantionum sacrarum 5 vv (Phalése) 3. 1559? Liber quartus cantionum sacrarum 5 vv (Phalése) 4. M274 (1560) Liber quintus cantionum sacrarum 5 & 6 vv (Phalése)

5. 1564 Liber sextus cantionum sacrarum 5 & 6 vv (Phalése) 6. 1564 Liber septimus cantionum sacrarum 5 & 6 vv (Phalése) 7. 1567 Liber octavus cantionum sacrarum 5, 6, 7 & 8 vv (Phalése) 8. 1569’ Lassus, Rore, Liber primus sacrarum cantionum 4 vv (Phalése) 9. 1569° Lassus, Rore, Liber secundus sacrarum cantionum 4 vv (Phalése) 10. C3535 (1560) Contino, Modulationum sex vocum liber primus (176) 11. C3537 (1560) Contino, Modulationum quingue vocum liber secundus (178) 12. G447 (1562) Garugli, Modulationum quinque vocum liber primus (209) 943

Appendix C

13. 1554'° Motetti del Laberinto libro quarto a 5 (136) 14. V984 (1563) Varoto, Missarum liber primus cum 6 vv (239) 15. J18 (1561) Jacquet of Mantua, Messe del Fiore a 5, libro primo (195) 16. J19 (1561) Jacquet of Mantua, Messe del Fiore a 5, libro secondo (196) 17. M3579=1565! Quingue missarum harmonia Svv (233) 18. C3315 (1561) Colin, Modulorum ... in 4 & 5 vv, Liber secundus (Du Chemin) Munich, Universitaétsbibliothek, 4° Liturg. 281°:2=W One partbook bound in brown leather with black stamping. Sexta [Maltese cross] Pars stamped in gold.

1. [1540] Gero, Primo libro di madrigali e canzone francese a 2 (16) 2. 15399 Motetti del Frutto a 6 primus liber (Gardano) Munich, Universitaétsbibliothek, 4° Liturg. 2829:14=W Four partbooks (quintus partbook lacking) in brown leather with simple gold tooling on covers. Each cover has name of voice part in center.

1. W1103 (1536) Willaert, Liber quinque missarum (Marcolini) 2. G2978=15414 | Gombert, Musica 4 vv... motecta... liber primus (18) 3. G2987 (1541) | Gombert, Motectorum liber secundus 4 vv (21)

4. [c.155074] Musicque de joye a 4 (Moderne) 5. G2982=1541> — Gombert, Pentaphthongos harmonia . . . liber primus (19) 6. G2984 (1541) | Gombert, Motectorum quinque vocum liber secundus (20) Munich, Universitaétsbibliothek, 4° Cim 44g Contains Catalogue nos. 10, 15, and 25, See Lewis, Antonio Gardano, 1: 144.

Munich, Universititsbibliothek, 4° Cim. 44! Contains Catalogue nos. 172, 158. See Lewis, Antonio Gardano, |: 144. Naples, Biblioteca Nazionale, S.Q.XX VIE.L.44-47 Contains Catalogue nos. 47, 33, 10. See Lewis, Antonio Gardano, 1: 145.

Naples, Biblioteca Nazionale, S.Q.XXVII.L.53 | Contains Catalogue no. 28. See Lewis, Antonio Gardano, 1: 145.

Naples, Biblioteca Nazionale, S.Q.XXVII.L.54 Contains Catalogue nos. 167, 185. See Lewis, Antonio Gardano, 1: 145-46.

Oxford, Bodleian Library, Harding Mus. H. 48 (2) Contains Catalogue no. 1. Other partbooks in Paris, Bibliothéque Nationale de France, Rés. Vm422~32; Rés. Vm’ 1-9.

See Lewis, Antonio Gardano, 1: 146.

Oxford, Christ Church Library, Mus. 341° Bassus partbook bound in brown leather tooled with decorative panel; stamped BASSVS in gold on the front cover. Fragments of liturgical book in end papers. Possibly English binding. On verso of last folio of last edition in book (Ferrabosco, 1542) in manuscript is written: “Christopher Gibbons his book.’ Crude hexachord exercises in ?late sixteenth-

century hand added on fols. B3” and D1 of Willaert edition. Bass part in manuscript of a ?pavan on fol. V2” of the Arcadelt edition.

1. W1108 (1539) = Willaert, Motteti libro secondo a 4 (8) 2. A1380=1541'* —Arcadelt, Quarto libro di madrigali a 4 (Gardano).

3. F259 (1542) Ferrabosco, Primo libro de madrigali a 4 (Gardano). Oxford, Christ Church Library, Mus. 306—9 Set of four partbooks (quintus partbook lacking) in limp whittawed calf; no boards, inside covers lined with paper. Stub remains of white ribbon ties. Edges not gilded or painted. Front and rear cover of each partbook stamped in gold with initial of partbook and initials of owner (H.B.), who also owned Mus. 508-9 containing a collection of Phalése motet and

8. My thanks to John Milsom for providing me with the physical description of the two sets of partbooks in the Christ Church Library.

944

Binder’s and Collector's Volumes chanson books of 1554-60. The front cover of the altus partbook of Mus. 306—9 also contains sixteenth-century signatures of ‘henry Ashlye” and “henry more.” The books came to Christ Church through the library of Dean Henry Aldrich, whose

bequest forms the core of the collection.

l. A1332=1561'? = Arcadelt, Primo libro de madrigali a 4 (191)

2. 1560? Primo libro de madrigali a 4 a note negre (188)

3. 15618 Primo libro delle Muse a 5 (204) 4. 1561? Secondo libro delle Muse a 5 (205)

Palermo, Biblioteca Nazionale, Rari 1.a.29-—32 Contains Catalogue nos. 7, 8, 3, 6, 9, 4, 5. See Lewis, Antonio Gardano, 1: 146-47.

Paris, Bibliothéque Nationale de France (olim Bibliotheque du Conservatoire), Rés. Vm* 22-32 Contains Catalogue no. 1. Other partbook in Oxford, Bodleian Library, Harding Mus. H. 48 (2). See Lewis, Antonio

Gardano, |: 148. Paris, Bibliothéque Nationale de France (olim Bibliothéque du Conservatoire), Rés. Vm’ 1-9 Contains Catalogue nos. 74, 59. See Lewis, Antonio Gardano, 1: 148-49,

Regensburg, Proskesche Musikbibliothek, AR 3 173-183 Contains Catalogue nos. 19, 20, 33. See Lewis, Antonio Gardano, 1: 149-50.

Regensburg, Proskesche Musikbibliothek, AR 314-321 Eight volumes, missing cantus partbook; bound in modern white linen canvas.

I. (1595) lenensem, Historia des leidens und sterbens (Widmanstetter) 2. M318 (1605) Mancin, Madrigalia latina et una gagliarda a 5 (Lucinius)

3. (1605) Hamberger, Ein Brautlied zu ehren ... (Graf)

4, W1682 (1605) Wipacherus, Epithalamion nuptiis ornatissimi ... (Graf)

5. (1595) Demantius, Epithalamion auff den Hochzeit. . . (Berwaldt) 6. C3196 (1562) = Clerico, Primo libro di madrigali a 5 (207) Regensburg, Proskesche Musikbibliothek, BH 6142-44 Three partbooks bound in parchment with Latin text; on cover in ink: “Libro da cantare del Sig. Vincenzo Camane (?)’; a column of figures also appears on the cover. On the title page written in ink: “Melfio Di Bernardino” (Di Bernardino crossed out). Contains only Scotto editions.

1. M3354 (1581) Monte, 7erzo libro de madrigali a 5 (Scotto) 2. F524 (1572) Ferretti, Zerzo libro delle Napolitane a 5 (390) 3. F530 (1583) Ferretti, Quarto libro delle Napolitane a 5 (Scotto) 4, $6965 (1589) Striggio, Secondo libro de madrigali a 5 (Scotto) Rome, Archivio di San Giovanni in Laterano, St. Mus. 42.1V.a—d (formerly Mazzo 14. N° 8°) Contains Catalogue nos. 192, 76. See Lewis, Antonio Gardano, |: 151 (note: cover of altus should read TRV [arms] EE, not TVV [arms] EE.).

Rome, Conservatorio di Santa Cecilia, A.CS.1.C.33 Altus partbook only in modern parchment binding. Contains only Scotto editions.

1 =: 1570!° I dolci frutti. .. madrigali... primo libro a 5 (357)

2. §6947=1566'? — Striggio, Primo libro delli madrigali a 6 (273) 3. $6969 (1573) Striggio, Secondo libro de madrigali a 6 (Scotto) 4, M3329 (1570) Monte, Primo libro de madrigali a 5 (345) 5. M3345 (1571) | Monte, Secondo libro de madrigali a 6 (372) 6. M3353 (1573) Monte, Terzo libro de madrigali a 5 (Scotto) 7. M3355 (1571) Monte, Quarto libro de madrigali a 5 (373) Rome, Conservatorio di Santa Cecilia, G.CS.1.A.30-33 Four partbooks, lacking tenor part (old numbers: RR 3. 24-7). Bound in white leather; on cover of cantus in ink: “Motetti 5 Voci | lachet da Mantoa.” Altus title page, in ink: “Pompeij Caterij.”

l. J8 (1565) Jacquet of Mantua, Motetti a 5 libro primo (256) 2. J21 (1565) Jacquet of Mantua, Motetti a 5 libro secondo (258) 3. V1660 (1578) ~~ Vinci, Motettorum quae quatuor vocibus, liber primus (Scotto) 4, V1661 (1580) ~—-Vinci, Quattordeci sonetti spirituali della Vittoria Colonna (Scotto) 945

Appendix C Rome, Conservatorio di Santa Cecilia, G.CS.2.B. 18-20 Contains catalogue no. 49. See Lewis, Antonio Gardano, 1: 152.

Rome, Conservatorio di Santa Cecilia, G.CS.4.A.31 Quintus partbook only; in modern brown leather binding with gilt-edged pages. Contains only Scotto editions.

1. 1565!8 Le vive Fiamme madrigali a 4 & a 5 (264) 2. 1567'3 Secondo libro delle Fiamme madrigali a 5 & a 6 (292) 3, 1568! Terzo libro delle Fiamme madrigalia 5 & a 6 (311) 4, R2729 (1567) — Rossetto, // Lamento di Olimpia (288)

5. 1566° Il Desiderio secondo libro de madrigali a 5 (277)

6. 1568'¢ Corona della morte (313)

7. F512 (1567) Ferretti, Canzone alla napolitana a 5 (283) San Marino, Huntington Library, C.1882.x.16518 Contains three editions with all parts bound in a single book. In brown calf with gold stamp of lion rampant holding upside-down arrow surmounted by a crown. Purchased by the Huntington as part of the Bridgewater collection.

1 =. 15688 Gli amorosi concenti primo libro delli madrigali a 4 (312)

2. (1592) Scaletta, Scala musica

3. B1952 (1599) John Bennet, Madrigalls to Four Voyces Valladolid, Archivo de la Catedral [on spine: MAD. III]? Set of four partbooks each bound in brown leather, blind stamped decoration with name of part: *CANTVS* in center.

1. §=1552!9 Diversi authori libro secondo madrigali a 4 (117)

2. 15557? Primo libro delle Muse a 4 (Barré)

3, G1647 (1549) — Gero, Primo libro delli madrigali a 4 (77) 4. V1088 (1545) = Veggio, Primo libro di madrigali a 4 (Gardano) 5. P1320 (1555) Perego, Tutti li suoi madrigali a 4 (143) 6. B1978 (1555) = Berchem, Primo libro degli madrigali a 4 (139) 7. R1722=1558!7 Rinaldo, Canzone a 4, libro primo (158) 8. R3066 (1546) = Ruffo, Primo libro de madrigali a notte negre a 4 (Gardano)

9. 1562"? Lasso, Madrigali a 4, libro primo (222) | 10. V1238=1566 Verdelot, Madrigali del primo et secondo libro a 4 (Merulo)

11. 1555 Taglia, Primo libro de madrigali a 4 (Moscheni) Valladolid, Archivo de la Catedral [on spine: MAD.MIS.V] Set of five partbooks each bound in brown leather with tooled frame. Within frame, profile of a knight’s head in armor

with two flowers on either side.

I. R2484 (1562) Rore, Madrigali cromatici a 5, libro primo (213)

2. 15627° Rore, Madrigali a 5, libro secondo (223) 3. R2493 (1562) —_Rore, Madrigali a 5, terzo libro (214) 4. R2497=15627! — Rore, Madrigali a 5, libro quarto (215)

5. F715 (1563) Fiesco, Madrigali a 4, 5, 6, 7, & 8 (229)

6. 15618 Primo libro de le Muse a cinque voci (204) 7. 1562° 1 dolci & harmoniosi concenti a 5, libro primo (219) 8. 15628 I dolci & harmoniosi concenti a 5, libro secondo (220) 9. 1563’ Musica spirituale libro primo a 5 (243)

10. M3579=1565' Morales, Quingue missarum 5 vv. (233) Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina 239-242 Contains Catalogie nos. 18, 242, 31, 90, 122, 135. See Lewis, Antonio Gardano, |: 152-53. Vatican City, Biblioteca Apostolica Vaticana, De Marinis, Stamp 26, Riserva Four partbooks bound in leather with Pope’s seal stamped in gold. On title page in ink: “N N N 129 R R XXXVL”

l. G2978=15414 | Gombert, Musica 4 vv... motecta... liber primus (18) | 2. G2987 (1541) | Gombert, Motectorum liber secundus 4 vv (21)

9. My thanks to Jessie Ann Owens for providing me with a physical description of this binder’s volume.

946

Binder’s and Collector's Volumes Venice, Biblioteca del Conservatorio, Torrefranca Collection, 639a—v (25244) Alto partbook only from a set of six partbooks. Contains ex libris Torrefranca stamp on flyleaf.

l. M2368 (1566) Merulo, Primo libro di madrigali a 5 (Merulo) 2. G59 (1566) Gabrieli, Primo libro di madrigali a 5 (Gardano) 3. M2325 (1565) A. Romano, Primo libro di madrigali a 5 (Gardano)

4. 15647° Vinci, Primo libro de madrigali a 5 (Gardano) 5. W855 (1558) Wert, Primo libro de madrigali a 5 (162) 6. W862 (1564) Wert, Secondo libro de madrigali a 5 (Gardano)

7. W872 (1566) Wert, Terzo libro di madrigali a 5 (Gardano) |

8. 1559!° Secondo libro de le muse a 5 (Gardano) 9, 1563!° Rore, Quarto libro di madrigali a 5 (Gardano) 10. 1566!” Rore, Quinto libro di madrigali a 5 (Gardano)

11. L800 (1566) Lasso, Primo libro di madrigali a 5 (Gardano) 12. L791=1565)? Lasso, Secondo libro di madrigali a 5 (Gardano) 13. L803 (1566) Lasso, Terzo libro di madrigali a 5 (Gardano) 14. L785 (1565) Lasso, Sacrae cantiones liber primus 5 vv (Gardano) 15. L794 (1566) Lasso, Sacrae cantiones liber secundus 5 & 6 vv (Gardano) 16. L795 (1566) Lasso, Sacrae cantiones liber tertius 5 & 6 vv (Gardano) 17. L796 (1566) Lasso, Sacrae cantiones liber quartus 6 & 8 vv (Gardano) 18. R2494=1566'° Rore, Terzo libro di madrigali a 5 (Rampazetto) Venice, Biblioteca Nazionale Marciana, Musica 344 (Q) Contains Catalogue no. 15. See Lewis, Antonio Gardano, 1: 153.

Venice, Biblioteca Nazionale Marciana, Musica 345-347 Contains Catalogue no. 94. See Lewis, Antonio Gardano, 1: 153~54.

Venice, Biblioteca Nazionale Marciana, Musica 365-367 Contains Catalogue no. 2. See Lewis, Antonio Gardano, 1: 155-56.

Venice, Biblioteca Nazionale Marciana, Musica 378 Bassus partbook in modern vellum binding containing only Scotto editions dating from 1566 to 1578.

1. 1570!'8 Corona delle napolitane a 3 & a 4 (360)

2. $2625 (1571) Scotto, Corona, secondo libro delle canzoni alla napolitana a 3 (375)

3. 1571?! Corona, terzo libro delle canzoni alla napolitana a 3 (376) 4. Z95 (1578) Zappasorgo, Napolitane a 3, libro primo (Scotto) 5. Z97 (1576) Zappasorgo, Secondo libro delle napolitane a 3 (Scotto) 6. P5446=15707? — Primavera, Primo libro de canzone napolitane a 3 (350) 7. P5449=1570°° = Primavera, Secondo libro de canzone napolitane a 3 (351)

8. P5451=1570°! Primavera, Terzo libro de villotte alla napolitana a 3 (352)

9. 1566° Arpa, Todino, Nola, Canzon napolitane a 3 (271) 10. 1566'° Arpa, Todino, Nola, Canzon napolitane a 3, libro secondo (280) 11. = 1578! Primo libro delle justiniane a 3 (Scotto)

12. 1575" Secondo libro delle giustiniane a 3 (Scotto) Verona, Accademia Filarmonica, Bartolomeo Cartero Collection: N. 1, 37, 61, 62, 134, 170, 194, and 211 A collection of separately bound editions now part of the library of the Accademia Filarmonica in Verona, which once belonged to Bartolomeo Cartero. Cartero was a composer and member of the Accademia Filarmonica during the sixteenth century, and gave his collection of music to the library. A portrait, presumably of Cartero, is in the Museo di Castelvecchio in Verona (see Paganuzzi et al., La musica a Verona, 135, and Turrini, L Accademia, 145-46). The books he donated

include the following: . N.1 A310 (1568) Adriani, Primo libro de madrigali a 6 (298) N.37 C1436 (1572) Casentini, Primo libro de madrigali a 5 (Gardano) N.61 G66 (1574) Gabrieli, Primo libro de madrigali a 6 (Gardano) N.62 G556 (1602) Gastoldi, Quarto libro de madrigali a 5 (Amadino) N. 134 N676 (1578) Nicoletti, Primo libro de madrigali a 5 (Gardano) N. 170 S44 (1570) Sabino, Primo libro de madrigali a 5 (Gardano) N. 194 V1677=1571'7 Vinci, Primo libro de madrigali a 6 (381)

N. 211 1568'° Corona della morte (313)

947

Appendix C Verona, Accademia Filarmonica, Count Giovanni Severino Collection Collection within the library of the Accademia Filarmonica that originally belonged to Count Giovanni Severino, a member of the society during the middle of the sixteenth century.

1. N. 79 Bound in heavy paper, on cover in ink: “27 | Canto | De diuersi a cinque 1! p° | Giovanni Seuerinj | Di Paolo Lagudio

il p° | Di Giulio Schiauetto a 4/5.” The cantus partbook contains the quintus part of 1563'°.

I. 15637 Musica spirituale libro primo di canzon et madrigali a 5 (243) Il. 1L247=1563!° Lagudio, Primo libro di madrigali a 5 (231) Ill. $1536 (1563) Schiavetto, Madrigali a 4 & 5 (238) 2. N. 203

1. 1557° Willaert, Jacquet of Mantua, Salmi... alli vesper (Gardano) 3, N. 210

1. 1561!° Terzo libro delle muse a 5 (Gardano) Verona, Accademia Filarmonica, N. 21 Contains Catalogue nos. 126, 82, 71. See Lewis, Antonio Gardano, 1: 156.

Verona, Accademia Filarmonica, N, 22 Contains Catalogue no. 25. See Lewis, Antonio Gardano, 1: 156.

Verona, Accademia Filarmonica, N. 35 Contains Catalogue no. 51. See Lewis, Antonio Gardano, 1: 157.

Verona, Accademia Filarmonica, N. 67 Four partbooks (cantus, tenor, bassus, and quintus) bound in heavy paper.

l. G2979 (1541) |= Gombert, Musica guatuor vocum ... liber primus (Gardano) 2. G2987 (1541) | Gombert, Motectorum liber secundus 4 vv (21) 3. G2981 (1539) Gombert, Primo libro dei motetti a 5 (4) 4, G2984 (1541) | Gombert, Motectorum quingque vocum liber secundus (20)

5. 1543? Musica quinque vocum motteta paribus vocibus (36) , 6. E596 (1547) EI! Conte, Motetta quinque vocibus (Gardano) Verona, Accademia Filarmonica, N. 124 Contains Catalogue nos. 27, 26, 11, 10. See Lewis, Antonio Gardano, |: 158.

Verona, Accademia Filarmonica, N. 157 Contains Catalogue no. 129. See Lewis, Antonio Gardano, 1: 160.

Verona, Accademia Filarmonica, N. 160 Contains Catalogue no. 100. See Lewis, Antonio Gardano, 2: 165.

Verona, Accademia Filarmonica, N. 191 Contains Catalogue nos. 59, 49. See Lewis, Antonio Gardano, 1: 160.

Verona, Accademia Filarmonica, N. 208 Contains Catalogue no. 94. See Lewis, Antonio Gardano, |: 160. Verona, Accademia Filarmonica, N. 209 Contains Catalogue no. 117. See Lewis, Antonio Gardano, 2: 165.

Verona, Archivio Capitolare, Busta Musicale N. 67 Contains Catalogue no. 202. See Lewis, Antonio Gardano, |: 161.

Vicenza, Biblioteca Bertoliana, Mus. FF.2.7.22 Contains Catalogue nos. 7, 8. See Lewis, Antonio Gardano, 1: 161-62.

Vienna, Osterreichische Nationalbibliothek, Fugger Collection In 1655, most of the music books purchased by Raimund, Georg, and Philipp Eduard Fugger of Augsburg were transferred to the Osterreichische Nationalbibliothek in Vienna. These books make up the core of the sixteenth-century

948

Binder’s and Collector’s Volumes music book collection of that library. A complete listing of the entire collection is beyond the scope of this study. Only binder’s volumes containing Scotto editions, which have been seen, are described below. Descriptions of some of the singly-bound Scotto editions, which have been identified with the Fugger collection, appear in the catalogue.

1. SA.76.D.53 Six books of lute intabulations by Francesco da Milano in five volumes. Books one and two are bound together, while the remaining volumes are bound separately in different bindings. Volume 7 is bound in cardboard; the cover has the

initials P.E.F. (ie. Philipp Eduard Fugger).

1. 1546?’ Francesco da Milano, Jntabolatura de lauto, libro primo (Gardano) 2. 1546?° Francesco da Milano, Intabolatura de lauto, libro segundo (Gardano) 3. 1561" Francesco da Milano, Jntabolatura de lauto, libro secondo (Gardano) 4. 15637° Francesco da Milano, Intabolatura de lauto, libro secondo (245) 5. 1547?! Francesco da Milano, /ntabolatura de lauto, libro terzo (Gardano)

6. 15637 Francesco da Milano, /ntabolatura de lauto, libro terzo (247) , 7. 1548" Francesco da Milano, Intabolatura de lauto, libro settimo (75) 8. 15627 Francesco da Milano, Intabolatura de lauto, \ibro terzo (Gardano) 2. SA.76.E.26 Bound in cardboard with initials P.E.F. on cover. Three volumes containing the three books of Primavera, Canzone alla

napolitane.

1. P5446=157079 Primavera, Primo libro de canzone napolitane a 3 (350) 2. P5449=1570°° Primavera, Secondo libro de canzone napolitane a 3 (351) 3. P5451=1570"! Primavera, Terzo libro de villotte alla napolitana a 3 (352) 3. SA.76.F.11 Bound in cardboard with initials P.E.F. on cover. The Scotto edition shares the same shelfmark with two other Abondante editions published by Gardano. Each of the three volumes, however, are bound separately.

1. A179 (1546) Abondante, /ntabolatura di lauto, libro primo (Gardano) 2. A180=1548'? Abondante, /ntabolatura di lautto, libro secondo (67) 3. A182 (1587) Abondante, Quinto libro de tabolatura da liuto (Gardano)

stamped in gold. 4. SA.76.F47

Five partbooks bound in vellum. Decoration on cover is reminiscent of other frames with initials P.E.F. in black ink. MOTETTI | DEL | LABERINTO | [rule]. Part name on either side of coat of arms of double eagle with sword and orb

1. 15544 Motetti del Laberinto a 4, libro secondo (134) 2. 1554)5 Motetti del Laberinto a 4, libro terzo (135) 3. 1554!° Motetti del Laberinto a 5, libro quarto (136)

5. SA.79.C1 Six partbooks bound in velum dyed purple. Decoration on cover reminiscent of other frames with initials P.E.F. Coat

of arms of double eagle with crown and shield stamped in gold and red.

1. $6962 (1570) Striggio, Secondo libro de madrigali a 5 (354) 2. 86967 (1571) Striggio, Secondo libro de madrigali a 6 (378) Washington, D.C., Library of Congress, M140. 15. 1563 Case Contains Catalogue nos. 246, 227, 300. See Lewis, Antonio Gardano, 2: 166.

Wolfenbiitte!, Herzog August Bibliothek, 1.1.5—7 Musica Three partbooks bound in vellum leaves of a fifteenth- or sixteenth-century manuscript with Latin text with red initials. On the top of the cantus partbook cover the following written in ink with composers’ names connected by a single bracket:

A tres Voci Wigliar Cyp. R. Archadelt Jhan Gero

1. 1566?’ Musica libro primo a 3 (281) 2. $2617 (1570) Scotto, Madrigali a 3 (353)

949

Appendix C Wolfenbiittel, Herzog August Bibliothek, 1.2.1—4 Musica Four partbooks in modern (?) marbleized paper binding. Contains only Scotto editions.

1. A1342=15707? Arcadelt, Primo libro de madrigali a 4 (337)

, 2. 156714 Primo libro de madrigali de diversi notte negre a 4 (293) 3. 1567) Secondo libro de madrigali de diversi notte negre a 4 (294) Wolfenbiittel, Herzog August Bibliothek, 1.3.1-4 Musica Four partbooks bound in soft vellum. Voice parts are written on the cover as follows: “Canto a Quattro” with decorative

frieze on top and below. “Madrigal a quattro” is also written on the spine of each partbook.

1. M580 (1587) Marenzio, Madrigali a 4 Primo libro (Vincenzi) 2. G2453 (1587) | Gtovanelli, Sdruccioli a 4 Primo libro (Vincenzi) 3. G2474 (1590) Giovanelli, Sdruccioli a 4 Secondo libro (Vincenzi) 4, C4157 (1544) = Corteccia, Primo libro de madrigali a 4 (39) 5. T1275 (1586) Trombetti, Primo libro de madrigali a 4 (Gardano) 6. G77-78 (1589) Gabrieli, Madrigali et ricercari a 4 (Gardano) 7. P763 (1586) Palestrina, Secondo libro di madrigali a 4 (Scotto)

8. 1566? Bonagiunta, // Desiderio, libro primo a 4 (276)

9. P5405 (1588) Pratoneri, Madrigali ariosi a 4 (Vincenz1) 10. M3375 (1588) Monte, Quarto libro de madrigali a 4 (Gardano) 11. M3786=15852? Moscaglia, Secondo libro di madrigali a 4 (Vincenzi and Amadino) 12. C1518=157074 Casulana, Secondo libro de madrigali a 4 (339) Wolfenbiittel, Herzog August Bibliothek, 2.11.1-5 Musica Set of five partbooks bound in parchment; front covers have voice part in ink with titles of the three editions.

1 =-1540'8 Le dotte et eccellente compositioni de i madrigali a 5 (15) 2. R 2479 (1542) Rore Madrigali a 5 (28)

3. 1542!6 Primo libro de diversi autori a 5 (Gardano) Wolfenbiittel, Herzog August Bibliothek, 2.13.9-13 Musica

Set of five partbooks containing sacred music editions by Scotto dating from 1539 and 1541.

1. G2982=15417 | Gombert, Pentaphthongos harmonia... liber primus (19) 2. G2984(1541) Gombert, Motectorum quinque vocum liber secundus (20) 3. W1110 (1539) ~=9Willaert, De/ primo libro dei motetti a 5 (9) 4, J6 (1539) Jacquet of Mantua, Motecta quinque vocum liber primus (5) Wolfenbiittel, Herzog August Bibliothek, 2.15.14-18 Musica Contains Catalogue no. 49. See Lewis, Antonio Gardano, 1: 162.

Wolfenbiittel, Herzog August Bibliothek, 2.50 Musica Single volume bound in hard vellum. Contains five publications of theoretical treatises and lute intabulations.

1. (1533) Lanfranco, Scintille di musica

2. (1543) Ganassi dal Fontego, [Regola Rubertina.| Lettione seconda 3. V1687 (1546) —-Vindella, /ntavolatura di liuto, libro primo (Gardano) 4. BB902=15467? —_ Barberiis, Intabulatura di lauto, libro sesto (62) 5. BB902=1549°? — Barberiis, Jntabolatura di lauto libro decimo (96)

Zurich, Zentralbibliothek, Mus. 600 and Mus. 600A Cantus partbook originally from a set of five partbooks in modern binding. Inner forme [pp. 3-6] of first gathering of Ferretti, Primo libro delle canzoni alla napolitana a 5, is misbound as inner forme of the Secondo libro delle canzoni alla napolitana a 5. Inner forme of first gathering [pp. 3-6] of Ferretti’s Secondo libro delle canzoni (also misbound) appears

at end of A.+ Romano’s Libro secondo delle napolitane (1571) (Mus. 600a). Mus. 600

1. F514 (1571) Ferretti, Primo libro delle canzoni alla napolitana a 5 (366) 1A. F519 (1571) Ferretti, Secondo libro delle canzoni alla napolitana a 5 (367) 2. F524 (1572) Ferretti, Terzo libro delle napolitane a 5 (390) 3. F527 (1571) Ferretti, Quarto libro di canzoni a 5 (368) Mus. 600a

l. M2329 (1571) | A. Romano Libro secondo delle napolitane a 5 (371) 1A. F519 (1571) Ferretti, Secondo libro delle canzoni alla napolitana a 5 (367)

950

Appendix D

SHORT-TITLE CATALOGUE

OF NON-MUSIC EDITIONS Printed by Girolamo Scotto

The Scotto press printed books in two disparate fields. It perceived itself equally as a music printer and as a specialist in Latin texts. The two booklists that the firm published in the 1590s reflect the dual nature of the press.' The 1596 Indice presents an inventory devoted exclusively to music editions. The 1592 Index, as the title states, lists all titles principally in the fields of science, theology, philosophy, and law, with a

small addendum for vernacular texts. My study of the Scotto firm could not be complete without an accounting of these non-music editions. A perusal of the following short-title catalogue reveals many titles of Classical literature in Latin, including translations from the Greek. But the main contribution of the Scotto press was in the area of Aristotelian studies. According to F. Edward Cranz, during the sixteenth century, Venice ranked third after Paris and Lyon as an important center for Aristotelian publications.” The Scotto press was the most prolific Venetian publisher of these works, issuing over 215 editions during the thirty-year period. I began work on the catalogue by investigating the collection in the Biblioteca Nazionale Marciana in

Venice. Pastorello’s unpublished catalogue of books printed in Venice, 1469-1600 held in selected northern Italian libraries housed in the Sala dei Manoscritti of the Marciana lists 216 editions. To this list I added the impressive holdings in the British Library (BM). Important collections in other libraries, such as the University of Pennsylvania Library (Shaaber), the National Library of Medicine in Bethesda, Md. (Durling), and the various libraries of Cambridge University (Adams) also augmented my catalogue. More recently, I have benefited greatly by the listings in three monumental reference works, the Index Aureliensis ([4), the Primo catalogo collettivo delle biblioteche italiane (Primo), and Le edizioni italiane del XVI secolo: censimento nazionale (Edizioni). Although a detailed description of every edition was not in the purview of this study, I did examine editions in the collections of the Biblioteca Nazionale Marciana; the British Library; the University of Pennsylvania; the Newberry Library; Houghton Library, Harvard University; Wellesley College Library; and the University of Texas, Austin. Unfortunately, secondary sources for sixteenth-century editions in general are not as comprehensive as bibliographical references for music editions. The two most important

1. See Figures 5.2-5.5. 2. A Bibliography of Aristotle Editions 1501-1600, 2d ed., ed. Charles B. Schmitt (Baden-Baden and Geneva, 1984), p. xix.

951

Appendix D bibliographical works, the Edizioni and JA, are still in the early stages of production, with only volumes of the first few letters of the alphabet published; the third reference tool, Primo, has presumably been superseded by the Edizioni. In light of the incomplete nature of bibliographical research, I have decided to limit the scope and description of the entries. The following short-title catalogue, then, is devoted to a listing of extant non-music publications brought out by Girolamo Scotto from the period 1539 to 1572. Although I have tried to identify as many editions as possible, I do not claim to present a complete inventory of surviving editions. This endeavor will not be accomplished until such important reference works as the Edizioni and JA have been completed. Nevertheless, it is my hope that my catalogue will lay

the groundwork for further studies in this important area of scholarship. , The short-title catalogue presents the editions in chronological order with authors listed alphabetically within each year. The placement of Aristotelian literature varies considerably among secondary sources. For the most part, I have chosen to follow /4, which lists (though not consistently) editions containing Latin translations of Aristotle’s works under Aristotle, and publications devoted exclusively to commentaries, indexes, and tables of Aristotle’s works under the names of their authors (e.g., Philoponus, Simplicius, and Zimarra). In addition to an abbreviated title, I have supplied the date of publication presented on the title page and the format of the edition. In cases where the colophon lists a different date, both dates have been cited with the colophon date appearing after the title-page date (e.g., 1559/1560). The remainder of the entry indicates the secondary literature where the edition is cited. OCLC is cited only when it is a unique reference. All number citations refer to volume and catalogue numbers, with the exception of BM and STC, where page numbers are specified. 1539

1. Alexander of Aphrodisias/Piccolomini. /n 7. Aristotle. Physicarum auscultationum libri duo, guatuor libros Meteorologicorum Aristotelis . . . interprete atque expositore Augustino Nipho

commentatio lucidissima, quam Latinitate (1540). 8°. JA 108.002. donavit Alexander Piccolomineus ... Accedit 8. Donato, Bernardino. De Platonicae atque insuper eiusdem Alexandri Piccolominei, Aristotelicae differentia Libellus nuper in lucem tractatus De iride noviter impressus (1539/40). editus. Bernardino Donato Veronensi authore 2°. BM, 47; Edizioni, 1: 1042; JA 103.336; (1540). 8°. Adams D797; BM, 224; Pastorello;

Primo 6.6247; STC, 1: 108. Shaaber D231; STC, 1: 532.

2. Breviarium iuxta institutionem Sfan]cti Ambrosij 9. Nifo, Agostino. De verissimis temporum signis

(P. Liechtenstein expensis H. Scotto, 1539). 8°. Commentariolus (1540). 8°. BM, 468; Pastorello.

BM, 381; Bohatta 1817; Essling 1025. 10. Philoponus, Joannes. Commentaria in libros De 3. Zimarra, Marcantonio. Theoremata... seu generatione & corruptione Aristotelis: ex memorabilium propositionum limitationes . . . colloquiis Ammonii Hermeae, propriisque eius

[Scotto pr. mk.] (1539). 8°. OCLC. considerationibus congesta. Hieronymo

1540 Bagolino Veronensi interprete (1540). 2°. Adams 4. Aristotle. De Physico auditu libri octo... P1055; BM, 45; Primo 6.6019; Shaaber A523; Averrois ... Digressiones omnes in eosdem. STC, 1: 102. Accesserunt contradictiones ac solutiones in 11. Simplicius. Commentarium in decem

dictis Aristotelis et Aver. absolute per Cathegorias Aristotelis quae Praedicamenta solertissimum Marcum Antonium Zimarram vocantur ... in linguam Latinam translatum (1540). 8°. Adams A1897; Edizioni, 1:2872; [A Guilelmo Dorotheo . . . interprete (1540/41). 2°. 108.001; Primo 6.6549; Shaaber A677; STC, 1: Adams $1204; Primo 6.6360; STC 1: 112.

121. 12. Simplicius. Commentaria in quatuor libros

5. Aristotle. Libri tres De anima... Digressiones Aristotelis De celo. Guillermo [sic.] Morbeto omnes Averrois ac notatu digna in eosdem. Acc. interprete. 2°. Primo 6.5980; Adams $1202; contradictiones ac solutiones in dictis Aristotelis Shaaber A505.

et Aver. absolute per Marcum Antonium 1541 Zimarram (1540). 8°. Adams A1783; Durling 13. Alexander of Aphrodisias. Annotationes in 272; Edizioni, 1:2872; IA 107.999: STC, 1: 99, 3: Librum elenchorum, idest de apparentibus

421. redarguendi argumentis Aristotelis nuper

6. Aristotle. Oeconomicorum, seu de re familiari diligenti cura in Latinum conversae. Guilelmo

libri duo Bernardino Donato Veronensi Dorotheo ... interprete (1541). 2°. Adams interprete (1540). 8°. JA 108.000; Primo 6.5755; A674; BM, 50; Edizioni, 1: 1043; JA 103.338;

Pastorello; Shaaber A553; STC, 1: 109. Primo 6.6502.

952

Catalogue of Non-Music Editions 14. Alexander of Aphrodisias. Jn octo libros topi- 26. Aristotle. Ethicorum ad Nicomachum libri corum, vel de locis sedeque argumentorum . . . decem. Raphaelis Volaterrani argumenta in Aristotelis commentatio ... Guilelmo Dorotheo eosdem. loanne Bernardo Feliciano interprete .., interprete (1541). 2°. Adams A666; BM, 51; (1542). 8°. Edizioni, 1: 2879; JA 108.058; Primo Edizioni, 1: 1044; Shaaber A767; STC, 1: 118. 6.6109; Pastorello; Shaaber A579; STC, I: 104.

15. Alexander of Aphrodisias. Quaestiones 27. Aristotle. Politicorum ad Nicomachum lib. naturales, morales et de facto. Hieronymo primus |-octavus]. Raphaelis Volaterrani Bagolino patre et loanne Baptista filio argumenta in eosdem. Leonardo Aretino [Bruni] interpretibus (1541). 2°. Adams A679; BM, 17; interprete (1542/43). 8°. Edizioni, 1:2880; IA Edizioni, 1: 1045; JA 103.339; STC, 1: 37. 108.059; Primo 6.6680; Pastorello; Shaaber

16. Ammonius. Explanatio in quinque voces A706; STC, 1: 125. Porphyrii (1541). 8°. Pastorello. 28. Averroes/Avenzoar. Colliget totam medicinam 17. Ammonius. Jn Praedicamenta Aristotelis ... complectens. Theisir Morbos omnes... commentarii, per Bartholomaeum Sylvianum continens Abynzoar, Accesserunt M. Antonii

Salonensem nuper Latine conversi. ad... Zimarrae dubia et solutiones in Colliget (1542). Christophorum Madrutium (1541). 2°. Edizioni, 2°. JA 109.819. l: 1574; Primo 6.6361; Shaaber A479; STC, 1: 29. Averroes. Epithoma totius Metaphysices

113. Aristotelis. Prohemium duodecim libri

18. Aristotle. De coelo libri quatuor, De Metaphysices. Eiusdem paraphrases in libris generatione & corruptione libri duo, guatuor De coelo, & duobus De generatione & Meteorologicorum libri quatuor . . . Aver. corruptione Aristotelis (1542). 8°. Edizioni, 1: digressiones in eosdem, ac De substantia orbis. 3481; JA 109.818; Shaaber A950. Accesserunt contradictiones ac solutiones in 30. Breviarium Romanum recenter post omnes alias dictis Aristo. & Aver. absolute... per Marcum impressiones e omni studio recognitum (1542).

Antonium Zimarram (1541). 8°. BM, 43; 8°, Bohatta 151; Essling 1034. Edizioni, \: 2875; IA 108.030; Primo 6.5837; 31. Cardano, Girolamo. De consolatione libri tres

STC, 1: 109. (1542). 8°. Adams C659; BM, 149; Edizioni, 3:

19. Aristotle. Metaphysicorum libri XIHI. Averrois 1443; JA 132.047; Pastorello; Shaaber A950;

... digressiones omnes in eosdem. Accesserunt STC, 1: 354. contradictiones ac solutiones in dictis Aristotelis 32. Eustratius. Commentaria in secundum librum

& Aver, absolute... per Marcum Antonium posteriorum resolutivorum Aristotelis . . . Zimarram. (1541). 8°. Edizioni, 1: 2876; IA Expositiones compendiariae in eandem Andrea

108.031. Gratiolo Tusculano ex Benaco interprete (1542).

20. Aristotle. Organum hoc est libri ad logicum 2°. BM, 50; Pastorello; STC, 1: 117. | attinentes, Boetio Severino interprete (1541). 8°. 33. Philoponus, Joannes. Commentaria... in Edizioni, 1: 2877; [A 108.028; Primo 6.6288; libros Posteriorum ... Recens cum Graeco

Pastorello; STC, 1: 110. exemplari per... Philippum Theodosium collata

21. Aristotle. Peri hermenias liber Anitio Manlio (1542). 2°. Primo 6.6109; STC, 2: 580. Severino Boetio interprete, paraphrasi Michaelis 34. Piccolomini, Alessandro. De /a institutione di

Pselli peripatetici, nunc primum Latinitate tutta la vita de l’homo nato nobile (1542). 4°. donati (1541). 2°. Edizioni, 1: 2878; JA 108.029; Pastorello; BM, 513.

Pastorello; STC, 1: 113. 35. Themistius. Paraphrasis in Aristotelis

22. Philoponus, Joannes. /n libros Priorum Posteriora, & Physica. In libros item De anima, resolutivorum ... commentariae annotationes ex memoria et reminiscentia, somno et vigilia,

colloquiis Ammonii Hermeae ... Nuper e insomniis, & divinatione per somnum, Hermolao Graeco in Latinum fideliter versae. Guilelmo Barbaro... interprete... Addiotoque.. . Dorotheo. . . interprete (1541). 2°. Primo Indice, necnon contraditionibus ac solutionibus

6.6415; Shaaber A468; STC, 1: 115. Marci Antonii Zimarrae in dictis eiusdem

1542 1543

23. Scaphenatus, Joannes Baptista. Elegiae et Themistii. . . (1542). 2°. Primo 6.5891; Shaaber epigrammata (1541). 8°. BM, 617; Pastorello. A779; STC, 1: 128, 3: 258.

24. Alexander of Aphrodisias. /n Priora 36. Alexander of Aphrodisias. /n priora resolutoria resolutoria Aristotelis explanatio. loanne Aristotelis explanatio. loanne Bernardo Bernardo Feliciano interprete. (1542/43). 2°. Feliciano interprete (1543). 2°. [4 103.345. Edizioni, 1: 1047; JA 103.343; Primo 6.6416~—17. 37. Ammonius. Aristotelis liber De interpretatione

25. Ammonius. /n Quinque Porphyrii voces Ammonio interprete ... Latina oratione reddente commentarium loannes Baptista Rasarius e Bartholomaeo Sylvanio Salonensi (1543). 2°. Graeco in Latinum vertebat (1542). 4°. Edizioni, Adams A1794; Edizioni, 1: 1576 ; [A 108.081;

1: 1575; JA 104.899; STC, 1: 56. Primo 6.6388. 953

Appendix D

38. Ovid. Heroides epistolae cum omnibus extratte da Laertio, & altri antiquissimi auttori commentariis (1543). 2°. Adams 046]; (1544). 8°. STC, 1: 507.

Pastorello. 53. Doni, Antonfrancesco. Lettere (1544). 8°.

39. Philoponus, Joannes. Commentaria in libros De Pastorello; STC, 2: 24. generatione, et corruptione Aristotelis: ex 54. Garimberto, Girolamo. De regimenti publici de colloquiis Hammonii Hermea, propriisque ejus la citta (1544). 8°. Adams G248; BM, 291;

considerationibus Hieronymo Bagolino Pastorello; STC, 2: 24.

Veronensi interprete (1543). 2°. BM, 45; Durling 55. Horace. Omnia poemata cum ratione carminum

2591; Primo 6.6022; STC, I: 102. interpretibus Acrone (1544). 2°, Adams H886. 40. Piccolomini, Alessandro. De la institutione di 56. Magentini. /n Priores ... resolut. explanatio. tutta la vita de l‘homo nato nobile (1543), 8°. loanne Baptista Rasario interprete (1544). 2°.

Shaaber P289; STC, 2: 580-81. Primo 6.6419; STC, 1: 114.

41. Psalterium iuxta Sanctae Romanae Ecclesiae 57. Officium Romanum in laudem beatissime virginis consuetudinem (1543). 8°. Edizioni, 3: 3856. Marie ordinatum (1544). 8°. Edizioni, 3: 3756;

42. Simplicius. Commentaria in octo libros... De Essling 503. physico auditu. Lucillo Philaltheo interprete 58. Philoponus, Joannes. In ires libros de anima

(1543). 2°. Primo 6.6552. Aristotelis breves annotationes, ex

43. Simplicius. Commentationes . .. in dissertationibus Ammonij Hermaei.. . (1544). Praedicamenta...in Latinam linguam 2°. BM, 549; Pastorello. translatae (1543). 2°. Primo 6.6362; STC, 1: 59. Rapicio, Giovita. Sermo de praestantia earum

113. artium, quae ad recte loquendi rationem

44. Zimarra, Marcantonio. Theoremata, seu, pertinent (1544). 4°. BM, 549; Pastorello. memorabilium propositionum limitationes 60. Simplicius. Commentaria in guatuor libros de

(1543), 2°. OCLC. coelo Aristotelis (1544). 2°. BM, 44; Pastorello;

45. Zimarra, Marcantonio. 7abula dilucidationum Primo 6.5982. in dictis Aristotelis et Averrois (1543). 2°. 61. Vergil. Universum poema, exactissime

OCLC. castigatum, Servii Mauri Honorati grammatici

1544 integra expositio, Probi, Joannisque Vivis in 46. Alexander of Aphrodisias. Commentaria in Eclogas allegoriae, Jodoci Vuillichii super duodecim Aristotelis libros de prima Georgica erudita explicatio . . . (1544). 2°. Philosophia, interprete loanne Genesio Adams V486; Kailendorf 75; Mambelli 192.

Sepulveda (1544). 2°. Adams A690; Edizioni, 1: 1545 |

1048; JA 103.347; Primo 6.6204; STC, I: 106. 62. Achillinus, Alexander. Opera omnia in unum

47, Alexander of Aphrodisias. Opusculum collecta... Cum annotationibus excellentiss. Aristotelis De sensibus ... Commentarium non doctoris Pamphili Montii Bononiensis. . . (1545). antea e Graeco in Latinum conversum. Lucillus 2°. Adams A113; BM, 5; Durling 29; Edizioni, 1: Philalthaeus vertebat. Michaelis Ephesii Scholia 217; ZA 100.395; Pastorello; Shaaber A35; STC,

in Aristotelis libros aliquot... (1544). 2°. 1: 9.

Adams A1801; BM, 51; Edizioni, 1: 1049; IA 63. Alexander of Aphrodisias/Piccolomini. /n

108.095; Pastorello; Primo 6.6531. quatuor libros meteorologicorum Aristotelis 48. Ammonius. /n Praedicamenta Aristotelis commentatio lucidissima, quam Latinitate commentarii, per Bartholomaeum Sylvanium. . . donavit Alexander Piccolomineus. .. Accessit De nuper Latine conversi.. . (1544). 2°. Edizioni, 1: iride brevis tractatus, eodem Alexandro

1577; [A 104.902; Primo 6.6363. Piccolomineo authore (1545). 2°. BM, 47; 49. Cicero. Epistolae ad Titum Pomponium Atticum, Edizioni, 1: 1050; JA 103.348; Primo 6.6251.

Sebastiani Corradus brevissimis 64. Ammonius. Porphyrii voces ... cum Ammonii interpretationibus illustrae (1544). 2°. Edizioni, explanatione, loannes Baptista Rasarius

4: 4321; Pastorello; STC, 1: 419. interprete. Secunda editio (1545). 4°. Edizioni, 1: 50. Cicero. Familiarium epistolarum libri XVI. Cum 1581 Pastorello. annotationibus, scholiis, atque observationibus 65. Aristotle. De coelo libri ITI. Ex Graeco luxta doctissimorum amplius decemseptem virorum. . . tralationem veterem ... recogniti A D. Thoma

addidimus Lucii loan. Scoppae, & Francisci Aquinate ... commentariis illustrati,... Petri Robortelii... lucubrationes. Ascensii familiaris Aluerniatis .. . expositio (1545). 2°. FA 108.111;

item expositio (1544). 2°. Adams C1949; Pastorello; Shaaber A506.

Edizioni, 4: 4324. 66. Aristotle. De historia animalium lib. IX. De 51. Contarino, Gasparo. La Republica ei magistrati partibus animalium, et earum causis Libri IL. di Vinegia (1544). 8°. BM, 195; Edizioni, 4: De generatione animalium libri V, Theodoro 6086; Pastorello; Shaaber C648; STC, 1: 453. Gaza Thessalonice interprete (1545). 8°. BM,

52. Diogenes, Laertius. Vite de philosophi 43; Durling 273; Edizioni, 1: 2882; JA 108.110; moralissime. Et le loro elegantissime sententie, Pastorello; Primo 6.5841. 954

Catalogue of Non-Music Editions 67. Aristotle. Organum, seu libri ad dialecticam BM, 447; Durling 3293; Pastorello; STC, 2: 417. attinentes ... Topicorum et elenchorum libros 81. Ovid. Metamorphoseon libri XV (1545), 2°. paucis ante diebus ab Ioachimo Perionio in Adams 0493; BM, 481; Essling 241. Latinum conversos (1545). 8°. Edizioni, 1: 2883; 82. Pachymeres, Georgius. /n universam Aristotelis

STC, 1: 110. disserendi artem epitome loanne Baptista

68. Aristotle. Organum, hoc est libri ad logicam Rasario interprete (1545). 8°. Primo 6.6322; attinentes, Boetio Severino interprete (1545). 8°. Shaaber P2; STC, 1: 118. (vol. 2 of no. 67) Primo 6.6291, STC, 1: 110. 83. Philoponus, Joannes. Commentaria... in 69. Boiardo, Matteo Maria. Orlando innamorato libros Posteriorum ... Recens cum Graeco

coi tre libri di Nicolé degli Agostini... exemplari per... Philippum Theodosium collata riformato per L. Domenichi (1545). 4°. Adams (1545). 2°. Primo 6.6454. B2317; BM, 114; Edizioni, 2: 2751; [A 121.268; 84. Piccolomini, Alessandro. De /a institutione di

Pastorello; STC, 1: 267. tutta la vita de l’homo nato nobile (1545). 8°. 70. Beiardo, Matteo Maria. [Orlando innamorato| BM, 513; Pastorello; STC, 2: 581. Il quarto libro composto per Nicolo degli 85. Pulci, Luigi. Morgante maggiore nuovamente Agostini & riformato da L. Domenichi (1545). stampato et corretto per M. Lodovico Dome4°, Adams B2318; BM, 114; STC, 1: 267. nichi (1545). 4°. BM, 544; Essling 775; 7\. Burana, Giovanni Francesco. Aristotelis Priora STC, 2: 659. analytica seu resolutoria a... Burana in 86. Terence. Comoediae (1545). 2°. BM, 664;

Latinum sermone versa, et commentarlis Pastorello; STC, 3: 250.

doctissimis illustrata. His accesserunt Hieronymi 1546 Bagolini. . . annotationes (1545). 2°. Edizioni, 2: 87. Alexander of Aphrodisias. Expositio in

4042; JA 108.109; Primo 6.6420; STC, 1: 115. Aristotelis librum elenchorum, recens 72. Cagnolo, Girolamo. Repetitio rub. ac legis diligentiore cura a Gaspare Marcello in Latinam unice c. quando non peten. par. peten. accres... linguam conversa. (1546), 2°. BM; Edizioni, 1:

(1545). 8°. Adams C112; JA 129.063. 1051; /A 103.349; Pastorello; Primo 6.6505. 73. Cardano, Girolamo. Contradicentum 88. Alexander of Aphrodisias. Quaestiones medicorum liber, continens contradictiones naturales et morales et De fato, Hieronymo centum octo (1545), 8°. Adams C654; Durling Bagolino Veronensi patre et lo. Baptista filio 835; Edizioni, 3: 1444; IA 132.052; Pastorello; interpretibus. De anima, liber primus,

STC, 1: 354. Hieronymo Donato interprete: de anima liber I.

74. Cardano, Girolamo. De malo recentiorum una cum commentario De mistione, recens versi. medicorum medendi vsu libellus ... Libellus de Angelo Caninio Anglariensi interprete. (1546). simplicium medicinarum noxa (1545). 8°. Adams 2°. Edizioni, 1: 1052; [A 103.350. C660; Durling 842; 4 132.053; Pastorello; STC, 89. Ammonius. /nterpretatio in librum Aristotelis

1: 354. Peri hermenias utrumque vero Latina oratione

75. Cicero. De officiis libri II]. Laelius, seu De reddente Bartholomaeo Sylvano (1546). 2°. amicitia. Cato maior, vel De senectute. Edizioni, 1: 1588; Primo 6.6393; STC, 1: 113. Paradoxa stoicorum. De somnio Scipionis, ex 90. Boiardo, Matteo Maria. Orlando innamorato

libro VI De republica . .. His postremo coi tre libri di Nicolé degli Agostini... accesserunt disquisitiones XXV Caelii riformato per L. Domenichi (1546). 8°. Edizioni, Calcagnini in libros De officiis, cum 2: 2752; Essling, 1546; /A 121.269; Pastorello. decisionibus XXV M. Antonii Maioragii (1545), 91. Brasavola, Antonio Musa. /n libros de ratione

2°. Edizioni, 4: 4327; Pastorello. victus in morbis acutis, Hippocratis et Galeni 76. Demosthenes and Aeschines. [Orationes] commentaria & annotationes (1546). 2°. BM, Mutuae Accusationes de ementita Legatione & 329; Durling 692; Edizioni, 2: 3607; [A 123.799;

de Corona, ac contra Timarchum Quinque Pastorello. numero (1545). 8°. Adams D293; Pastorello; 92. Cagnoli, Girolamo. Omnium legum tituli ff, De

STC, 1: 499. regula iuris copiosa, subtilis ac perutilis

77. Doni, Antonfrancesco. Lettere, libro primo con interpretatio (1546). 8°. Edizioni, 3: 293; IA

alcune altre lettere (1545). 8°. Adams D816; 129.065; STC, 1: 324.

Pastorello. 93. Cicero. Rhetoricorum ad C. Herennium Libri 78. Lippomano, Luigi. Espositioni volgare (1545). HH alias, Ars nova, sive Nova rhetorica.

8°. Pastorello; STC, 2: 250. Rhetoricorum de inventione libri I] alias, Ars

79, Magentini. /n Aristotelis librum de vetus, seu vetus rhetorica. In Rhetorica ad interpretatione explanatio loanne Baptista Herennium, Hieronymi Capiduri.. . Rasario interprete (1545). 4°. FA 121.268; commentaria, In Rhetoric de inventione. M.

Pastorello; Shaaber A540. Fabii Victorini, commentariorum libri duo

80. Monti, Pamphilio. Methodus medendi, in iis (1546). 2°. Edizioni, 4: 4342; Shaaber C461; quae ad Galfeni] doctrinam spectant (1545). 8°. STC, 1: 413. 955

Appendix D

94. Hippocrates. Opera, quae hactenus ad nos Baptistam Caccialupum (1547). 8°. Edizioni, 2: extant omnia, Per Janum Cornarium (1546). 2°. 3589; Pastorello. Durling 2325; Shaaber H143; STC, 2: 123. 110. Cicero. Epistolae familiares electae, cum

95. Lasearis, Constantinus. Grammaticae interpretatione. lodoci Badij Ascensii. Compendium Graecae linguae (1546). 8°. Compendium isagogicum in easdem epistolas

Adams L233; BM, 370; Pastorello. (1547). 4°. Edizioni, 4: 4344.

96. Nifo, Agostino. Expositiones in omnes 111. Cicero. Familiarium epistolarum libri XVI. Cum Aristotelis libros: De historia animalium lib. IX, ... annotationibus, scholiis, atque De partibus animalium et earum causis lib. III, observationibus doctissimorum amplius ac De generatione animalium Lib. V (1546), 2°. septemdecim virorum. .. addidimus Lucii loan.

Adams A1771; BM, 43; Pastorello; Primo Scopae, & Francisci Robortellii.. .

6.5842: STC, 1: 98. lucubrationes. Ascensii item familiaris expositio 97. Porphyry. /n Aristotelis Praedicamenta.. . (1547). 2°. Adams C1950; Edizioni, 4: 4345; loanne Bernardo Feliciano interprete (1546). 2°. Pastorello.

Pastorello; STC, 2: 635. 112. Gabucino, Girolamo. De lumbricis alium

98. Quintilian. De institutione oratoria libri XVI occupantibus (1547). 8°. BM, 285; Durling 1742;

(1546). 2°. Pastorello. Pastorello, STC, 2: 2.

99. Sallust. De conjuratione Catilinae, et De bello 113. Javelli, Chrysostomo. Epitome ... in universam Jugurthino, Historiae; In M. Tullium Ciceronem Aristotelis (1547). 8°. Primo 6.5873. oratio .. . (1546). 2°. Adams $157; Pastorello. 114. Nifo, Agostino. Expositiones in Aristotelis libros

100. Simplicius. Commentaria in octo libros Metaphysices (1547/1546). 2°. Pastorello; Primo

Aristotelis ... De physico auditu Lucillo 6.6205.

Philaltheo interprete (1546). 2°. Pastorello; 115. Philoponus, Joannes. /n tres libros de anima

Primo 6.6557. Aristotelis breves annotationes, ex

101. Simplicius. Commentarius in Enchiridion dissertationibus Ammonii Hermei .. . (1547). 2°. Epicteti Philosophi Stoici... Angelo Caninio Adams P1050; Pastorello; Primo 6.5933; interprete (1546). 2°. Adams $1210; BM, 235; Shaaber A488.

Shaaber $462; Pastorello. 116. Vite de Santi Padri col Prato spirituale

1547 riscontrate colatino et in lingua Toscana (1547). 102. Alexander of Aphrodisias. /n octo libros 4°. Essling 583.

topicorum Aristotelis explicatio (1547). 2°. BM, 117. Zimarra, Marcantonio. 7heormata, seu, $1; Edizioni, 1: 1053; [A 103.351; Primo 6.6482; Memorabilium propositionum limitationum, cum

STC, 1: 118. additionibus ab ipso auctore post primam

103. Altomare, Donato Antonio. De alteratione, impressionem factis, quas sub hoc signo *

concoctione, digestione, praeparatione, ac noviter reperies ... 8°. OCLC. purgatione, ex Hippoocratis & Galeni sententia 1548 methodus (1547). 8°. BM, 21; Durling 188; 118. Alexander of Aphrodisias/Piccolomini. /n

Edizioni, 1: 1282; STC, 1: 43. quatuor libros Meteorologicorum Aristotelis

104. Ammonius. Explanatio in Quinque voces commentario. Alexandro Piccolomineo Porphyrii. lo. B. Rasario interprete. (1547). 4°. interprete. Acc. Piccolominei De iride brevis Edizioni, 1: 1589; [A 104.912; STC, 1: 57. tractatus. (1548). 2°. Adams A687; Edizioni, 1:

105. Ammonius. Jn Arist. Praedicamenta 1054; JA 103.353.

commentarii, per Bartholomaeum Sylvanium... 119. Boiardo, Matteo Maria. Orlando inamorato.. . Latine conversi.. . annotationes marginales suis co i tre libri di Nicolo de gli Agostini

locis... accomodate, per... Abracium nuovamente riformato per Messer Lodovico Appulum (1547). 2°. Edizioni, 1: 1590; Primo Domenichi (1548/49). 4°. Edizioni, 2: 2753; IA

6.6365. , 121.271; Essling, 1547; Pastorello; STC, 1: 267.

106. La Biblia (1547). 4°. Adams B1196; Edizioni, 2: 120. Fumanelli, Antonio. De compositione

1952; Pastorello. medicamentorum generis cuiuscunque ad

107. Boiardo, Matteo Maria. Orlando innamorato morbos diversos. Eiusdem De pestis curatione insieme coi tre libri di Nicold degli Agostini. . . ... (1548). 8°. Durling 1721; Pastorello; STC, 1: riformato per L. Domenichi (1547). 8°. Edizioni, 678.

2: 2752; Pastorello. 121. Galen. Epitomes omnium... operum sectio

108. Boiardo, Matteo Maria. [Orlando inamorato] Il prima [-quarta] per Andream Lacunam .. . quarto libro composto per Nicolo degli Agostini collecta (1548). 8°. Adams G45; Durling 1839;

& riformato da L. Domenichi (1547). 8°. STC, 2: 5.

Pastorello; Essling, 1546. 122. Lacuna, Andrea. Annotationes in Galeni 109. Brant, Sebastian. Titulorum omnis iuris tam interpretes: quibus varii loci in quos hactenus civilis, quam canonici expositiones. His accessit impegerunt lectores .. . (1548). 8°. Durling Modus studendi in utroque iure per loannem 2705; Pastorello. 956

Catalogue of Non-Music Editions 123. Lacuna, Andrea. Vita Galeni ex Galeno ipso et atque ampliati. (Edidit Hieronymus ex variis authoribus, per Andream Lacuna... Cribellus) (1549). 2°. Adams A1899; JA;

collecta (1548). 8°. Adams L36; Durling 2705; 108.173.

Pastorello. 136. Arlotti, Girolamo. Jn M. T. Ciceronis

124. Philoponus, Joannes. /n libros Priorum Epistolarum, quae familiares vocantur, librum resolutivorum Aristotelis commentariae primum .. . (1549). 8°. Edizioni, 1: 2975; IA annotationes ex colloquiis doctissimi Ammonii 108.796. Hermeae... Lucillo Philalthaeo interprete 137. Averroes. Colliget totam medicinam (1549). 2°. (1548). 2°. BM, 49; Pastorello; Shaaber A465; Edizioni, 1: 3482; Pastorello.

STC, 1: 115. 138. Boiardo, Matteo Maria. [Orlando inamorato| Il

125. Philoponus, Joannes. Commentaria ... in quarto libro composto per Nicolo degli Agostini libros Posteriorum Aristotelis. Recens cum & riformato da L. Domenichi (1549), 4°. Graeco exemplari per doctissimum philosophum Pastorello; Essling, 1547. Theodosium collata (1548). 2°. Pastorello; 139, Butner, Andreas. De theriaca et mitridato

Shaaber A469; STC, 1: 116. Graecorum (1549). 8°. Edizioni, 2: 4139.

126. Simplicius. Commentaria in quatuor libros De 140. Cagnolo, Girolamo. /n constitutiones & leges

coelo (1548). 2°. Adams A1786; Pastorello; primi, secundi quinti, & duodecimi

Primo 6.5986; Shaaber A507. Pandectarum. .. aurearum enarrationum liber 127. Testamenti novi. Editio vulgata (1548). 16°. BM, primus ... Tomus primus (1549). 2°. Adams

101; Edizioni, 2: 2126. C108; Edizioni, 3: 294; JA 129.067.

128. Thomas Aquinas. Praedicatorium . . . epitolas 141, Cagnolo, Girolamo. Jn lustiniani codicem

commentaria (1548). 2°. BM, 103. enarrationes. Tomus II. [vol. 2 of 140] (1549). 129. Zimarra, Marcantonio. 7abula dilucidationum 2°. Adams C110. in dictis Aristotelis & Averrois, opus 142. Catullus. 7ibullus, Propertius. His accesserunt loculentissimum (1548/49). 2°. Durling 4801; Corn. Galli fragmenta [fragment attrib. to Gallus

STC, 3: 422. actually by Massimiano Etrusco] (1549). 8°. 1549 Adams C1144; Edizioni, 3: 2336. 130. Alexander of Aphrodisias. /n priora resolutoria 143. Cicero. De oratore libri IIT (1549). Edizioni, 4: Aristotelis .. . explanatio. loanne Bernardo 4356; OCLC. Feliciano interprete (1549). 2°. BM, 49; 144. Corrado, Sebastiano, M7. Ciceronis epistolas Edizioni, 1: 1055; JA 108.173; Pastorello; Primo ad Atticum. UyoAvea. (1549). 8°. Adams C2685;

6.6421. Edizioni, 4: 6751; Pastorello.

131. Alexander of Aphrodisias. Opusculum de 145. Juvenalis and Persius. Satyrae post omnes sensibus atque de his quae cadunt in sensum... omnium editiones summa denuo vigilatia

Graeco in latinum conversum Lucillus recognitae .. . (1549). 8°. BM, 364. Philalthaeus vertebat. Michaelis Ephesii Scholia 146. Martial. Epigrammaton libri XIIIT Post omnes

in Aristotelis libros aliquot. (1549). 2°. Adams omnium editiones summa denuo vigilantia A1802; BM, 51; Edizioni, 1: 1056; JA; 108.172; recogniti (1549). 8° STC, 2: 347.

Primo 6.6534. 147. Minturno, Antonio. Lettere (1549). 8°. Adams

132. Alexander of Aphrodisias. Questiones M1464; BM, 620; Pastorello; Shaaber M358; naturales et morales et De fato, Hieronymo STC, 3: 153.

Bagolino Veronensi Patre, et loanne Baptista 148. Nifo, Agostino. /n priora analytica Aristotelis

filio interpretibus. De anima liber primus, commentaria (1549). 2°. Adams N293; Shaaber Hieronymo Donato ... interprete. De anima Lib. N134. ij una cum commentario De mistione, Angelo 149. Philoponus, Joannes. Commentaria in libros De

Caninio Anglariensi interprete (1549). 2°. generatione et corruptione ... ex colloquiis Adams A680; BM, 17; Edizioni, 1: 1057; [A Ammonii Hermeae. Propriis eius

103.354; Shaaber A174; STC, 1: 37. considerationibus Hieronymo Bagolino. .. 133. Ammonius. /nterpretatio in librum Aristotelis interprete (1549). 2°. Adams P1056; Primo

Peri hermenias utrunque vero Latina oratione 6.6025. reddente Bartholomeo Sylvano Salonensi (1549). 150. Themistius. Paraphrasis in Aristotelis

2°. Edizioni, 1: 1594; [A 104.916; Pastorello. Posteriora et Physica in libros... De anima, 134. Aristotle. De coelo et mundo libri quatuor, e memoria et reminiscentia ... Hermolao Barbaro Graeco in Latinum ab Augustino Nipho... _.. interprete ... necnon contradictiones ac conversi... (1549). 2°. JA 108.171A; Pastorello; solutiones Marci Antonii Zimarrae (1549). 2°.

Primo 6.5987; Shaaber A508. BM, 54.

135. Aristotle. Physicarum auscultationum libri 151. Vergil. Opera, nunc demum scholiss paucis sed octo, interprete atque expositore Augustino optimis illustrata, figuris aptissimis ornata, Nipho post multas ed. per eundem autorem in studioque emendata accuratissimo (1549). 8°.

ultime eius aetate summa diligentia recogn. Kallendorf 80. 957

Appendix D

1550 a Martiano Rota restituta.. . Quibus adiecta est 152. Ammontius. Explanatio in quinque voces Disputatio Alexandri Aphrodisii de diffinitione Porphyrii loanne Baptista Rasario interprete (1551). 2°. Edizioni, 2: 2705.

(1550), 2°. Adams A996; Edizioni, 1: 1595; JA 168. Breviarium Romanum (1551). 8°. Bohatta 197,

104.917; Pastorello. Edizioni, 3: 3163; Essling 1048.

153. Ammonius. /n Arist. Praedicamenta 169. Cravetta, Aimone. Consiliorum pars prima et commentarii per Bartholomaeum Sylvanium secunda. (Heredi di Luca Antonio Giunta il Salonensem Latiné conversi (1550). 2°. Edizioni, vecchio, Gabriele Giolito de Ferri, Girolamo

1: 1596; Primo 6.6368. Scotto, e Federico Torresano, 1552). 2°. Edizioni,

154. Breviarium Romanum (1550). 8°. Bohatta 193; 4: 7024.

Edizioni, 3: 3160; Essling 1046. 170. Nifo, Agostino. /n libros de Sophisticis Elenchis 155. Breviarium Romanum (1550). 4° Bohatta 192; Aristotelis cum textu recognito: & ab ipso

Edizioni, 3: 3161. auctore interpreto (1551). 2°. BM, 50;

156. Burana, Giovanni Francesco, Aristotelis Priora _ Pastorello; Primo 6.6506; STC, 1: 118. analytica seu resolutoria lo. Francisco Burana 171. Nifo, Agostino. /n libris Aristotelis

Veronensi in Latinum sermonem versa, Meteorologicis commentaria ... (G. and O. commentariis doctissimis illustrata. .. His Scotto, 1551). 2°. Primo 6.6257; Shaaber A624,

accesserunt Hieronymi Bagolini.. . STC, 1: 108.

annotationes (1550). 2°. Edizioni, 2: 4043; [A 172. Officium beate Marie Virginis (1551). 12°.

108.189A; Pastorello; Primo 6.6422. Edizioni, 3: 3760.

157. Nifo, Agostino. Parva naturalia... Augustini 173. Philoponus, Joannes. Libri duo de viginti Niphi. .. videlicet Physiognomicorum libri tres adversus totidem Procli successoris rationes de

(1550/51). 2°. Adams A1890; BM, 51; mundi aeternitate ad octavum Physicorum

Pastorello; Primo 6.6524. Aristotelis librum attinentes: Gaspare Marcello

158. Nifo, Agostino. /n libros De generatione et Montagnesi... interprete (1551). 2°. Adams } corruptione interpretationes et commentaria P1061; Pastorello.

(1550). 2°. Pastorello; Primo 6.6027. 1552

159. Nifo, Agostino. Topicorum libri octo cum 174. Alexander Trallianus. Libri duodecim, Razae

Augustini Niphi... interpretatione atque De pestilentia libellus. Omnes nunc primum de expositione... Et... cum auctoris archetypo Graeco accuratissme conversi multisque locis

collata... (1550). Primo 6.6483. restituti & emendati per loannem Guinterium

160. Philoponus, Joannes. Commentaria in libros Andernacum (1552). 8°. Durling 149; Edizioni, Posteriorum Aristotelis. Recens cum Graeco 1: 1115; Pastorello; STC, 1: 39. exemplari per .. .Theodosium collata (1550/51). —-:175. Aristotle. Organum, seu libri ad dialecticam.. .

Pastorello; Primo 6.6457; STC, 1: 115. (1552). 8°. JA 108.242A. 161. Simplicius. Commentationes ... in 176. Aristotle. Posteriorum libri, una cum

Praedicamenta ... nuper in Latinam linguam Linconiensi, atque Burleo fidelissimis tranSlatae (1550). 2°. BM, 49; Pastorello; Primo interpretibus, His adiecimus Pamphili Montii.. .

6.6369; STC, 1: 113. glossemata, in marginibus apposita...(G. and 162. Thomas Aquinas. /n libros Peri hermenias, et O. Scotto, 1552). 2°. BM, 50; JA 108.247; Posteriorum analyticorum ... cum duplici textu, Pastorello; Primo 6.6460. antiquo videlicet, et Argiropoli...commentaria — 177. Diurnum Romanum (1552). 8°. Bohatta 200;

... (1550), 2°. Pastorello; Primo 6.6339. BM, 381; Edizioni, 3: 3548; Essling 1052;

163. Thomas Aquinas. /n tres libros De anima Pastorello. Aristotelis expositio. (1550). 2°. Pastorello; 178. Javelli, Crisostomo. Epitome... in universam

Shaaber A489; STC, 1: 99. Aristotelis ... tam naturalem quam

164. Zimarra, Marcantonio. Theoremata . . .seu, transnaturalem (1552). 8°. Primo 6.5877; Memorabilium propositionum limitationes . . . Pastorello. (1550). 2°. Durling 4802; STC, 3: 422. 179. Javelli, Crisostomo. /n omnibus metaphysicae

1551 libris Quaesita testualia Metaphysicali modo 165. Achillinus, Alexander, Opera omnia... cum derminata... (1552). 8°. Pastorello.

annotationibus ... Pamphili Montii (1551). 2°. 180. Javelli, Crisostomo. Super octo libros Aristo. de

Durling 30; Edizioni, 1: 218; JA 100.395; Physico Auditu quaestiones . . . (1552). 8°.

Pastorello; STC, 1: 9. Pastorello; Shaaber J19; STC, 2: 173.

166. Alexander of Aphrodisias. Commentaria in 181. Javelli, Crisostomo. Super tres libros Arist. de duodecim Aristotelis libros ... interprete loanne Anima. Quaestiones .. . (1552). 8°. Pastorello;

Genesio Sepulveda... (1551). 2°. Edizioni, 1: Shaaber J20. 1058; JA 103.355; Primo 6.6209; Shaaber A611; 182. Joannes de Janduno. /n libros Aristotelis de

STC, 1: 106, 107. Coelo et Mundo quaestiones ... adiecimus

167. Boethius. Dialectica... in pristinum candorem Averroes sermonem De substantia orbis, Cum 958

Catalogue of Non-Music Editions eiusdem loannes Commentario ... (1552). 2°. 196. Nifo, Agostino. Expositio ... in tres libros

Adams J67; Shaaber J47. Aristotelis De anima (1553). 2°. Pastorello;

183. Joannes de Janduno. Super libros Aristotelis Primo 6.5940.

De anima subtilissimae quaestiones .. . (1552). 197. Nifo, Agostino. /n libros Posteriorum

2°. Shaaber J53; STC, 2: 192. analyticorum ... commentaria, cum duplici

184. Joannes de Janduno. Super octo libros textus translatione, loannis Argyropili videlicet, Aristotelis de Physico auditu (1552). 2°. et eiusdem nova ab ipso... recognitis. ..

Pastorello. (1553). 2°. Primo 6.6461.

185. Michael Ephesius. Scholia... in Aristo. 198. Ovid. Metamorphoseon ... Libri XV. Raphaelis opuscula aliquot non ante e Graeco in Latinum Regii Volterrani. . . explanatio, cum novis conversa Evangelista Lungus Asulanus vertebat. lacobi Micylli. .. additionibus. Lactantii Placidi Nempe; De memoria, & reminiscentia. De in singulas fabulas argumenta... lacobi somno, & vigilia. De insomniis. De divinatione Phanensis, Coelti Rhodigini, loan. Baptistae per somnum ... (1552). 2°. Durling 3161; Egnatii, Henrici Glareani, & Gilberti Bongolii

Pastorello; STC, 2: 390. .., annotationes ... (1553). 2°. Shaaber 0127;

186. Nifo, Agostino. Expositio ... collectanea STC, 2: 499. commentariaque in tres libros ... De anima 199. Philoponus, Joannes. /n tres libros de anima

nuper ... recognita... (1552). 2°. Primo Aristotelis breves annotationes, ex dissertatio-

6.5938. nibus Ammonii Hermei, cum quibusdam propriis

187. Nifo, Agostino. Jn libros Posteriorum meditationibus. Nuper e Graeco in linguam analyticorum ... commentaria, cum duplici Latinam conversae (1553). 2°. OCLC.

textus translatione, Ioannis Argyropili videlicet, 200. Vergil. Opera, iam recens multis mendis, quae

et eiusdem nova ab ipso... recognitis ... ex negligentia irrepserant, expurgata, scoliis,

(1552). 2°. Primo 6.6461. interpretatione Graecorum ... (1553). 8°.

188. Thomas Aquinas. /n metaphysicae libro Kallendorf 84; Pastorello. commentaria ... cum duplici texta, antiqua 1554

videlicet translatione et Argyropolea, nuperrime 201. Alexander of Aphrodisias. /n octo libros

_.. prioribus mendis expurgatis ... (1552/51). Topicorum . . . explicatio (1554). 2°. Edizioni, 1:

2°. Primo 6.6210; STC, 1: 106. 1059; IA 103.356; Primo 6.6487; Pastorello; 189. Thomas Aquinas. Jn octo Physicorum . .. libros STC, 1: 118.

commentaria ... cum duplici textus tralatione, 202. Cagnolo, Girolamo. /n constitutiones & leges

antiqua, et Argyropoli recognitis. Ad haec primi, secundi quinti, & duodecimi Pandectarum accessit Roberti Linconiensis in eosdem summa. (1554/53). 2°. BM, 136; /A 129.069; Shaaber

Quibus ... sunt additi Sancti Thomae libelli ad C26; STC, 1: 324. negocium physicum spectantes... (1552/51). 203. Cicero. Epistolarum familiarium libri XVI, Cum

2°. Primo 6.6566; Pastorello; STC, 1: 120. commentariis lodoci Badii Ascensii ordinariis, & 190. Zimarra, Marcantonio. 7abula dilucidationum aliorum doctissimorum virorum annotationibus

in dictis Aristotelis & Averrois opus (1554). 2°. Adams C1956; Edizioni, 4: 4392. loculentissimum (1552). 2°. STC, 3: 422. 204. Cicero. Rhetoricorum ad Herennium libri

1553 guatuor Alias, Ars nova, sive Nova rhetorica. 191. Arculano, Giovanni. Lucidissima in nonum Rhetoricorum de inventione libri duo Alias, Ars Raxis Expositi (1553). 2°. Adams A1543; vetus, seu vetus rhetorica. In Rhetorica ad Durling 251; Edizioni, 1: 2308; JA 106.907; Herennium, Hieronymi Capiduri et lodici Badii

Pastorello; STC, 2: 437. Ascensii commentaria, In Rhetoric de inventione.

192. Boiardo, Matteo Maria. Orlando inamorato M. Fabii Victorini, commentariorum libri duo insieme co i tre libri di Nicolo degli Agostini (1554). 8°. Edizioni, 4: 4397; Pastorello. nuovamente reformato per Ludovico Domenichi . 205. De Vio, Thomae. Super Praedicabilia Porphyrii

(1553). 4°. fA 121.273; STC, 1: 267. & Aristo. Praedicamenta, ac Posteriorum

193. Cagnolo, Girolamo. In lustiniani Codicem analyticorum libros .. . (1554), 2°. Pastorello; enarrationes tomus II [vol. 2 of no. 202] (1553). Primo 6.6343.

2°. Shaaber C26; STC, 1: 324. 206. Javelli, Crisostomo. Logicae compendium .. . 194. Dioscorides Pedanius. De medica materia ordinis praedicatorum opere ac doctrina iuxta libros quinque enarrationes ... quibus non librorum Logicae Aristotelis ordinem mirabili solum officinarum (1553). 4°. STC, 2: 511. brevitate confectum .. . (1554). 8°. Pastorello. 195. Horace. Omnia poemata cum ratione.. . 207. Joannes de Janduno. Quaestiones ... in scholiisque D. Erasmi Roterodami, Angeli duodecim libros metaphysica (1554). 2°. Politiani, M. Antonii Sabellici, Ludovici Caelii Pastorello. Rodigini, Baptistae Pii, Petri Criniti, Aldi 208. Nifo, Agostino. Aristotelis libros De coelo &

Manutii, Matthaei Bonsinis & Jacobi mundo commentaria . . . (1554). 2°. Pastorello; Bononiensis (1553). 2°. BM, 333; STC, 2: 136. Primo 6.5993. 959

Appendix D

209. Nifo, Agostino. Expositio ... collectanea commentaria, cum duplicis textus tralatione, commentariaque in tres libros... De anima antiqua videlicet & nova Francisci Vatabli nuper... recognita (1554). 2°. Primo 6.5943. nuperrime addita. . . (1555). 2°. BM, 45; , 210. Nifo, Agostino. /n Aristotelis libros Posteriorum Pastorello; Primo 6.6030; Shaaber A536; STC, 1:

analyticorum subtilissima commentaria cum 102. duplici textus translatione, loannis Argyropili 224. Thomas Aquinas. /n guatuor libros Aristotelis

(1554). 2°. Pastorello; Primo 6.6464. De Coelo & Mundo commentaria... Cum 211. Nifo, Agostino. /n via Aristotelis de intellectu duplici textus tralatione, antiqua videlicet, & fo. libri sex. Eiusdem de demonibus (1554), 2°. Argyropoli nova, diligenter recognitis ...

Adams N292. (1555). 2°. Pastorello.

212. Nifo, Agostino. Super libros Priorum Aristotelis 225. Timaeus of Locri. Pithagorei De mundi anima,

Commentaria... (1554). 2°. BM, 49; Pastorello; & natura libellus. A Ludovico Nogarola com. in

Primo 6.6426; STC, Lt: 114. Latinum conversus (1555). 8°. Pastorello; STC, 213. Philoponus, Joannes. /n tres libros De anima 3: 272. Aristotelis breves annotationes, ex 226. Vergil. Opera omnia innumeris pene locis ad dissertationibus Ammonii Hermei, cum veterum Petri Bembi Cardinali et Andreae

quibusdam propriis meditationibus. Nuper e Naugerii exemplarium fidem postrema hac Graeco in linguam Latinam conversae (1554). editione castigata... (1555). 2°. Adams V492;

2°. BM, 44; Pastorello; Primo 6.5945. Kallendorf 87; STC, 3: 393.

214. Simplicius. Commentaria ... in treis libros De 227. Zigabenus, Euthymius. Orthodoxae fidei anima Aristotelis de Graeca lingua in Latinum dogmatica (1555). 2°. Adams E112; BM, 51; nuperrime translata, Evangelista Lungo Asulano Pastorello. interprete (1554/1553). 2°. BM, 44; Pastorello; 1556

Primo 6.5944. 228. Boethius. Dialectica... in pristinum candorem

215. Themistius. Paraphrasis in Aristotelis a Martiano Rota restituta... quibus adiecta est Posteriora, et Physica, In libro... De anima... Disputatio Alexandri Aphrodisii de diffinitione

Hermolao Barbaro... interprete...necnon (1556). 2°. Edizioni, 2: 2709-10. contradictionum solutiones Marci Antonii 229. Castiglione, Baldessare. // Cortegiano (1556). Zimarrae ... in librum tertium De anima nuper 8°, Edizioni, 3: 2059; OCLC. a... D. Ludovico Nogarola... Latinitate 230. Corpus iuris civilis. Institutiones iuris civilis libri donatam, ac... scholiis illustratam (1554). 2°. Hil... nuper e Graeco in Latinum per lac.

Pastorello; Primo 6.5894; STC, 1: 128. Curtium conversi. (1556). 16°. Edizioni, 4: 6702. 216. Valerius, Maximus. Dictorum factorumque 231. Fuchs, Leonhart. De curandi ratione libri octo

memorabilium libri novem (1554). 8°. OCLC. ... (1556). 8°. Pastorello.

1555 232. Galen. /n Aphorismos Hippocratis commentarii , 217. Alexander Trallianus. Libri duodecim Razae septem, recens per Gulielmum Plantium De pestilentia libellus. Omnes nunc primum de Cenomanum Latinitate donati (1556). 8°. Graeco accuratissime conversi... & emendati, Durling 1960; STC, 2: 12. per loannem Guinterium Andernacum (1555). 233. Zimarra, Marcantonio. 7abula dilucidationum 8°. Durling 150; Edizioni, 1: 1116; [A 103.402; in dictus Aristotelis et Averrois ... (1556). 8°.

Pastorello; STC, 1: 39. BM, 743; Pastorello. Pastorello. 234. Burana, Giovanni Francesco. Super libros

218. Javelli, Crisostomo. Quaestiones (1555). 8°. 1557

219. Nifo, Agostino. Zopicorum libri octo, cum Primorum resolutorium Aristotelis ex Graeco in Augustini Niphi clarissimis commentartis (1555). Latinum sermonem ... conversos praeclarissima

2°. BM, 51; JA 108.310. commentaria... Quibus Hieronymi Bagolini

220. Philoponus, Joannes. Libros Priorum Veronensis in eosdem libros... accesserunt

resolutivorum ... commentariae annotationes ex perbreves annotationes (1557). 2°. Edizioni, 2: colloquiis ... Ammonii Hermeae ... (1555). 2°. 4044; JA 127.818; Pastorello; STC, 1: 314.

Adams P1041; Primo 6.6429. 235. Joannes de Janduno. Quaestiones super Parvus 221. Simplicius. Commentaria in quatuor libros De naturalibus: cum Marci Antonii Zimarae De coelo... Noviter fere de integro interpretata... movente et moto, ad Aristotelis & Averrois

(1555). 2°. Adams A1786; Primo 6.5994. intentionem .. . (1557). 2°. OCLC 222. Thomas Aquinas. /n libros Aristotelis Peri 236. Compendium orationum nuper reformatum et hermenias et Posteriorum analyticorum, cum multis devotissimis auctum orationibus. (1557).

antiqua textus tralatione, atque nova Ioannis 24°. Edizioni, 4: 5358. Argyropyli... (1555). 2°. Pastorello; Primo 237. Nifo, Agostino. /n libros Aristotelis de

6.6344. generatione & corruptione interpretationes &

223. Thomas Aquinas. /n libros Aristotelis De commentaria .. . (1557). 2°. BM, 45; Pastorello;

generatione & corruptione castigatissima Primo 6.6031. 960

Catalogue of Non-Music Editions

238. Nifo, Agostino. Zopicorum libri octo... interprete (1558). 2°. Adams T456; BM, 47; commentariis nunc a quamplurimis mendis Primo 6.6226. expurgati... (1557/56). 2°. Adams A1 887; 252. L’Uficio volgare della gloriosissima Vergine, &

Pastorello; Primo 6.6489. madre di Dio Maria Secondo |’uso della Chiesa 239. Pico della Mirandola, Giovanni. Omnia opera Romana (1558). 12°. Essling 508. (1557). 2°. BM, 514; Pastorello; STC, 2: 586. 253. Zimarra, Marcantonio. Zabula dilucidationum

240. Thomas Aquinas. /n octo Physicorum in dictis Aristotelis & Averrois (1558). 2°. Aristotelis libros commentaria ... cum duplici Adams 2.163. textus tralatione, antiqua, & Argyropoli 1559 recognitis. Ad haec accessit Roberti 254. Alexander of Aphrodisias. Excerpta in Lincolniensis in eosdem summa .. . (1557). 2°. Aristotelis librum Elenchorum. .. recens a

Pastorello; Primo 6.6568; STC, 1: 120. Gaspare Marcello Montagnanensi in Latinam 241. Thomas Aquinas. /n libros Aristotelis Peri linguam conversa (1559). 2°. Edizioni, 1: 1064; hermeneias & Posteriorum analyticorum, cum IA 103.362. antigua textus translatione, atque etiam nova 255. Alexander of Aphrodisias. Quaestiones Ioannis Argyropylis . . . (1557/55). 2°. Pastorello; naturales et morales et de Fato, Hieronymo

Primo 6.6346. Bagolino Veronensi Patre, & loanne Baptista

1558 filio interpretibus. De anima liber primus,

242. Almodiano d‘incerto autore (Ottaviano di Hieronymo Donato ... interprete: De anima Amadio per Girolamo Scotto, 1558). 8°. Shaaber liber secundus una cum commentario de

A183. Mistione, Angelo Caninio Anglariensi interprete

243. Ammonius. Commentaria in librum Porphyrii _.. (1559). 2°. Adams A681; Edizioni, 1: 1065;

de quinque vocibus, et in Aristotelis TA 103.363; Pastorello.

praedicamenta ac Perihermenias (1558). 2°. 256. Alexander of Aphrodisias/Piccolomini. /n

Edizioni, 1: 1606; JA 104.920. quatuor libros Meteorologicorum Aristotelis

244. Breviarium Romanum (1558). 4°. Edizioni, 3: commentatio. Alexandro Piccolomineo interprete

3556; Pastorello. (1559). 2°. Edizioni, 1: 1066.

245. Nifo, Agostino. Expositiones In Aristotelis libros 257. Alexander of Aphrodisias. Super priora

Metaphysices. Quae omnia... denuo sunt... resolutoria Aristotelis explanatio, a loanne

recognita, ac erroribus ... repurgata... Bernardo Feliciano in Latinum conversa... (1558/59). 2°. Adams A1854; BM, 47; (1559). 2°. Edizioni, 1: 1067; IA 103.364; Primo

Pastorello; Primo 6.6212; STC, 1: 107. 6.6429.

246. Nifo, Agostino. Expositio super octo Aristotelis 258. Ammonius. Commentaria in librum Porphyrii

... libros De physico auditu, cum duplici textus de quinque vocibus et in Aristotelis

121. Pastorello.

tralatione, antiqua videlicet nova eius . .. praedicamenta ... studii Petrus Rosetinus .. . (1558/59). 2°. Pastorello; Primo 6.6570; STC, 1: (1559). 2°. Edizioni, 1: 1607; IA 104.921; 247. Philoponus, Joannes. Commentaria in libros De 259. Aristotle. Organum seu libri ad logicam

generatione, & corruptione Aristotelis: ex attinentes, Severino Boethio interprete (1559). colloquiis Ammonii Hermeae, propriisque eius 8°. Edizioni, 1: 2915; JA 108.424; Pastorello. considerationibus. Hieronymo Bagolino 260. Compendium orationum, nuper reformatum & Veronensi interprete ... (1558). 2°. Pastorello; auctem,; in quo orationes illae devotissimae,

Primo 6.6032. guas Ludophus Cartusiensis de vita Christi. . . 248. Philoponus, Joannes. Aristotelis Physicorum composuit, sunt repositae (1559). 12°. Edizoni,

libri quatuor ... Philoponi commentariis. Quos 4: 5357. nuper ad Graecorum codicum fidem summa 261. Natta, Marcantonio. Consiliorum sive diligentia restituit loannes Baptista Rosarius . . . responsorum clarissimi & celeberrimi (1558). 2°. BM, 52; JA 108.361; Primo 6.6592; iurisconsulti ... tomus primus [—quartus]|

STC, 1: 123. (1559). 2°. STC, 2: 455.

249. Philoponus, Joannes. Commentaria in libros 262. Nifo, Agostino. Commentariaque in tres libros

Posteriorum analiticorum...denuo... Aristotelis de anima (1559). 2°. BM, 44;

castigata, ac ad Graecorum exemplar... collata Pastorello; Primo 6.5946; STC, 1: 99. ... (1558/59). 2°. Primo 6.6465; STC, 1: 116. 263. Nifo, Agostino. Dilucidarium ... metaphys250. Simplicius. Commentaria in octo libros... De icarum disputationum, in Aristotelis Decem & physico auditu, nuper quam emendatissimis quatuor libros Metaphysicorum .. . (1559). 2°. exemplaribus, innumeris pene locis integritati Pastorello; Shaaber N129; STC, 2: 467. restituta, et ab innumeris erroribus...castigata 264. Nifo, Agostino. Commentaria in libros

... (1558). 2°. Primo 6.6569. Meteorologicorum, et in librum De mistis, sive

251. Themistius. Paraphrasis in duodecimum librum quartum Meteororum ab antiquis nuncupatum et Aristotelis. De prima philosophia, Mosé Finzio ordinatum ... (1559). 2°. Primo 6.6262. 961

Appendix D 265. Nifo, Agostino. Commentationes in librum 278. Aristotle. De physico auditu libri octo. . .

Averrois de substantia orbis. Ad illustrem scholiis et variis argumentis exornati Averrois principem Salerni Rubertum Secundum ... varii generis in eosdem digressiones, Sanseverinum (1559). 2°. Pastorello. documenta, ac quaestiones ... Zimarae (1560). 266. Nifo, Agostino. Super libros Aristotelis Peri 8°. Primo 6.6572; STC, 1: 121. hermenias, De interpretatione ...commentaria, 279. Aristotle. Organum hoc est libri ad logicam

a quampluribus erroribus ... expurgata,ac.. . attinentes, Severino Boethio interprete scholiis nuper illustrata (1559). 2°. Pastorello; (1560/59). 8°. Edizioni, 1: 2922.

Primo 6.6402. 280. Cagnolo, Girolamo. /n constitutiones et leges 267. Nifo, Agostino. Super libros Priorum.. . primi secundi quinti & duodecimi Pandectarum commentaria quamplurimis .. . annotationibus (1560/61). 2°. Adams C109; Edizioni, 3: 298; [A

illustrata (1559). 2°. Primo 6.6436. 129.073.

268. Nifo, Agostino. Zopicorum libro octo... 281. Joannes de Janduno. Acutissimae quaestiones commentariis nunc a quamplurimis mendis in duodecim libros Metaphysicae ad Aristotelis,

expurgati (1559). 2°. Primo 6.6491. & magni commentatoris [Averroes] intentionem 269. Orationes. Compendium orationum nuper disputatae...cum...Zimmarae in easdem... reformatum & auctum (1559). 12°. BM (app.); annotationibus (1560). 2°. Adams J62.

Edizioni, 3: 3563. 282. Nifo, Agostino. Commentaria in libros 270. Philoponus, Joannes. Commentaria in libros meteorologicorum, & in librum De mistis, sive

Posteriorum analiticorum ...denuo... guartum Meteororum ab antiquis nuncupatum et castigata, ac ad Graecorum exemplar... collata ordinatum ... (1560). 2°. BM, 48; Pastorello;

(1559). 2°. Primo 6.6465. Primo 6264.

271. Philoponus, Joannes. Commentaria in libros De 283. Nifo, Agostino. Dilucidarium metaphysicarum

generatione & corruptione ... ex colloquiis disputationum, in Aristotelis Decem & quatuor

Ammonii Hermeae, propriisque eius libros Metaphysicorum .. . (1560). 2°. Pastorello. considerationibus. Hieronymo Bagolino.. . 284. Nifo, Agostino. Super libros Aristotelis Peri interprete (1559). 2°. Pastorello; Primo 6.6034. hermenias, De interpretatione ... commentaria,

272. Philoponus, Joannes. /n tres libros De anima a quampluribus erroribus ... expurgata, ac... _.. breves annotationes, ex dissertationibus scholiis nuper illustrata (1559/60). 2°. BM, 49 ; Ammonii Hermei, cum quibusdam propriis Primo 6.6403. meditationibus, nuper e Graeco in Latinum 285. Philoponus, Joannes. Commentaria super libros

conversae et... emendatae (1559). 2°. Priorum resolutoriorum ... variis eiusdem

Pastorello; Primo 6.5948. annotationibus, et quaestionibus ex... Ammonii 273. Philoponus, Joannes. Aristotelis Physicorum Hermeae colloquiis referta, Lucilli Phylalthaei libri quattuor ... commentariis ... Quos nuper Latinitate donata .. . (1560). 2°. Primo 6.6432. ad Graecorum codicum fidem summa diligentia 286. Philoponus, Joannes,. /n tres libros De anima

restituit loannes Baptista Rasarius .. . (1559). ... breves annotationes, ex dissertationibus 2°. BM, 52; /A 108.396; Pastorello; STC, 1: 123. Amonii Hermei... (1560). 2°. BM, 44; Durling

274. Themistius. Paraphrasis in Aristotelis 278; Primo 6.5949; STC, 1: 99. Posteriora & Physica. In libro item de anima... 287. Plazon, Stephanus/Donato. Secunda editio

Hermolao Barbaro interprete . . . contradict- Donati noviter correcti et emendati: una cum ion um solutiones Marci Antonij Zimarrae.. . tractatu de generibus nominum (1560). 2°.

Eiusdem Themistij paraphrasem in librum Pastorello. Tertium de Anima nuper... Ludovico Nogarola 288. Psalmista secundum consuetudinem Romanae Veronensi latinitate donatam (1559). 2°. BM, 54; Ecclesiae (1560). 8°. BM; Edizioni, 3: 3865.

Pastorello. 289. Simplicius. Comentationes accuratissimae in 1560 praedicamenta (1560). OCLC.

275. Alexander of Aphrodisias. Super priora resolu- 290. Themistius. Themistii paraphrasis in Aristotelis

toria Aristotelis subtilissima explanatio, a loanne Posteriora & Physica. In libro item de anima... Bernardo Feliciano inLatinum conversa (1560). Hermolao Barbaro patricio Veneto interprete 2°. Edizioni, 1: 1068: [A 103.365; Pastorello; ... contradictionum solutiones Marci Antonij

Primo 6.6431; Shaaber A471; STC, 1: 114. Zimarrae ... Eiusdem Themistij paraphrasem in 276. Alexander of Aphrodisias. Super priora librum Tertium de Anima nuper ... Ludovico resolutoria Aristotelis explanatio, a loanne Nogarola Veronensi latinitate donatem (1560). Bernardo Feliciano in latinum conversa 2°, Adams T453; Pastorello; Primo 6.5895; STC, (1560/59). 2°. Adams A685; Edizioni, 1: 1069. 1: 128, BM, 54. 277. Aristotle. De anima libri tres... Averrois item 291. Thomas Aquinas. /n tres libros Aristo. De varii generis. in eoxdem digressiones, ac annot- anima... cum duplici textus translatione:

ationes ... emendatae Marci Antonii Zimarae antiqua scilicet & nova Argyropyli ... (1560). (1560). 8°. Edizioni, 1: 2918; Primo 6.5846. 2°. BM, 44; Pastorello; Primo 6.5950. 962

Catalogue of Non-Music Editions

1561 coelo, & mundo commentaria, quae... absolvit 292. Alexander of Aphrodisias. Commentaria in Petrus de Alvernia. Cum duplici textus tralatione

duodecim Aristotelis libros de prima antiqua videlicet, et loannis Argyropili nova /// philosophia, interprete loanne Genesio recognitis ... (1562). 2°. BM, 45; Primo 6.5996. Sepulveda ... (1561). 2°. Adams A691; 1563 Edizioni, 1: 1070; [A 103.368; Primo 6.6216. 307. Alexander of Aphrodisias. Jn octo libros

293. Alexander of Aphrodisias/Piccolomini. /n Topicorum Aristotelis explicatio. In caeteris quatuor libros Meteorologicorum Aristotelis quidem libris usitatam interpretationem secuti commentatio .. . Alexandro Piccolomineo sumus, sed multis partibus, quam antea, interprete. Cui accessit eiusdem Alexandri emendatiorem: Septimum vero M. Antonius Piccolominei De iride brevis tractatus . . . Muretus nunc primum latinum et eleganter (1561). 2°. Edizioni, 1: 1071; [A 108.447; interpretatus est... (1563). 2°. Adams A668;

Pastorello; Primo 6.6265. Edizioni, 1: 1072; IA 103.369; Pastorello; Primo

294. Breviarium monasticum ritum et morem 6.6492-93.

Monachorum ordinis S. Benedicti (1561). 8°. 308. Balduini, Girolamo. Expositio in librum

Bohatta 1263. primum Posteriorum Aristotelis, dilucidata a

295. Joannes de Janduno. Super libros Aristotelis loanne Thoma Zancha .. . Additis additionibus De anima (1561). 2°. Adams J64; STC, t: 159, et annotationibus Io. Vincentii Colle Sarnensis

2: 192. (1563). 2°. Adams B108; Pastorello; STC, |:

296. Thomas Aquinas. In libros Meteorologicorum 190.

... commentaria, cum duplici textus interpre- 309. Bembo, Pietro. // terzo volume delle lettere tatione, una Francisci Vatabli, antiqua alltera, (1563). 8°. Adams B593; BM, 80; Pastorello.

denuo... expurgata... (1561). 2°. BM, 48; 310. Bembo, Pietro. Le Prose... nelle quali si

Primo 6.6266. ragiona della volgar lingua (1563). 12°. Adams

1562 B576; Edizioni, 2: 1251; JA 116.469; STC, 1: 297. Antoninus, St., abp. of Florence. Opera 193.

utilissima et necessaria al viver christiano 311. Breviarium Romanum (1563). 4°. Edizioni, 3:

(1562). 12°. Edizioni, 1. 2028; STC, 1: 68. 3184.

298. Bembo, Pietro. // primo volume delle lettere 312. Cacciaguerra, Bonsignore. Trattato della (1562). 12°. Adams B593; BM, 80; Edizioni, 2: communione (1563). 12°. Pastorello; Edizioni, 3:

1246; JA 116.466; Pastorello; STC, 1: 190. 63. 299. Bembo, Pietro. // secondo volume delle lettere 313. Cacciaguerra, Bonsignore. Trattato della (1562). 12°. Adams B593; BM, 80; Pastorello. tribulatione (1563). 12°. Edizioni, 3: 64. 300. Bembo, Pietro. // guarto volume delle lettere 314. Cicero. Rhetoricorum ad Herennium libri HII. (1562). 12°. Adams B593; BM, 80; Pastorello. Et De inventione libri duo. (1563). 8°. Edizioni,

301. Breviarium monasticum secundum ritum et 4: 4453.

morem Monachorum ordinis S. Benedicti de 315. Simplicius. Commentaria in quatuor libros De

observantia Casinensis congregationis: alias coelo Aristotelis ... (1563), 2°. BM, 45; Sanctae Iustinae (1562). 4° Bohatta 1055/1265; Pastorello; Primo 6.5997.

Edizioni, 3: 3573; Essling 1074. 316. Terence. Comoediae sex. Accuraté sané & 302. Bonaventura, St. // devoto et pio misterio diligenter emendatae, annotationibusque Ant. dell’ humana redentione (1563). 12°. JA 121.840. Goveani illustrae .. . (1563). 8°. STC, 3: 250. 303. Sacro Bosco, Joannes. De sphaera emendata: 317. Zimarra, Marcantonio. Limitationes

Eliae Vineti Santoni scholia in eundem theorematum (1563). 2°. Adams Z162. Sphaeram, ab ipso authore restituta...(1562). 1564

8°, STC, 3: 100. 318. Augustine, St. Seconda parte de Sermoni di

304. Thomas Aquinas. Commentaria in duodecim Santo Agostino, Chrisostomo, Bernardo, et libros Metaphysicorum ... Cum duplici textus Basilio tradotti in volgare da Galeazzo tralatione, antiqua scilicet et nova, recens addita Florimentio (1564). 4°. Edizioni, 1: 3386;

Bessarionis Cardinalis .. . recognitis: F. Pastorello.

Bartholomaei Spinae ...in eadem commentaria 319. Joannes de Janduno. /n libros Aristotelis De ... locorum quorundam defensiones, suis nunc coelo & mundo quae extant quaestiones

singulorum librorum, ac lectionum locis, ab subtilissimae: quibus nuper consulto adiecimus Antonio Andrea apparenter impugnatis, insertae Averrois sermonem de substantia orbis .. .

_.. (1562), 2°. Primo 6.6218. (1564). 2°. Pastorello.

305. Thomas Aquinas. Commentaria in libros 320. Simplicius. Commentaria ... in treis libros De

Aristotelis Peri hermenias et Posteriorum anima... de Graeca lingua in Latinam analyticorum ... tralatione ... Ioannis nuperrime translata. Evangelista Lungo.. . Agyropili (1562). 2°. BM, 49; STC, 1: 112. interprete (1564). 2°. BM, 44; Pastorello; Primo

306. Thomas Aquinas, /n quatuor libros .. . De 6.5952. 963

Appendix D

321. Thomas Aquinas/Grosseteste. In octo 338. Celsus, Aurelius Cornelius. De re medica libri Physicorum Aristotelis libros commentaria. . . octo. Q. Sereni medicinale poema. Rhemnii Cum duplici textus tralatione, antiqua & poema pond. & mensuris. Cum adnotationibus, Argyropoli recognitis. Ad haec accesit Roberti et correctionibus R. Constantini (1566). 8°. Lincolnensi in eosdem summa... (1564). 2°. Durling 919; Edizioni, 3: 2721; TA 135.106;

Pastorello; Primo 6.6576. Pastorello, STC, 1: 395.

322. Vicomercato, Francesco. /n octo libros... De 339. Cicero. Epitolae ad Atticum, ad M. Brutum, ad naturali auscultatione commentarii. Nunc denuo Quinctum fratrem .. . (1566). 8°. Edizioni,

recogniti, et eorundem librorum e Graeco in 4:4472. Latinum per eundem conversio... (1564). 2°. 340. Filalteo, Lucillo. Commentarii in duos primos

BM, 52; Primo 6.6575; STC, 1: 122. libros ... Auculatorios nunc primum in lucem 1565 editi (1566). 2°. Primo 6.6595. 323. Breviarium Romanum (1565). 8°. Bohatta 263; 341. Giraldi Cinthio, Giovan Battista. G/i

Essling 1082. Hecatommithi... Parte prima (1566). 4°. BM,

324. De Vio, Thomas. Super Praedicabilia Porphyrii 305; Pastorello; Shaaber G213; STC, 2: 61. & Aristo. Praedicamenta, ac Posteriorum 342. Giraldi Cinthio, Giovan Battista. G/i

analyticorum libros (1565). 2°. Pastorello. Hecatommithi.. . nella quale si contengono tre 325. Filalteo, Lucillo. Commentarii in duos primos Dialoghi della vita civile. Parte seconda (1566). libros Ausculatorios nunc primum in lucem editi, 4°. BM, 305; Pastorello; Shaaber G213; STC, 2:

cum quaestionibus, et responsis ... conscriptis 6l.

... (1565). 2°. Primo 6.6594, 343. Lombardi, Giovanni Francesco. Divowic 326. Nifo, Agostino. Jn... libros Posteriorum eorum, quae de balneis, aliisque miraculis analyticorum ... commentaria, cum duplici Puteolanis scripta sunt... Adjectis Balneis textus translatione loannis Argyropili videlicet, Aenariarum, necnon locis obsurioribus non

et elusdem nova ab ipso... recognitis.. . inutilibus scholiis ...(Impensis A. Sanviti [G. (1565). 2°. BM, 50; Primo 6.6467. Scotto printer] Venetiis; venundatur apud A. 327. Ovid. Heroidum epistolae, et Auli Sabini Baccoum. Neapoli, 1566). 4° BM, 392; Durling Responsiones ... comm. G. Morillonius & J. B. 2841; STC, 2: 274.

Egnatius (1565). 8°. BM, 480. 344. Porphyry and Dexippus. /n Arist. 328. Rime degli academici affidati di Pavia (1565), Praedicamenta brevis explanatio. Dexippi in

OCLC. Aristotelis Praedicamenta quaestionum libri tres

329. Simplicius. Commentaria ... (1565). 2°. ... interprete J. B. Felicianus. (1566). 2°. BM,

Pastorello. 535; Pastorello.

330. Thomas Aquinas. /n libros... De generatione 345. Thomas Aquinas. Commentaria quae extant, in

et corruptione ... commentaria: cum duplici eos, qui Parva naturalia... duplici nuper textus textus tralatione antiqua videlicet et nova tralatione, antiqua videlicet recognita, et nova Francisci Vatabli... (1565), 2°. Pastorello; Nicolai Leonici apposita: Petri item de Alvernia

Primo 6.6036. ... (1566). 2°. JA 108.515; Primo 6.6530.

331. Vicomercato, Francesco. /n guatuor libros 346. Simplicius. Commentaria in octo libros Arist. Aristotelis meteorologicorum commentarii: et De physico auditu, nuper quam emendatissimis eorundem librorum e Graeco in Latinum (1565). exemplaribus ... (1566). 2°. BM, 52; Pastorello;

2°. BM, 48; Primo 6.6577; STC, 1: 120. 1566 347. Vicomercato, Francesco. Commentarii in

332. Augustine, St. Le devote meditationi con li tertium librum Aristotelis De anima .. . (1566). soliloquii et il manuale nella volgar lingua 2°. Pastorello; Primo 6.5396.

tradotte (1566). 16°. Pastorello. 1567

333. Antoninus, St., abp. of Florence. Defecerunt 348. Aegidius Romanus, /n Arist. libros De

(1566). 16°. Edizioni. 1: 2039. generatione commentaria & quaest. super primo

334. Antoninus, St., abp. of Florence. Confessionale Marsilii Inguen, et Alberti de Saxonia (1567/68).

di Santo Antonino Arcivescovo Fiorentino, 2°. Adams A1792; Pastorello. utilissima & necessaria all’instruttione de’ 349. Aristotle. Organum seu libri ad logicam Sacerdoti (1566). 8°. Edizioni, 1: 2037; attinentes Severino Boethio interprete (1567). 8°.

Pastorello. Edizioni, 1: 2937; [A 108.538A; Pastorello.

335. Arioste, Ludovico. Rime ... Satire del 350. Bibbia volgare tradotte in volgare N. de Malermi medesimo, con i suoi argomenti, di nuovo (1567). 2°. Adams B1200; BM, 93; Edizioni, 2: rivedute & emendate, per M. Lodovico Dolce 1959; STC, 1: 221. (1566). 16°. Edizioni, 1: 2716; [A 107.518. 351. Burano, Giovanni Francesco. Super libros 336. Balbano, Bernardino da. Specchio di oratione priorum resolutorium Arist. ex Graeco in

(1566). 16°. Edizioni, 2: 1657. Latinum sermonem conversos praeclarissima

337. Bibbia volgare (1566). 2°. Edizioni, 2: 1958, commentaria... Quibus Hieronymi Bagolini.. . 964

Catalogue of Non-Music Editions

in eosdem libros accesserunt perbreves 367. Lippomano, Luigi. Espositioni volgare (1568). annotationes (1567). 2°. Edizioni, 2: 4045; IA 8°. Pastorello. 127.819; Pastorello; Primo 6.6434; Shaaber 368. Philoponus, Joannes. /n libros De generatione

A173; STC, 1: 114. & corruptione Aristotelis (1568). 2°. Pastorello. 352. Cicero. Epistolae familiares cum Hubertini, 369. Quintianus Stoa, Joannes Franciscus. De Philetici, Ascensii, et Egnatii, commentariis, syllabarum quantitate (1568). 8°. Pastorello. Pauli Manutii scholijs, ab ipso proxime 370. Valerius Maximus. Dictorum factorumque

recognitis (1567). 2°. Edizioni, 4: 4476. memorabilium libri novem com. Oliverius 353. Javelli, Crysostomo. Epitome... in universam Arzignanensis (1568). 2°. BM, 708.

Aristotelis ... tam naturalem, quam 1569

transnaturalem (1567). 8°. Pastorello; Primo 371. Balduini, Girolamo. Varii generis in logica

6.5881; STC, 2: 171. quaesita... Expositio super proemium Epito354. Nifo, Agostino. /n lib. Elenchorum .. . expositio matum logicalium Averrois. Super additae ... nuper ... expurgata (1567). 2°. Primo 6.6510. ponderationes .. . Vincentti Collae Sarnensis 355. Nifo, Agostino. Libros de Coelo & Mundo (1569), 2°. Edizioni, 2: 216; [A 111.933. commentaria . . . (1567). 2°. BM, 45; Pastorello; 372. Cagnazzo, Giovanni. Summae Tabiaene quae

Primo 6.5999. Summa summarum merito appellatur pars prima

356. Paulus Aegineta. Opera... conversa, & |-secunda] (1569). 4°. Edizioni, 3: 278. illustrata commentariis. Adjectae sunt 373. Cicero. Rhetoricorum ad Herennium libri annotationes Jacobi Goupyli (1567). , 8°. guatuor... (1569). 2°. Edizioni, 4: 4490.

Durling 3562. 374. Landi, Bassiano. /n tres... libros De anima...

357. Paulus Nicolettus Venetus. Logica magna ab eodem e Graeco in Latinum .. . conversos,

(1567). 2°. Pastorello. oppido quam elegans ac nova expositio. . .

358. Philoponus, Joannes. Olympiodori. In Meteora (1569). 2°. Primo 6.5378. Arist. commentarii... Philoponi scholia In 375. Nifo, Agostino. Expositio super octo... libro primum Meteorum ... loanne Baptista Camotio De physico auditu, cum duplici textus tralatione, _.. interprete (1567). 2°. BM, 48; Pastorello. antigua videlicet, et nova eius... ab eodem 359. Quintilian, De institutione oratoria’ libri duode- Augustino ... castigatis, Averrois (1569). 2°. cim... argumentis P. Gallandij elucidati. De- BM, 52; Primo 6.6578. clamationes, quibus addidimus P. Belingenij Ce- 376. Nifo, Agostino. Super libros ... Peri hermenias,

ci nati in primam & secundam annotationes .. . De interpretatione ... commentaria a (1567). 2°. Adams Q42; BM, 546; Pastorello. quampluribus erroribus ... expurgata, ac... 360. Simplicius. Commentarii accuratissimae in scholiis nuper illustrata (1569). 2°. Primo

praedicamenta Aristotelis .. . (1567). 2°. BM, 6.6104. 49; Pastorello; Primo 6.6372; Shaaber A481; 377. Nifo, Agostino. Super libros Priorum . . .

STC, 1: 113. commentaria... quamplurimis . . .

361. Zaphirus, Philippus. /n libros Analyticorum annotationibus illustrata (1569). 2°. Primo Posteriorum Aristotelis explanatio (1567/68). 2°. 6.6435.

Adams 270. 378. Nifo, Agostino. Aristotelis Topicorum libri octo, 1568 cum... commentariis, nunc a quamplurimis 362. Achillinus, Alexander. Opera omnia in unum mendis expurgati. (1569), 2°. IA 108.554; Primo collecta... Cum annotationibus Pamphili Monti 6.6494. (1568). 2°. Edizioni, 1: 219; [A 100.397; 379. Philoponus, Joannes. Commentaria in libros —

Pastorello; Shaaber A26; STC, 1: 9. posteriorum analiticorum Aristotelis. (1569). 2°. 363. Alexander of Aphrodisias. Commentaria in I BM, 50. librum posteriorum resolutivorum Aristotelis... 380. Simplicius. Commentarius in Enchiridion Andrea Gratiolo Tusculano interprete (1568). 2°. epicteti Philosophi Stoici... Angelo Caninio

Edizioni, 1: 1073; STC, 1: 115. interprete (1569). 2°. Adams $1211; Pastorello.

364. Aristotle. De coelo libri quatuor. De generat- 381. Sacro Bosco, Joannes. De sphaera (1569). 8°. ione et corruptione libri duo. Meteorologicorum STC, 3: 100. libri quatuor ... Quibus D. Marci Antonii 382. Terence. Comoediae omnes. Comment. Aelius

Zimarae contradictionum solutiones in dictis Donatus... (1569). 2°. Adams T363; BM, 664;

Arist. et Aver. (1568). 8°. Edizioni, 1: 2938. Pastorello.

365. Boethius. Dialectica. In qua quidem emendanda _—_ 383. Thomas Aquinas. Quaestiones disputatae

adhibuit Martianus. Rota diligentiam (1568). 2°. (1569). 2°. Pastorello.

Edizioni, 2: 2717, STC, 1: 265. 1570

366. Cicero. Officiorum libri tres, commentantibus 384. Boccaferro, Lodovico. Explanatio libri primi Petro Marso, Francisco Maturantio, & Ascensio physicorum Aristotelis (1570). 2°. Edizioni, 2:

.. . (1568). 2°. Edizioni, 4: 4480. 2553; Pastorello. 965

Appendix D 385. Boccaferro, Lodovico. Lectiones in Aristotelis Ficini, & ad Graecum codicem accurata ... libros, quos vocant Parva naturalia (1570). castigatione. Quae recenti hac editione nostra 2°. Edizioni, 2: 2554; IA 120.462; Pastorello. multo quam antea ornatiora, & locupletiora sunt 386. Boccaferro, Lodovico. Lectiones in secundum facta opera, & diligentia lacobi Tapia Aldana ac tertium meteororum Aristotelis libros (1570). ... (1571/1570. 2°. BM, 524; Pastorello; STC, 2: 2°. Edizioni, 2: 2555; [A 120.461; Primo 6.6274. 606. 387. Cagnolo, Girolamo. /n constitutiones et leges 396. Pliny the Elder. Naturalis historiae libri triginti primi secundi quinti & duodecimi Pandectarum septem. Nunc demum ex Aldinis archetypis (1570). Edizioni, 3: 302; JA 129.081; Pastorello. pristino suo nitori accurati restituti (1571). 2°. 388. Girolamo Pistoia, Fra. Prediche (1570). 4°. Adams P1578; Pastorello.

Pastorello. 397. Regulae juris tam civilis, quam canonici a

389, Joannes de Janduno. Quaestiones, super Parvis diversis conscriptae ac collectae (1571). 2°.

naturalibus, cum Marci Antonii Zimara de Adams J490.

movente. Et Moto... quaestione ... per 398. Sacro Bosco, Joannes. Sphaera mundi (1571). Albratium Apulum . . . emendatae (1570). 2°. 8°. OCLC.

Pastorello; Shaaber J53; STC, 2: 192. 1572

390. Macrobius. /n somnium Scipionis lib. ii. 399. Alexander Trallianus/Rhases. Libri duodecim Saturnaliorum lib. vii. Ex varijs, ac vetustissimis Razae de pestilentia libellus. Omnes nunc codicibus recogniti, & aucti. (1570). 8°. STC, 2: primum de Graeco accuratissime conversi... &

297, emendati, per loannem Guinterium Andernacum

391. Natta, Marcantonio. Consiliorum sive (1572/73). 8°. STC, 1: 39.

responsorum clarissimi & celeberrimi 400. Bellamera, Aegidius de. Sacrosanctae iurisconsulti...tomus primus [—secundus] decisiones canonicae ab excellentissimis sacri

(1570). 2°. STC, 2: 455. palatii auditoribus collectae (1572/71). 4°.

392. Themistius. Themistii. Paraphraisis in Adams B484; Pastorello.

Aristotelis Posteriora & Physica. Inlibro...de 401. Bonaventura, St. Opusculorum theologicorum,

anima... Hermolao Barbaro... interprete... tomus primus (secundus). (1572/71). 2°. contradictionum solutiones Marci Antonij Edizioni, 2: 3027; Pastorello. Zimarrae in dictis eiusdem Themistij paraphra- 402. Decisiones sacri regii consilii Neapolitani, Ab

sem in librum tertium De anima nupera... ...1C. Clarissimis ... collecta, Mattheo de , Ludovico Nogarola... Latinitate donatem Afflictis, Antonio Capycio, Thoma Grammatico (1570). 2°. Adams T454; Primo 6.5897; STC, I: (1572). 4°. Shaaber N34; STC, 2: 450.

128. 403. Plutarch. Vitae comparatae Illustrium virorum,

393. Thomas Aquinas. /n tres libros De anima Graecoru[m] & Romanorum, ita digestae ut

Aristotelis expositio. (1570). 2°. Adams A1456. temporum ordo. seriesq{ue] constet, a ; 1571 Hermanno Cruserio (1572). 2°. Pastorello 394. Covarrubias y Leiva, Diego de, abp. /n varios 404, Plutarch. Moralia, quae usurpantur: sunt autem

civilis, ac pontificij iuris titulos, relectionum omnis doctrinae penus .. . omnes de Graeca in tomus primus [—secundus] (1571/1570). Latinam linguam transscripti summo labore,

Edizioni, 4: 7006; STC, 1: 473. cura ac fide: Guilielmo Xylandro Augustano 395. Plate. Omnia... opera tralatione Marsilij interprete (1572). 2°. Pastorello.

966

Appendix E

LOST EDITIONS PRINTED BY SCOTTO

The following list contains music editions that no longer survive, but were probably printed by the Scotto press between 1539 and 1572. Evidence of their existence comes from a variety of sixteenth- and early seventeenth-century sources. Privileges, fair catalogues, publishers’ book lists, and dedications of other

extant editions sometimes mention music books that have vanished. Titles existing only in reprinted editions suggest earlier editions. Books missing from a set or series of editions also count among lost music

publications. Finally, contemporary bibliographies such as Antonfrancesco Doni, La libraria (1550), Conrad Gesner, Pandectae (1548), Johann Cless, Unius seculi, eiusque virorum literatorum monumentis tum florentissimi .. . (1602), Georg Draudius, Bibliotheca librorum germanicorum classica . . . (1611), and Paulus Bolduanus, Bibliotheca philosophica (1616), which often contain titles without publisher’s names, help to identify missing editions.' The present list does not include all titles without publisher’s names found in these sources. Only those editions for which other evidence points to a possible Scotto publication appear on the list. Titles listed in sixteenth- and early seventeenth-century sources which agree

in all respects with extant editions except for minor discrepancies in their dates, have been omitted. Furthermore, printed editions without publishers mentioned in Fétis, Biographie universelle des musiciens, and Becker, Die Tonwerke des XVI. und XVII. Jahrhunderts, have been excluded from the present list because of the unreliability of these later bibliographies.’ 1. 1544. Boyleau. Motetti a 5. A privilege taken out by Scotto in 1544 lists two editions of Boyleau motets: “L’opere de motetti a quattro et cinque voci de Simon Boile francese.’? Only an edition of Boyleau’s four-voice motets was printed by Scotto in 1544 (Catalogue no. 38).

1. A facsimile of the Draudius catalogue appears in Verzeichnisse deutscher musikalischer Bucher, 1611 und 1625, ed. Konrad Ameln (Bonn, 1957). The Balduanus inventory appears in D. W. Krummel, Bibliotheca Bolduaniana: A Renaissance

Music Bibliography, Detroit Studies in Music Bibliography 22 (Detroit, [972). An inventory of Pandaectae appears in Lawrence F. Bernstein, “The Bibliography of Music in Conrad Gesner’s Pandectae (1548).” 2. A complete list of lost Venetian editions with unknown publishers appears in Lewis, “Antonio Gardane and his Publications of Sacred Music,” 1: 301-13. 3, Agee, “The Privilege and Venetian Music Printing,” 213.

967

Appendix E 2. 1544. Menon. Motteti. Scotto also requested in the same 1544 privilege listed for the above Boyleau edition to print “li madregali, et moteti di Tugduali.’’* Presumably the composer referred to in the privilege is Tuttovale Menon. No edition of Menon’s works survives from that year. Scotto did issue a madrigal book by Menon in 1549 (Catalogue no. 79).

3. 1546-50? Ghibel. Madrigali a 3. The first edition is lost. Scotto reprinted it in 1551 (Catalogue no. 110). It is listed in Doni, La libraria (1550). Since

the Scotto firm issued all the first editions of Ghibel’s music before 1554, it most likely printed this one. 4. Before 1548. Francisci Adriani. Cantiones et Mutetti. Listed in Gesner, Pandectae. Only editions of madrigals by Francesco Adrtani dating from 1568 to 1570 survive, but it is clear that an edition of motets and an edition of either madrigals or canzone villanesca alla napolitana appeared at least twenty years earlier (see no. 5) 5. Before 1548 to 1570? Adriani. Canzone & napolitane.a 4, Lib. 1. No edition survives. Listed in Scotto 1596 catalogue. All extant editions by Adriani appeared between 1568 and 1570

(see no. 4).

6. 1548. Schaffen. Madrigali a 4. Domenico Splendore, bookman and friend of Scotto, was granted a privilege on 14 December 1548 to publish “Li moteti et madrigali a 4 et 5 voci, d’ Henrico Scafen.’” Scotto printed two books of five-voice motets by Schaffen in

1564 (Catalogue nos. 253-54). 7. 1548. Schaffen. Madrigali a 5. See no. 6. 8. Before 1550. Buus, Motetti a 5. Listed in Doni, La libraria. Either Scotto or Gardano could have printed this edition. 9. Before 1550. Berchem. Madrigali a 4, Lib. 1 Listed in Doni, La libraria. Scotto printed an edition in 1555 (Catalogue no. 139) which appears to be a first edition.

10. Before 1550. Gero. Madrigali a 3, Lib. 2. | The first edition is lost. Gardano reprinted it in 1556. Listed in Dont, La dibraria. Since Scotto issued most of Gero’s

first editions, it is possible that he was responsible for this edition too. 11. Before 1550. Lupacchino and Tasso. Lib. 1 a 2.

The first edition is lost. Gardano’s earliest extant copy (1559**) states that many errors were corrected (“da molti errori emendato”’), suggesting that Scotto issued the earlier edition. Also listed by Doni. 12. 1552—55. Nasco. Canzon villanesche alla napolitana a 4, Lib. 1. The first edition is lost. Scotto reprinted this title in 1556 (Catalogue no. 154). The lost edition could have been printed either by Scotto or by Gardano.

13. ca. 1555. Gero. Motetti a 6. Listed in the Scotto 1596 catalogue. Scotto might have printed this edition at the same time as he issued Gero’s two

books of five-voice motets (Catalogue nos. 140-41). 14. ca. 1558. Striggio. Madrigali a 5, Lib. 1. The first edition is lost. Scotto reprinted this title in 1560 (Catalogue nos. 185—86). All of Striggio’s first editions were printed by the Scotto firm. 15. 1559. Rore, Madrigali cromatici a 4, Lib. 1. Mentioned by Pitoni, Notitia de’ contrapuntisti, who might have confused it with the five-voice madrigals that Scotto

printed in the same year (Catalogue no. 168).

4. Ibid. 5. Ibid., 222.

968

Lost Editions 16. ca. 1560. Contino, Madrigali a 4, Lib. 1. Contino mentions this edition in the dedication of his Primo libro de madrigali a 5 (Catalogue no. 179). It is also listed in the Scotto 1596 catalogue and Morosi catalogue.® 17. ca. 1560. Contino, Madrigali a 4, Lib. 2. Mentioned in the Scotto 1596 catalogue and Morosi catalogue.’ 18. ca. 1560. Striggio, Madrigali a 6, Lib. 1. The first edition is lost. Scotto reprinted the volume in 1561 (Catalogue no. 206). The firm published all of Striggio’s first editions.

19. 1561. Ghibel, Mottetti, Lib. 2. Listed by Pitoni, Notitia, as printed by Scotto, where Ghibel is described as chapel master of the city of Messina.®

20. Before 1564. Nola, Madrigali a 5, Lib. 1. ; Nola originally published a series of four books of five-voice madrigals of which only Book 2 dating from 1564 survives. Since Gardano published the second book, he might have issued the first as well. In 1597, the seminary in Benevento owned Nola’s Book. 4 a 5-6.”

21. 1564. Gombert, Motetti a 5, Lib. 1. Listed in Draudius, p. 1210 and Bolduanus, p. 193. Scotto printed the first edition of this title in 1539 (Catalogue no. 4). He printed a revised edition in 1541 (Catalogue no. 19) and 1550 (Catalogue no. 108). An edition by Gardano dated 1552 survives. Since Scotto was responsible for most of the surviving editions, it is possible that he brought

out this title again in 1564. 22. 1564. Gombert, Motetti a 5, Lib. 2. Listed along with Gombert's First Book in Draudius, p. 1210 and Bolduanus, p. 193. Scotto printed the first edition of this title in 1541 (Catalogue no. 20). He printed another edition in 1550 (Catalogue no. 102)., and Gardano issued one in 1552. Since Scotto was responsible for most of the surviving editions, it is possible that he brought out this

title again in 1564. 23. ca. 1564? Ragazzo. Madrigali a 5, Lib. }. No edition survives. Listed in the Scotto 1596 catalogue and Morosi catalogue.'® Scotto printed Ragazzo’s First Book

of Four-voice Madrigals in 1564 (Catalogue no. 252). 24. 1565. Lasso, Madrigalium . . . libri tres, 4. voc. This entry in the Frankfurt fair catalogue of Spring, 1565,'! as well as Draudius, p. 1230, and Bolduanus, p. 182, implies that there were three books of four-voice madrigals by Lasso published. Only the first book survives; nothing is known of a second and third book. The listing might refer to the second and third books of the c:four-voice Libri

delle Muse series, which contain a few Lasso madrigals. 25. Before 1567. Troiano, Canzone villanesca alla napolitana a 3, Lib. 1. The first edition is missing. Scotto reprinted an edition containing both Books 1 and 2 in 1568. (Catalogue no. 309).

Since Scotto issued all of Troiano’s first editions, he must have printed this one. 26. Before 1567. Troiano, Canzone villanesca alla napolitana a 3, Lib. 2. See no. 25 above.

27. 1568. Camillo Borghese, Madrigali a 4. Listed both in Scotto 1596 catalogue and Morosi catalogue, as well as in a privilege of 27 March 1568.!2

6. Tim Carter, “Music Selling in Late Sixteenth-Century Florence: The Bookshop of Piero di Giuliano Morosi,” Music and Letters 70 (1989), no. 129. 7. Ibid., no. 130. 8. No. 21; also mentioned in Larson, “Unaccompanied Madrigal in Naples,” 206. 9. Mentioned in Larson,“Unaccompanied Madrigal,” 169. 10. Carter, “Music Selling,” no. 86.

11. Albert Gihler, Verzeichnis der in den Frankfurter und Leipziger Messkatalogen, no. 443. 12. Carter, “Music Selling,” no. 139.

969

Appendix E 28. 1568. Varoto, Motetti a 5 A later edition was published by Angelo Gardano in 1595. Listed in the Spring, 1569 Frankfurt fair catalogue’? as well as Draudius, 1212; Cless, p. 404; and Bolduanus, p. 193. Since Scotto printed Varoto’s Masses a 6, Lib. 1 in

, 1563, he probably also issued Varoto’s other sacred publications. 29. 1568. Varoto, Himni a 5 A later edition was published by Tini in Milan in 1590. Listed in the Spring, 1569 Frankfurt fair catalogue!‘ as well as Draudius, 1215; Cless, p. 404; and Bolduanus, p. 216/3. Since Scotto printed Varoto’s Masses a 6, Lib. | in 1563,

he probably also issued Varoto’s other sacred publications. 30. Before 1569. Monte, Madrigali a 6, Lib. 1. The first edition is lost. Merulo reprinted the title in 1569. Scotto printed Monte’s first editions at this time, but either

Merulo or Gardano could have also issued the first edition. 31. 1569? Chamaterd, Magnificats a 5. No edition survives. Listed in the Scotto 1596 catalogue. Scotto printed all but one of Chamaterd’s editions in 1569

(Catalogue nos. 316-20). 32. 1569? Chamaterod, Introits a 5. See no. 31.

33. 1569? Chamaterd, Vespers & Salmi a 8. See no. 31. 34, Before 1570. Primavera, Villotte a 3, Lib. 3. The first edition is lost. Scotto reprinted the title in 1570 (Catalogue no. 352). It was most likely printed by Scotto,

but also possibly by Merulo. 35. ca. 1570? Pinello, Canzoni napolitane a 3, Lib. 1. No edition exists, but Scotto printed Books 2, 3, and 4 of Pinello’s canzoni (see Catalogue nos. 374, 394). 36. Before 1572. Scotto, Le Vergine a 3. The Scotto catalogue of 1596 lists it under “Madrigali a tre voct.” Girolamo Scotto issued a set of three-voice madrigals under the title of Le Vergine, possibly containing the entire Petrarchan cycle. 37. 1572? Conversi, Napolitane a 5. Lib. 2.

Scotto printed Book 1 in 1572 (Catalogue no. 388). The edition is listed in the Morosi catalogue.!° 38. 1568-72 ? A. Romano, Lamentations a 5, Lib. 1. Listed in Scotto 1596 catalogue; could date from 1568—72 or perhaps later. 39. 1568-72 ? A. Romano, Lamentations a 5, Lib. 2. See no. 38. 40. ca. 1560- 1572? Spontone, Madrigali a 6. Listed in the Morosi catalogue.'® Could have been printed by either Scotto or Gardano. 41. 1566—72? Vinci, Lamentations a 4. Listed in the Scotto 1596 catalogue. Could date from 1566—72 or perhaps later.

42. 1566-72? Vinci, Motetti 3 vv, Lib. 2. See no. 41. 43. 1566~72? Vinci, Motetti 8 vv. See no. 41.

13. Gohler, Verzeichnis, no. 943. 14. Ibid., no. 944, 15. Carter, “Music Selling,” no. 74 16. Ibid., no. 19.

970

Indexes

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INDEX OF SHORT TITLES OF SCOTTO MUSIC EDITIONS

Aaron, Lucidario in musica (1545) 399 Bianchini, Intabolatura de lauto libro primo (1563) 228 Abondante, Intabolatura di lautto libro secondo (1548) 67 Bianco, Primo libro delle canzoni napolitane a 3

Adriani, Primo libro de madrigali a 5 (1570) 335 (1572) 386 Adriani, Primo libro de madrigali a 6 (1568) 298 Bonagiunta, Canzone napolitane a 3 secondo libro

Adriani, Secondo libro de madrigali a 5 (1570) 336 (1566) 279 Alberti, Primo libro delle messe 5 vv (1549) 76 Bonagiunta, Primo libro de canzon napolitane a 3 Amorosi (Gli) concenti: Primo libro delli madrigali a 4 (1565) 267

(1568) 312 Bonizzoni, Primo libro delle canzoni a 4 (1569) 315

Arcadelt, Primo libro di madrigali a 4 (1541) 17, 17A; Borrono, Intavolatura di lauto libro ottavo (1548) 68;

(1544) 37; (1546) 56; (1553) 119; (1556) 151; (1559) (1563) 227

165; (1561) 191; (1568) 299; (1570) 337 Boyleau, Motetta quatuor vocum (1544) 38 Arcadelt, Secondo libro de madrigali a 4 (1539) 1 Buus, Libro primo delle canzoni francese a 5 (1550) 100 Arcadelt, Terzo libro dei madrigali a 4 (1539) 2

Aretino, Lamentationes & passiones (1563) 234 Califano, Prime libro delle canzoni a 3 (1567) 282 Aretino, Libro primo delli madrigali cromati a 4 (1549) 81 | Candido, Mascherate musicali a 3, a 4, & a 5 (1571) 364

Aretino, Madrigali a 5, 6, 7, & 8 (1558) 156 Carli, Motetti del Laberinto, libro primo 5 vv (1554) 120 Aretino, Sacra responsoria 4 vv (1544) 44; (1563) 248 Casulana, Primo libro de madrigali a 4 (1568) 301 Arpa, Todino, Nola, Canzon napolitane a 3 (1566) 271 Casulana, Secondo libro de madrigali a 4 (1570) 339 Arpa, Todino, Nola, Canzon napolitane a 3 libro secondo Cataldo, (Salvadore di), Tutti i principii de’ canti

(1566) 280 dell’Ariosto (1559) 170

Azzaiolo, Primo libro de villotte alla padoana a 4 Cavatoni, Scielta de madrigali a 4 & 5 (1572) 387

(1560) 189; (1564) 250 Chamaterd, Liber primus missarum 5 & 7 vv (1569) 316

Azzaiolo, Secondo libro de villotte alla padoana a 4 Chamatero, Secondo libro delli madrigali a 4 (1569) 320

(1564) 251 Chamaterd, Secondo libro delli madrigali a 5 (1569) 317 Chamaterd, Terzo libro delli madrigali a 5 (1569) 318

Baccusi, Missarum 5 & 6 vv liber primus (1570) 338 Chamater6, Quarto libro delli madrigali a 5 (1569) 319 Baccusi, Secondo libro de madrigali a 5 (1572) 384 Ciccarelli, Motetta cum quinque vocibus (1568) 302 Baccusi, Secondo libro de madrigali a 6 (1572) 385 Ciera, Madrigali del Laberinto a 4 libro primo (1554) 121 Barberiis, Intabulatura di lautto libro quarto (1546) 60 Clerico, Madrigali a 5 libro primo (1562) 207 Barberiis, ntabulatura di lautto libro quinto (1546) 61 Clerico, Madrigali a 5 libro secondo (1562) 208 Barberiis, Jntabulatura di lauto libro sesto (1546) 62 Contino, Hymni per totum annum (1561) 194 Barberiis, Intabolatura di lauto libro nono (1549) 97 Contino, Introitus & Haleluia 5 vv (1560) 175 Barberiis, Jntabolatura di lauto libro decimo (1549) 96 Contino, Missarum quatuor vocum, liber primus Barbetta, Primo libro dell’intavolatura de liuto (1569) 314 (1561) 192 Becchi, Libro primo d’intabulatura da leuto (1568) 300 Contino, Modulationum cum sex vocum liber primus

Berchem, Primo libro de gli madrigali a 4 (1555) 139 (1560) 176 973

Index of Short Titles Contino, Modulationum quinque vocum liber primus Galilei, Fronimo dialogo (1568) 306, 306A

(1560) 177 Garugli, Modulationum quinque vocum liber primus (1560) 178 Gero, Libro primo delli madrigali a 4 a notte negre

Contino, Modulationum quinque vocum liber secundus (1562) 209

Contino, Primo libro de madrigali a 5 (1560) 179 (1549) 77 Contino, Threni Jeremiae (1561) 193 Gero, Libro secondo delli madrigali a 4 a notte negre Converso, Primo libro delle canzoni a 5 (1572) 388 (1549) 78 Corfini, Primo libro de motteti 5—8 vv (1571) 365 Gero, Primo libro dei madrigali & canzoni francese a 2

Corona della morte (1568) 313 (1540) 16; (1545) 50; (1552) 114; (1562) 210

Corona delle napolitane a 3 & 4 (1570) 360; (1572) 397 Gero, Motetti 5 vv, libro primo (1555) 140

Corteccia, Libro primo de madrigali a 4 (1544) 39 Gero, Motetti 5 vv, libro secondo (1555) 141 Cottone, Primo libro de madrigali a 5 (1572) 389 Gero, Janequin, Quaranta madrigali insieme trenta canzoni francese (1551) 113

Dattari, Villanelle a 3, 4, & 5 (1368) 303 Ghibel, Motetta super plano cantu 5 vv, liber primus De diversi autori li madrigali a 4 a notte negre libro . (1546) 57; (1548) 69

secondo (1552) 117 Ghibel, Primo libro di madrigali a 3 a notte negre

De diversi autori li madrigali a 4 a notte negre libro terzo (1551) 110

(1552) 118 Ghibel, Primo libro de madrigali a 4 (1554) 123

Desiderio (Il), Primo libro a 4 (1566) 276 Giovanni Maria da Crema, /ntabolatura di lauto libro terzo Desiderio (Il), Secondo libro de madrigali a 5 (1566) 277 (1546) 58 Diverse modulationes que sub titulo fructus Liber primus Gombert, Motectorum liber secundus 4 vv (1541) 21

4 wv (1549) 90 Gombert, Motectorum quinque vocum liber secundus 5 vv (1549) 87 Gombert, Musica quatuor vocum vulgo motecta liber

Diverse modulationes que sub titulo fructus Liber primus (1541) 20; (1550) 102

Dolci (1), & harmoniosi concenti a 5, libro primo primus (1539) 3; (1541) 18

(1562) 219 Gombert, Musica vulgo motecta guingue vocum liber (1562) 220 Gombert, Pentaphthongos harmonia liber primus

Dolei (}, & harmoniosi concenti a 5, libro secondo primus (1539) 4; (1550) 108

Dolei (1), frutti, primo libro de madrigali a 5 (1570) 357 (1541) 19 Donato, Napolitane & alcuni madrigali a 4 (1550) 101; Gorzanis, Primo libro di napolitane in leuto (1570) 362

(1551) 109; (1556) 152 Gorzanis, Secondo libro de intabolatura de liuto

Donato, Secondo libro de madrigali a 4 (1568) 304 (1563) 230 Doni, Dialogo della musica (1544) 40 Gorzanis, Secondo libro delle napolitane a 3 (1571) 370

Dorati, Madrigali a 5, 6, & 8 libro secondo (1559) 166 | Dorati, Stanze della Vittoria Colonna a 4 (1570) 340 Hoste da Reggio, Primo libro delli madrigali a5 Dotte (Le), et eccellente compositioni de i madrigali a 5 (1554) 125

(1540) 15 Hoste da Reggio, Secondo libro delli madrigali a 4 _

Duc, Primo libro de madrigali a 4 (1570) 341 (1554) 126

Hoste da Reggio, Terzo libro delli madrigali a4

Elettione de motetti 3 vv, libro primo (1549) 91 (1554) 127

Ferretti, Canzone alla napolitana a 5 (1567) 283; Intabolatura de lauto de diversi autori (1563) 246 (1568) 305; (1569) 334; (1571) 366

Ferretti, Secondo libro delle canzoni alla napolitana a 5 Jacquet of Mantua, Himni vesperarum 4 & 5S vv (1566) 269

(1569) 321; (1571) 367 Jacquet of Mantua, Messe del Fiore 5 vv, libro primo

Ferretti, Zerzo libro delle napolitane a 5 (1570) 342; (1561) 195

(1572) 390 Jacquet of Mantua, Messe del Fiore 5 vv, libro secondo

Ferretti, Quarto libro delle napolitane a 5 (1571) 368 (1561) 196 Festa, // vero libro di madrigali a 3 (1547) 66 Jacquet of Mantua, Motecta quatuor vocum liber primus

Festa, Primo libro di madrigali a 3 (1551) 1123 (1559) 174 (1539) 6; (1544) 41 Festa, Magnificat tutti gli otto toni 4 vv (1554) 122 Jacquet of Mantua, Motecta quingue vocum liber primus

Fiesco, Madrigali a 4, 5, & 6 et dialoghia7 & 8 (1539) 5

(1563) 229 Jacquet of Mantua, Motetti 4 vv, libro primo (1565) 256

Fiorino, Nobilta di Roma: villanelle a 3 (1571) 369 Jacquet of Mantua, Motetti 5 vv, libro primo (1565) 257 Francesco da Milano, Intabulatura di lauto libro primo Jacquet of Mantua, Motetti 5 vv, libro secondo (1565) 258

(1563) 244 Jacquet of Mantua, Orationes complures (1567) 284

(1563) 245 (1554) 124 (1548) 75 : (1555) 148

Francesco da Milano, Intabolatura de lauto libro secondo Jacquet of Mantua, Primo libro de le messe 5 wv Francesco da Milano, Intabolatura de lautto libro settimo Jacquet of Mantua, Secondo libro de le messe 5 vv Francesco da Milano, Borrono, Intabulatura di lauto libro Janequin, Premier livre a quatre voix (1550) 104 secondo (1546) 63

Francesco da Milano, Perino, /ntabolatura de lauto libro La Martoretta, Madrigali a 4 (1548) 70

terzo (1563) 247 Lagudio, Primo libro di madrigali a 5 (1563) 231 974

Index of Short Titles Lambertini, Septem psalmi poenitentiales a 4 (1569) 322 Musica quinque vocum motteta paribus vocibus (1543) 36

Lando, Primo libro de madrigali a 4 (1558) 155 Musica spirituale libro primo di canzon et madrigali a5

Lasso, Primo libro de madrigali a 5 (1560) 180; (1563) 243 (1562) 211; (1567) 285

Lasso, Primo & secondo libro di madrigali a 5 (1559) 167 Nasco, Primo libro di canzon villanesche alla napolitana Lasso, Secondo libro di madrigali a 5 (1560) 181; (1562) a 4 (1556) 154; (1561) 197; (1565) 260

212; (1567) 286 Nola, Canzone villanesche libro primo et secondo a 3 (1567) 287 Nola, Liber primus mutectorum quinque vocum (1549) 80

Lasso, Terzo libro delli madrigali a 5 (1563) 232; (1541) 24

Lasso, Sacrae cantiones 5 vv, liber primus (1566) 270 Nola, Madrigali a 4 (1545) 51 Lasso, Sacrae cantiones 5 & 6 vv, liber secundus Nola, Primo libro delle villanelle alla napolitana a 3 & 4

(1565) 259 (1570) 349

Lhéritier, Moteti de la Fama libro primo 4 vv (1555) 142

Liber primus missarum quinque 4 vv (1544) 47 Palestrina, Mottetorum 5, 6, & 8 vv, liber secundus Libro secondo de li motetti 3 vv (1549) 92 (1572) 393 Libro terzo de d[iversi] autori li madrigali a 4 a notte Paolo Ferrarese, Passiones, Lamentationes, Responsoria

negre (1549) 94 (1565) 261

Lupacchino, Madrigali a 4 (1543) 32 Perego, Tutti li suoi madrigali a 4 (1555) 143 Lupacchino, Tasso, Primo libro a 2 (1560) 190; (1565) 268 — Perissone Cambio, Madrigali a 5 (1545) 49 Pesciolini, Primo libro di madrigali a 5 & 6 (1563) 235

Madrigali a 3 de diversi auttori (1559) 173 Phinot, Sacri & santi salmi di David 4 vv (1554) 138;

Madrigali aierosi a 4 (1558) 164 (1555) 144

Madrigali de la Fama a 4 (1548) 72 Pinelio di Ghirardi, Secondo libro delle canzoni napolitane Maistre Jhan, Symphonia quatuor vocibus (1543) 31 a 3 (1571) 374

(1544) 42 3 (1572) 394

Martinengo, Madrigali a quatro voce a misura di breve Pinello di Ghirardi, Terzo libro delle canzoni napolitane a Martinengo, Secondo libro de li madrigali a 4 (1548) 71 Policreto, Primo libro delle napolitane a 3 (1571) 383

Mazzone, Primo libro de madrigali a 4 (1569) 324 Ponte, Cinquanta stanze del Bembo (1558) 157 Mazzone, Primo libro de madrigali a 5 (1569) 323 Portinaro, Primo libro de madrigali a 4 (1563) 236 Mazzoni, Primo libro delle canzoni alla napolitana a 3 Portinaro, Vergine a 6 (1568) 307

(1569) 325 | Pratoneri, Harmonia Davidis psalmos 6 vv (1569) 328

Mazzoni, Secondo libro delle canzoni alla napolitana a 3 Pratoneri, Primo libro de madrigali a 5 (1568) 308

(1570) 343 Prima stella de madrigali a 5 (1570) 358

Melfio, Primo libro de gli madrigali a 4 (1556) 149 Primavera, Primo libro de canzone napolitane a 3

Menon, Madrigali d’Amore a 4 (1549) 79 (1565) 263; (1566) 272; (1570) 350 : Missae cum quatuor vocibus (1540) 11 Primavera, Secondo libro de canzone napolitane a 3

Missae cum quatuor vocibus paribus (1542) 26 (1570)351

Missale Romanum (1542) 400 (1543) 401; (1543) 402; Primavera, Terzo libro delle villotte alla napolitana a 3

(1552) 403; (1552) 404; (1558) 405; (1559) 406; (1570) 352 (1560) 407; (1560) 408; (1562) 409 Primavera, Primo libro de le napolitane a 4 (1569)329 Montagnana, Libro primo delle canzone a 4 (1558) 158 Primavera, Primo & secondo libro de madrigalia 5 & 6 Monte, Madrigali a 5, libro primo (1560) 182; (1570) 345 (1565) 262 Monte, Primo libro delli madrigali a 6 (1570) 347 Primo libro de gli eterni mottetti 5 & 6 vv (1567) 291 Monte, Secondo libro delli madrigali a 4 (1569) 327 Primo libro de motetti 6 vv (1549) 86 Monte, Secondo libro delli madrigali a 5 (1570) 346 Primo libro de motetti 5 vv (1549) 88 Monte, Secondo libro delli madrigali a 6 (1569) 326; Primo libro della raccolta di napolitane a 3 (1570) 361

(1571) 372 Primo libro delle justiniane a 3 (1570) 359; (1572) 398

Monte, 7erzo libro delli madrigali a 5 (1570) 348 Primo libro di madrigali a misura di breve [a note negre] Monte, Quarto libro delli madrigali a 5 (1571) 373 . (1847) 65; (1550) 107; (1552) 116; (1558) 163; Monte, Sacrarum cantionum 5 vv, liber primus (1572) 392 (1560) 188; (1567) 293 Morales, Magnificat liber primus 4 vv., 1542 27; (1545)55 Primo libro de le Muse a 5 (1561) 204

Morales, Missarum 4 vv, liber primus (1563) 249 Primo libro delle Muse a 3, madrigali de diversi autori Morales, Missarum quinque 4 vv, secundus liber (1544) 43 (1562) 221 Morales, Musica cum vocibus quatuor vulgo motecta

(1543) 34 Quattro libri delle villotte alla napolitana (1562) 226;

Morales, Quinque missarum 5 vv (1563) 233 (1565) 266

Motetti del Frutto 4 vv, libro primo (1562) 218 Quinque missae liber primus Svv (1540) 10 Motetti del Laberinto 4 vv, libro secondo (1554) 134 Quinque missarum 5 vv (1543) 33 Motetti del Laberinto 4 vv, libro terzo (1554) 135

Motetti del Laberinto 5 vv, libro quarto (1554) 136 Ragazzo, Madrigali a 4 libro primo (1564) 252 Musica de’ virtuosi della florida capella a 5 (1569) 333 Ragazzoni, Madrigali a quattro voci (1544) 45

Musica libro primo a 3 (1566) 281 Raimondo, Madrigali a 4, libro primo (1560) 183 Musica quatuor vocum paribus vocibus (1549) 89 Reulx, Madrigali a quattro voci (1560) 35 975

Index of Short Titles Romano, A., Primo libro delle canzoni alla napolitanaa 5 Striggio, Secondo libro de madrigali a 5 (1570) 354;

(1570) 344; (1572) 391 (1571) 377

Romano, A., Secondo libro delle napolitane a5 (1571) 371 = Striggio, Rore, // Cicalamento delle donne a 4—7 (1567)

Romano, A., Le Vergine & altri madrigali a 4 (1554) 128 289; (1569) 331 Rore, Madrigali a 5 (1542) 28; (1544) 46

Rore, Madrigali a 5, libro secondo (1562) 223 Terzo libro del Desiderio Madrigali a 4 (1567) 295 Rore, Terzo libro di madrigali a 5 (1548) 73; (15497) 99; Terzo libro delle Fiamme madrigali a 5 (1568) 311

(1562) 214 Tiburtino, Fantasie & recerchari a 3 (1549) 95

Rore, Madrigali a 5, libro quarto (1562) 215 Tiburtino, Musica diversa a 3 (1549) 84

Rore, Motetta quatuor vocum parium (1563) 242 Tortora, Primo libro de madrigali a 5 & 6 (1570) 355

Rore, Motetta quinque vocum (1545) 52 Troiano, Primo & secondo libro delle canzoni alla Rore, Primo libro delle Fiamme madrigali a 4 & 5 napolitana a 3 (1568) 309

(1565) 264; (1569) 330 Troiano, Quarto libro delle rime & canzoni alla napolitana

Rore, Primo libro de madrigali a 4 (1554) 130 a 3 (1569) 332

Rore, Primo libro de madrigali cromatici a 5 (1554) 129; Troiano, Terzo libro delle sue rime & canzoni a 3

(1559) 168; (1562) 213 (1567) 290; (1568) 310

(1554) 137 (1554) 133

Rore, Jacquet of Mantua, Sacri & santi salmi di David 4 vv Tudino, Madrigali a note bianche & negre cromaticho a 4

Rossetto, Lamento di Olimpia (1567) 288 Turturino, (11), Primo libro delle napolitane nel leuto Rotta, Intabolatura de lauto libro primo (1546) 64 (1570) 363 Ruffo, Armonia celeste madrigali a 5 (1559) 169

Ruffo, Madrigali a quatro voce libro primo (1545) 53 Varoto, Missarum liber primus 6 vv (1563) 239

Ruffo, Primo libro de madrigali a 4 a notte negre Veggio, Madrigali a quattro voci (1540) 12

(1556) 150; (1560) 184 Venturi, Secondo libro delle villanelle a 3 (1571) 379

Ruffo, Madrigali a 5 scielta seconda (1554) 132 Verdelot, Elletione de motetti 4 vv, libro primo (1549) 93

Ruffo, Madrigali a 6-8 (1554) 131 Verdelot, Intavolatura de li madrigali (1540) 13 Ruffo, Motetti 6 vv (1555) 145 Verdelot, Tutti li madrigali del primo et secondo libro a 4 Rufilo, Primo libro de madrigali a 4 (1563) 237 (1540) 14; (1545) 54; (1549) 85; (1552) 115;

Rufilo, Primo libro de madrigali a 5 (1561) 198 (1555) 146

Vicentino, Madrigali a 5 libro primo (1546) 59

Schaffen, Motettarum quinque vocum liber primus Villancicos de diversos autores a 2, 3, 4, & 5 (1556) 153

(1564) 253 Villotte alla napolitana a 3 (1566) 278

Schaffen, Motettarum quinque vocum liber secundus Vinci, Primo libro di madrigali a 5 (1561) 199;

(1564) 254 (1563) 240; (1566) 275

Schaffen, Madrigali a quatro voce a notte negre (1549) 82 Vinci, Terzo libro de madrigali a 5 (1570) 380

Schiavetto, Madrigali a 4 & 5 (1563) 238 Vinci, Primo libro de madrigali a 6 (1571) 381 Schiavetto, Motetti 5 & 6 vv, libro primo (1564) 254 Vinci, Primo libro della musica a 2 (1560) 187 : Scotto, Corona, Secondo libro delle canzoni alla Vinci, Primo libro di mottetti 5 vv (1558) 161

napolitana a 3 (1571) 375 Vinci, Secondo libro de motetti 5 vv (1570) 396

Scotto, Corona, Terzo libro delle canzoni alla napolitana Volpe, Primo libro de gli madrigali a 4 (1570) 147 a 3 (1571) 376

Scotto, Madrigali a 3 (1541) 22; (1549) 83 Waelrant, Canzon napolitane a 4 (1570) 265

Scotto, Madrigali a 3 (1570) 353 Werrecore, (Mathias Hermann), La Battaglia Taliana a 4 Scotto, Madrigali a quatro voce libro primo, (1542) 29 (1550) 103 Scotto, Primo libro dei madrigali a 2 (1541) 23; Wert, Madrigali del Fiore a 5, libro primo (1570) 200 (1551) 111; (1558) 159; (1562) 224; (1572) 395 Wert, Madrigali del Fiore a 5, libro secondo (1570) 202 Scotto, Secondo libro de madrigali a 2 (1559) 171 Wert, Primo libro de madrigali a 4 (1570) 203 Scotto, Terzo libro delli madrigali a 2 (14562) 225 Wert, Primo libro de madrigali a 5 (1570) 162 Scotto, Secondo libro delle Muse a 3 (1562) 216 Wert, Secondo libro de’ madrigali a 5 (1570) 201 Secondo libro de madrigali de diversi autori a notte negre Willaert, Corteccia, Canzone villanesche a 4 (1544) 48

a 4 (1567) 294 Willaert, Canzon villanesche alla napolitana a 4, libro (1570) 356 Willaert, Hymnorum musica (1542) 30; (1550) 106

Secondo libro delle Fiamme madrigali a 5 & 6 (1567) 292; primo (1548) 74

Secondo libro delle Muse a 4, madrigali ariosi (1559) 172 Willaert, Madrigali a 4 (1563) 241

Secondo libro de le Muse a 5 (1561) 205 Willaert, Motetti libro secondo 4 vv (1539) 8 Secondo libro di canzon francese a 4 (1549) 98 Willaert, Musica quatuor vocum vulgo motecta liber

Sex missae cum quinque vocibus (1542) 25 primus (1539) 7

Spontone, Primo libro di madrigali a 4 (1558) 160 Willaert, Musica quinque vocum vulgo motecta liber

Striggio, Madrigali a 5, libro primo (1560) 185; primus (1539) 9; (1550) 105

(1560) 186; (1566) 274 Willaert, Zerzo libro delle Muse a 3 di canzon francese

Striggio, Primo libro de madrigali a 6 (1561) 206; (1562) 217

(1566) 273 Z Napolit 3 lib j 1571) 382

Striggio, Secondo libro de madrigali a 6 (1571) 378 appasorgo, Napolitane a 3 libro primo (1571) 976

INDEX OF LIBRARIES

Abbeville, Bibliothéque Municipale: 399 330-33, 341-43, 345—46, 348, 350-52, 354, 357, Amsterdam, Toonkunst Bibliotheek: 275 359, 361, 365, 369-70, 374-76, 378-79, 381-83, Ann Arbor, William Clements Library: 306A, 401, 407 385-86, 388, 390~91, 393-97, 399 Aosta, Biblioteca Capitolare della Cattedrale: 145 Bonn, Universitatsbibliothek: 399

Assisi, Biblioteca Comunale: 175 Boston, Boston Public Library: 399

Augsburg, Staats- und Stadtbibliothek: 177~78, 200, Brescia, Biblioteca Queriniana: 4, 195 202, 213, 219-20, 223, 279-80, 296, 309, 325, 349, Bressanone, Biblioteca dell’ Abbazia di Novacella: 401

356, 370, 376, 379, 386, 397 Bressanone, Priesterseminar: 101, 138

Brussels, Bibliothéque du Conservatoire Royal de

Barcelona, Biblioteca Central: 85, 87, 93, 106 Musique: 378, 396 Barcelona, Biblioteca del Instituto espafiol de Brussels, Bibliotheque Royale de Belgique: 7, 29, 53,

musicologia: 66, 95 64, 73, 91-2, 95, 98, 100, 162, 182, 223, 241, 264,

Barcelona, Catedral: 85, 140, 182 289, 292, 311, 330, 399

Bergamo, Biblioteca Civica: 306, 314 Budapest, Liszt Ferenc Zenemivészeti Féiskola Berkeley, University of California: 46, 59, 79, 84, 279, Koényvtara: 80, 140

349, 352, 354, 376, 378-79, 399 Budapest, Orszagos Széchényi Kényvtar: 386 Berlin-Charlottenburg, Bibliothek der Hochschule fiir Burgos, Biblioteca Provincial: 36 Musik: 262

Berlin, Staatsbibliothek zu Berlin — PreuBischer Cambridge, King’s College: 273, 345, 348, 357,

Kulturbesitz: 12, 100, 181, 211-12, 216, 221, 232, 372-73

285-87, 399 Cambridge, University Library: 350-52, 360, 401

Bochum, Stadtbibliothek: 217 Carpi, Biblioteca Comunale: 402

Bologna, Biblioteca Universitaria: 40, 399, 401 Castell’Arquato, Archivio de] Duomo (Parochiale): 76, Bologna, Civico Museo Bibliografico Musicale: 8-9, 392 12, 15, 27, 29~30, 32, 34-36, 40, 42, 47, 49, 51-52, Castell’ Arquato, Chiesa Collegiata (Assunta): 393 65, 70, 77-78, 80, 85, 88-89, 95, 102, 106, 111-12, Cesena, Biblioteca Comunale Malatestiana: 195 114, 116-18, 124-25, 127, 132, 142, 144-46, 148, Chantilly, Bibliothéque du Musée Condé: 88, 136, 186, 151, 155, 158-60, 173, 175, 178, 184, 186-87, 190, 200, 206, 219-20 193, 198, 202, 207-8, 212-13, 217, 235, 239-40, Chapel Hill, University of North Carolina: 182, 407,

243, 259, 261-64, 266-69, 271, 273-74, 276-78, 409 280-81, 284, 288, 290, 292, 295, 299, 301-3, 305, Chatsworth, Duke of Devonshire Library: 250, 260, 306A, 307, 309-10, 313, 317, 320--21, 323-28, 265, 271, 280, 315, 325, 343, 349, 352, 359-60 977

Index of Libraries Chicago, Newberry Library: 40, 226, 271, 282 Los Angeles, University of Southern California, Coimbra, Biblioteca Geral da Universidade: 175, 194, University Library: 378

257, 393 Lucca, Biblioteca del Seminario: 212, 232

Cracow, Biblioteka Jagielloniska: 5—7, 9, 15, 18—24, 31, Lucca, Biblioteca Statale: 408 33-4, 44, 70, 86, 105, 108, 127, 131, 140, 145, 152,

162, 166, 171, 175-78, 193, 195-96, 209, 216-17, Macerata, Biblioteca Comunale: 313 221, 224~25, 239, 248-49, 252-55, 262-64, Madrid, Biblioteca Bartolomé March Servera: 84 268-69, 284, 293, 333, 341-42, 347, 356, 360, 375, Madrid, Biblioteca Municipal: 91, 92

384, 388 Madrid, Biblioteca Nacional: 293, 294, 401 Mantua, Biblioteca Comunale: 354

Dublin, Marsh’s Library: 273, 278, 304, 313, 326, 333, Maribor, KnjiZnica Skofijskega Arhiva: 105, 191

347-48, 358, 378, 381 Milan, Biblioteca del Conservatorio: 41, 87, 88, 120, 124, 176-78, 195, 196, 256, 258, 269, 326, 393

Eichstatt, Staatliche Bibliothek: 90 - Milan, Biblioteca e Archivio del Capitolare El Escorial, Real Monasterio de San Lorenzo: 222 Metropolitano: 401, 407 Milan, Biblioteca Nazionale di Brera: 399

Fabriano, Biblioteca Comunale: 175, 240, 262, 275 Modena, Archivio del Duomo: 175, 194 Ferrara, Biblioteca Comunale Ariostea: 369, 401 Modena, Biblioteca Estense: 49, 59, 73, 208, 273, 275,

Ferrara, Collezione Bonfiglioli: 170 322, 378, 396

369, 399 Ferretti: 401

Florence, Biblioteca del Conservatorio: 37, 40, 81, 115, Mogliano, Biblioteca Comunale Monsignor F A

Florence, Biblioteca Marucelliana: 399 Montserrat, Biblioteca de! Monestir: 76 Florence, Biblioteca Nazionale: 40, 54, 156, 198, 205, Munich, Bayerische Staatsbibliothek: 2-4, 6, 7-9, 12,

213, 215, 217, 272, 306, 325, 332, 347, 362-63, 14-15, 20-21, 31, 34, 44, 64, 69, 72, 76, 86, 89,

379, 386-87, 399 100, 102, 105, 109, 131, 136, 145, 157, 162, Florence, Biblioteca Riccardiana: 40, 157, 205, 213, 166-67, 176-79, 189, 195-96, 200-3, 209, 212, 273, 306, 331, 399 218, 220, 222, 233, 236, 239, 242, 250-51, 260, 262, 265, 273-74, 276-77, 281, 307-8, 311, 326, Gdansk, Biblioteka Polskie] Akademii Nauk: 387, 389 330, 333, 339, 341, 349, 350-52, 356, 375-76, 391,

Genoa, Biblioteca Universitaria: 230, 244, 247 397, 399 Munich, Universitatsbibliothek: 10, 15, 16, 18-21, 25,

The Hague, Gemeentemuseum: 180, 280, 399 158, 172 | Halsingborg, D Fryklunds Samling: 326

Hamburg, Staats- und Universitatsbibliothek: 52, 69 Naples, Biblioteca del Conservatorio: 399

Naples, Biblioteca Nazionale: 10, 28, 33, 47, 55, 167, Jena, Universitatsbibliothek: 5, 6, 9-11, 17, 17A, 185, 316

18-23, 25-30, 36 New York, New York Public Library: 3, 306A

Kassel, Landesbibliothek: 262, 308, 317-19, 356 Orvieto, Biblioteca Comunale Luigi Fumi: 326 Oxford, Bodleian Library: 1, 20, 399, 401

Leiden, Universiteits-Bibliotheek: 40 Oxford, Christ Church: 8, 168, 179, 188, 191, 204-5 Leipzig, Musikbibliothek: 61, 399

Leuven, Gilbert Huybens Collection: 25 Padua, Biblioteca Universitaria: 40 Lincoln, Cathedral Library: 170, 236 Palermo, Biblioteca Comunale: 240 Linképing, Stifts- och Landsbiblioteket: 263, 267, 271, Palermo, Biblioteca Nazionale: 3-9, 16, 399

278-80, 282, 290 Paris, Bibliothéque de |’ Arsenal: 399

Ljubljana, Narodna in Universitetna Knjiznica: 152, Paris, Bibliothéque Nationale de France: 1, 15, 18~21,

213 | 28, 40, 59, 64, 67, 74, 85, 107, 162, 166, 169, 174,

London, British Library: 7, 9, 11, 13, 19~21, 31, 36, 228, 230, 234, 241, 277, 283, 309-10, 317, 320, 40, 46—47, 50, 52, 56, 60, 64, 69, 75, 78, 80, 83-84, 323-24, 332, 341, 349-351, 354, 361, 370—71, 374, 87-88, 92, 95—96, 105, 110, 115, 130, 137, 139-41, 382-83, 388, 397-399 145, 149-50, 160-61, 163-64, 170, 17678, 194, Paris, Collection J Hanson: 167 209-10, 214, 216-17, 221, 233-34, 236—37, 242, Paris, Collection Lesure: 68 260-62, 266-67, 271-75, 277~80, 288-89, 292, Paris, Collection André Meyer: 130 304-7, 310-11, 313-14, 320-21, 325-28, 330-33, Paris, Collection G Thibault: 314 335-36, 338, 345-48, 351-52, 356, 358-61, Parma, Conservatorio di Musica Arrigo Boito, 369-70, 372-73, 375~78, 380-81, 383, 392, 399, Biblioteca Palatina: 306, 405, 407

401, 408 Pavia, Biblioteca Civica Bonetta: 401

London, Royal College of Music: 84, 93, 160 Perugia, Biblioteca Comunale: 399 Los Angeles, University of California: 14, 20 Perugia, Biblioteca dell’ Archivio del Stato: 406 978

Index of Libraries

Piacenza, Duomo: 195—96 Trier, Stadtbibliothek: 407

Pisa, Archivio di Stato: 195—96 Turin, Archivio di Stato: 262, 274, 285-87, 308, 331 Pistoia, Archivio Capitolare della Cattedrale: 48, 275, Turin, Biblioteca Nazionale: 333 373

Pistoia, Biblioteca Leoniana de! Seminario Vescovile: Udine, Biblioteca del Seminario Arcivescovile: 401

408 Uppsala, Universitetsbiblioteket: 58, 63, 64, 73, 86,

Porto, Biblioteca Publica Municipal: 183 153, 202

Regensburg, Proskesche Musikbibliothek: 19, 20, 33, Valladolid, Archivo de la Catedral: 77, 93, 117, 139,

136, 207, 264, 390, 393, 399 143, 158, 176, 204, 213-15, 219-20, 222~—23, 229,

Reggio Emilia, Archivio di Stato: 31 233, 243, 259, 270

Reggio Emilia, Biblioteca e Archivio Capitolare del Vatican City, Biblioteca Apostolica Vaticana: 18, 21,

Duomo: 409 31, 90, 122, 135, 165, 242, 399, 401

Reggio Emilia, Biblioteca Provinciale del Collegio Venice, Biblioteca dell’ Accademia Querini-Stampalia:

Missionario dei Cappucini: 401 406

Rimini, Biblioteca Civica Gambalunga: 306, 399 Venice, Biblioteca del Conservatorio di Musica Rochester (NY), Eastman School of Music, Sibley Benedetto Marcello: 162, 297, 334, 399 Music Library: 98, 103, 104, 115, 354, 378 Venice, Biblioteca e Istitutodella Fondazione Cini: 40, Rome, Archivio di San Giovanni in Laterano: 76, 192, 400

196 Venice, Biblioteca Nazionale Marciana: 2, 15, 40, 68,

Rome, Archivio Doria Pamphilij: 326, 330, 346, 348 94, 102, 122, 130, 157, 166, 175, 271, 274, 279,

Rome, Archivio di Santa Maria Maggiore: 33 280, 296, 314, 323, 340, 349-52, 355, 357, 360, Rome, Biblioteca Casanatense: 399, 407, 408 375—76, 383, 389, 399 Rome, Biblioteca del Conservatorio di Musica Santa Vercelli, Duomo: 119, 162, 199 Cecilia: 49, 99, 186, 256, 258, 264, 273, 277, 283, Verona, Accademia Filarmonica: 4, 10-11, 18, 20-21, 288, 291-292, 300, 306, 311, 313, 326, 345—46, 25-27, 30-31, 36, 40, 43, 49, 51, 57, 59, 71, 79, 82,

348, 357, 372-73, 377, 381, 388, 393 94, 100, 117, 126, 129, 131, 231, 238-39, 243, 264, Rome, Biblioteca Nazionale Vittorio Emanuele IJ: 399, 298, 313, 319, 348, 378, 381, 384-85, 387, 389

401, 405 | Verona, Biblioteca Capitolare: 202, 273, 399

Vesoul, Bibliothéque Municipale: 211-12, 232, 305,

San Francisco, San Francisco State University: 317, 344, 371

375 Vicenza, Biblioteca Bertoliana: 7-8

San Marino, California, Henry E Huntington Library: Vienna, Gesellschaft der Musikfreunde: 23, 40, 43-44,

312 47, 107, 120-23, 128, 133-36, 149

Seville, Biblioteca de la Casa Ducale de Medinaceli: Vienna, Osterreichische Nationalbibliothek: 12, 19-21,

17A, 95 28-29, 58-59, 64, 67, 74-75, 96-97, 101, 134—36,

Siena, Biblioteca Comunale: 399 227-28, 245—47, 251, 266, 271-72, 279, 296, 300, Siena, Biblioteca dell’ Accademia Chigiana: 44 307, 309-10, 315, 325, 329, 332-33, 343, 350-52,

Spoleto, Archivio del Duomo: 346 354, 360, 364, 370, 373-76, 378—79, 382-83, 386, Stockholm, Kungliga Biblioteket: 277, 304, 308, 322 392, 397, 399 Stockholm, Kungliga Musikaliska Akademiens Viterbo, Biblioteca Comunale degli Ardenti e prov A

Biblioteket: 156, 197, 277, 304, 308, 322 Anselmi: 409

Stonyhurst, Stonyhurst College Library: 401

Szombathely, Katolikus Egyhazmegyei Kényvtar: 139, Washington DC, Library of Congress: 4, 97, 176, 178,

143, 147 209, 227, 246, 300, 333, 348, 369, 380-81, 399

Wolfenbiittel, Herzog-August-Bibliothek: 5, 9, 14~15,

Tallahassee, Florida State University: 405 20, 28, 39, 49, 62, 96, 276, 281, 293— 94, 337, 339,

Tarazona, Catedral: 30 353 Toulouse, Bibliotheque Municipale: 33

Trent, Biblioteca Comunale: 66, 113 Zaragoza, Biblioteca Capitular de la Seo: 10 Trent, Castello del Buonconsilio, Biblioteca Musicale Zatec, Capuchin monastery: 375, 376, 398

Feininger: 405, 408 Zurich, Zentralbibliothek: 20, 366-68, 371, 390

Trent, Museo Provinciale d’Arte: 177 Zwickau, Ratsschulbibliothek: 38-39, 42, 45, 251, 260,

Treviso, Biblioteca Capitolare: 57 271, 280, 310, 315, 325, 328, 349, 374-76, 394, 397

979

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INDEX OF FIRST LINES

The index of first lines is divided into four parts: Latin Texts, Italian Texts, French and Spanish Texts, and Instrumental Music. The first three sections contain polyphonic vocal music, while the fourth section consists of solo lute music, lute songs, and untexted polyphonic pieces. Spelling of first lines has been standardized, where incipits of the same text would otherwise be separated. Individual parts of multi-sectioned works are indexed as well, with a parenthetical reference to the part’s number and the first line of the prima parte. More than one setting of the same text by the same composer is distinguished with bracketed numbers. All vocal pieces are four-voiced unless otherwise indicated. The second column presents composer attributions given in the music

edition. Conflicting attributions are noted in parentheses. Both the arranger and the composer of the original vocal piece are given for lute intabulations. The spelling of composers’ names has been standardized to follow New Grove. The boldface number refers to the entry in the catalogue; the number in plain type refers to the number of the piece within the entry. LATIN TEXTS

Abeuntes pharisei consilium Maistre Jhan: 31 3 . Abraam pater vester exultavit (Svv) Ghibel: 57 33 Absterget Deus omnem lachrymam Boyleau: 38 7

Accingite vos sacerdotes (2p. of Plange quasi virgo) (Svv) Rore: 52 10

[Accipite] Jocunditatem gloriae (Svv) Contino: 175 14

|Ad coenam agni providi] Cuius corpus sanctissimum Contino: 194 6 [Ad coenam agni providi] Cuius corpus sanctissimum Jacquet of Mantua: 269 6 [Ad coenam agni providi] Cuius corpus sanctissimum Willaert: 30 8; 106 8

Ad Dominum cum tribularer clamavi Verdelot: 93 5 Ad Dominum cum tribularer clamavi [no attribution]: 34 9

Ad me omnes qui (S5vv) Contino: 175 29 Ad nichilum deductus (2p. of Domine quis habitabit) (Svv) Rore: §2 17

Ad te Domine animam meam (5vv) Perissone Cambio: 88 18 Ad te Domine preces nostras fundentem Willaert: 7 22

[Ad te levavi] Animam meam (5vv) Ghibel: 57 13 Ad te levavi oculos meos (5vv) Gombert: 20 11; 102 11

Ad te levavi animam (5vv) Nola: 80 26

981 ,

Ad te levavi oculos meos (5vv) Monte: 392 3 Ad te levavi oculos meos (Svv) Rore: 291 4

Index of First Lines Ad te suspiramus (2p. of Vita dulcedo & spes nostra salve) (3vv) Gombert: 21 19

Ad tua confugio supplex Willaert: 89 13

Adest dies celebris [no attribution]: 34 10 Adest nobis dies celebris (Svv) {no attribution]: 36 10

{Adesto Sancta Trinitas] Te caelorum Jacquet of Mantua: 269 9 [Adesto Sancta Trinitas] Te caelorum Willaert: 30 15; 106 15

Adiuro vos (2p. of Sicut lilium inter spinas) (3vv) [no attribution]: 91 17

Adiuro vos filiae Jerusalem Clemens: 135 1 Adiutorium nostrum in nomine Domini (2p. of Ad te levavi) (Svv) Monte: 392 3

Adiuva nos Deus (2p. of Domine ne memineris ) (Svv) Monte: 392 12

Adiuva nos Deus (3p. of Deus venerunt gentes) Conseil: 89 7

Adonai Domine Deus Jacquet of Mantua: 6 11 Adoramus te Christe [1] Ferrarese: 261 10 Adoramus te Christe [2] Ferrarese: 261 27 © Adonai Domine Jesu Christe (Svv) Gombert: 4 8

Adoramus te Christe & benedicimus tibi (Svv) Carli: 120 20

Adoramus te Jesu Christe [1] Ferrarese: 261 3 Adoramus te Jesu Christe [2] Ferrarese: 261 7 Adoremus crucis signaculum (2p. of O crux gloriosa) (Svv) Gero: 141 |

Adoremus regem magnum Dominum (5vv) Lupi: 87 6

Adorna thalamum tuum (6vv) Contino: 176 16

Adriacos numero si quis (Svv) Willaert: 9 7; 105 7 Adversum me loquebantur (5vv) Lasso: 270 5 Adversum me susurrabant omnes Gombert: 21 7

Aequalis aeterno patri (3vv) Willaert: 92 28

Aestimatus sum Aretino: 44 26; 248 26

Aestimatus sum cum descendentibus (Svv) Contino: 193 21

Aestimatus sum cum descendentibus Ferrarese: 261 77

Aeternae mentis oculo Contino: 194 9

Afflicti pro peccatis (Svv) Nola: 80 24

Agatha laetissime & glorianter ibat (3vv) Lahaya: 91 9 Agnus Dei (9p. of Kyrie eleison) (3vv) Tiburtino: 84 13

Aleph. Quomodo [Lamentatio prima] Aretino: 234 1 . Alti autem detenti sunt (2p. of Sancti per fidem vicerunt) (Svv) Jacquet of Mantua: § 22; 258 8

Alleluia alleluia (Svv) Ghibel: 57 31

Alleluia alleluia surrexit Dominus (3p. of O magnum mysterium) Contino: 177 1 (S5vv)

Alleluia [De plurium martiribus post Pascha] (5vv) Contino: 175 41

Alleluia [De sancto Ioanne] (S5vv) Contino: 175 19

Alleluia [De uno martire] (Svv) Contino: 175 33 Alleluia et apparuit Simoni Jacquet of Mantua: 41 15 Alleluia [In die Sancti francisci Ad missam] (Svv) Ghibel: 57 28

Alleluia [In inventione sanctae crucis] (Svv) Contino: 175 26

Alleluia spiritus Domini (Svv) Gombert: 4 15

Alleluia surrexit Dominus vere & apparuit Simoni Jacquet of Mantua: 6 22; 257 10

Alleluia [Unius sancti post Paschal] (5vv) Contino: 175 23

Alleva ergo manum tuam (2p. of Miserere nostri Deus omnium) Gombert: 21 4

Alleva manum tuam (2p. of Miserere nostri Deus) Rore: 242 6

Alma civitas laetare (6vv) Ruffo: 145 15

Alma redemptoris mater (6vv) Contino: 176 15 Alma redemptoris mater (Svv) Jacquet of Mantua: 5 15; 258 2 Alma redemptoris mater Lhéritier: 90 3; 142 1; 218 3 Alma redemptoris mater (3vv) Tiburtino: 84 3 Altera autem die [Passio Jesu Christi] Aretino: 234 10

Amavit eum Dominus (5vv) Vinci: 161 16 Amen dico vobis quia non preteribit (2p. of Cum videritis) (Svv) Carli: 120 21

Amicus meus osculi Ferrarese: 261 17

Amicus meus osculi me Aretino: 44 4; 248 4 Andreas Christi famulus (6vv) Ruffo: 145 5

Angeli, archangeli, troni, & dominationes Canis: 13§ 12

Angeli, archangeli, troni, & dominationes (Svv) Ghibel: 69 2 Angeli, archangeli, troni, & dominationes (Svv) [no attribution]: 36 23

Angelus ad pastores ait (Svv) Lasso: 270 14 982

Latin Texts

Angelus ad pastores ait Gvv) Willaert: 91 12 Angelus autem Domini (5vv) Vinci: 396 10

Angelus Domini (Svv) Contino: 178 11

Angelus Domini (2p. of Caeciliam intra cubiculum) Boyleau: 38 17

Angelus Domini (2p. of Surge Petre) Gombert: 21 14 Angelus Domini ad pastores ait (Svv) Vinci: 396 [6

Angelus Domini astitit (2p. of Surge Petre) (Svv) Gero: 140 11 Angelus Domini astitit (2p. of Surge Petre) (Svv) Gombert: 20 17; 102 17

Angelus Domini descendit de caelo (Svv) Gero: 141 2

Angelus Domini descendit de caelo Lhéritier: 142 2 Angelus Domini descendit de caelo Willaert: 7 6

Angelus Domini descendit de caelo (Svv) [no attribution]: 36 18 Angelus Domini locutus est mulieribus (2p. of Angelus Domini Gero: 141 2 descendit de caelo) (5vv)

Angustiae mihi sunt undique Phinot: 89 15

Angustiae mihi sunt undique (5vv) Rore: 88 2 Angustiae mihi sunt undique (5vv) [no attribution]: 36 20 Anima mea liquefacta est (Svv) Gombert; 4 22 Anima mea turbata est valde (2p. of Heu mihi Domine) Clemens: 134 12

Anima nostra sicut passer erepta est (Svv) Gombert: 4 6

Animam meam dilectam Aretino: 44 15; 248 15

Animam meam dilectam Ferrarese: 261 48 Annos aeternos in mente habeam (2p. of Ne projicias me) (5vv) Crecquillon: 136 8

Antequam comedam suspiro Morales: 18 12

Antoni pater pastorinclyte incliteLasson: Willaert: 715 4 Antoni 93 Aperi oculos tuos Domine (5vv) Nola: 80 21

Apparuit benignitas & humanitas (Svv) Contino: 177 6

Apparuit suo caro Joanni (Svv) Gero: 140 2

[Aqua sapientiae] Potavit eos / Alleluia (Svv) Contino: 175 10

Armorum fortissime ductor Sebastiane Willaert: 7 19

Ascendens Christus in altum (Svv) Gero: 140 14 Ascendens Christus in altum Lhéritier: 90 23; 142 15; 218 20 Ascendo ad patrem meum (5vv) Palestrina: 393 8

Ascendo ad patrem meum (2p. of Ascendens Christus in altum) Lhéritier: 90 23; 142 15; 218 20 ,

[Asperges me] Domine isopo & mundabor (5vv) Contino: 175 45 [Asperges me] Domine isopo & mundabor (Svv) Garugli: 209 4 [Asperges me] Domine isopo & mundabor (5vv) Ghibel: 57 12 [Asperges me] Domine isopo & mundabor (Svv) Schiavetto: 255 |

Asperrimum penitentiae locum amore accensa (5vv) Ciccarelli: 302 20

Aspice Domine de sede sancta tua Jacquet of Mantua (Sermisy): 6 6 Aspice Domine quia facta est Gombert (C. Festa): 3 20 Aspice Domine quia facta est (Svv) Jacquet of Mantua: 5 6; 256 11 Assiste parata (2p. of O beata Maria) (Svv) Gombert: 4 16 Assumpsit Jesus Petrum & Jacobum (6vv) Ruffo: 145 8

Assumpta est Maria (Svv) Contino: 178 4 Assumpta est Maria in caelum (S5vv) Garugli: 209 1

[Assumpta est] Maria in caelum (5vv) Jacquet of Mantua: 5 18

Astiterunt reges terrae Aretino: 44 25; 248 25 Astiterunt reges terrae (Svv) Contino: 193 20

Astiterunt reges terrae Ferrarese: 261 76 Astitit regina 2p. of Ornatam monilibus filiam) Boyleau: 38 11

At desueta diu (2p. of Si rore Aonio fluerent mea) (Svv) Willaert: 9 5; 105 § At illi dixerunt (2p. of Cum natus esset Jesus) (3vv) Morales: 19 13; 92 16; 108 13 Attendite vos 0 populi (2p. of O vos omnes qui transitis) (Svv) Schaffen: 254 12

Audi dulcis amica mea Jacquet of Mantua: 6 2: 41 2 Audi filia et vide (Svv) Gombert: 4 17; 19 1; 108 1 Audi filia et vide (2vv) Scotto: 23 41; 159 40; 225 11 Audi quid anxiusculis animis (2p. of Ave quam colunt angeli) (Svv) | Jacquet of Mantua: 88 1; 258 19 Audi voces amica mea Jacquet of Mantua: 257 2 Audite omnes clamorem meum (Svv) Gero: 140 4

Audivit Dominus & misertus est mei (Svv) Monte: 392 14 Augustine lux doctorum (2p. and c.f. of Laetare sancta mater) (Svv) —- Willaert: 9 8; 105 8

983

Index of First Lines

Aurea dum specto ridentis (Svv) Corfini: 365 14

[Aurea luce et decore rose] Janitor caeli (Svv) Jacquet of Mantua: 269 12

[Aurea luce et decore rose] Janitor caeli Willaert: 30 19; 106 19

Aures ad nostras deitatis Contino: 194 4

Aures ad nostras deitatis Willaert: 30 5; 106 5

[Aures ad nostras] Respice clemens Jacquet of Mantua: 269 4 Austriae stirpis generosa proles (Svv) Contino: 177 15 Auribus percipe orationem meam (2p. of Conserva me) (Svv) Monte: 392 9

Ave decus virgineum (2p. of Sicut rosa inter spinas) (Svv) Gero: 141 13

Ave Domine Jesu Christe 3vv) Ferrarese: 261 64

Ave Domine Jesu Christe Ferrarese: 261 65 Ave Domine Jesu Christe . . . lumen caeli Morales: 34 8 Ave Domine Jesu Christe . . . splendor (2p. of Ave Domine Jesu Morales: 34 8 Christe . . . lumen caeli)

Ave Domine Jesu Christe .. . vita dulcis 3p. of Ave Domine Jesu Morales: 34 8 Christe .. . lumen cael)

Ave dulcissime Domine Jesu Christe Willaert: 7 7

Ave Maria ancilla sanctae trinitatis (Svv) Willaert: 9 22; 105 22 Ave Maria... beata virgo (2p. of O magnum mysterium) (Svv) Contino: 177 1 Ave Maria fons & pulchritudo (2p. of Ave Maria ancilla sanctae Willaert: 9 22; 105 22 trinitatis) (Svv)

Ave Maria gratia Dei plena (3vv) Sermisy: 92 12

Ave Maria gratia plena vv) Certon: 92 13

Ave Maria gratia plena (Svv) Ciccarelli: 302 19

Ave Maria gratia plena (Svv) Gombert: 4 21; 19 8; 108 8 Ave Maria gratia plena (3vv) Jacquet of Mantua: 91 21

Ave Maria gratia plena Lhéritier: 142 4 Ave Maria gratia plena Gvv) Tiburtino: 84 2 Ave Maria gratia plena . Willaert: 7 1

Ave Maria gratia plena (2p. of Beata es virgo Maria) Clemens: 134 6

Ave Maria gratia plena (2p. of O magnum misterium) (Svv) Schiavetto: 255 3

Ave Maria gratia plena (2p. of O magnum mysterium) Willaert: 8 14

Ave Maria gratia plena (2p. of Pater noster) (Svv) Contino: 178 13 .

Ave Maria gratia plena (2p. of Pater noster) (Svv) Jacquet of Mantua: 5 1; 256 14 Ave Maria gratia plena (c.f. in Ave maria ancilla sanctae trinitatis) Willaert: 9 22; 105 22

Ave Maria gratia plena (c.f. in Suscipe verbum virgo Maria) Schiavetto: 255 18

Ave Maria gratia plena que tu virgo Maistre Jhan: 31 9 Ave maris stella (Svv) Clemens: 136 1 Ave maris stella (Svv) Willaert: 9 21; 105 21 Ave maris stella Willaert: 30 21; 106 21

Ave maris stella (c.f. in Ave quam colunt angeli) Jacquet of Mantua: 88 1; 258 19

[Ave maris stella] Sumens illud ave Contino: 194 16

[Ave maris stella] Sumens illud Ave Jacquet of Mantua: 269 15

Ave quam colunt angeli [S: Ave maris stella] (Svv) Jacquet of Mantua: 88 1; 258 19

Ave regina caelorum ave domina (5vv) Comis: 291 6 Ave regina caelorum ave domina (3vv) Festa, C.: 91 22 Ave regina caclorum ave domina (5vv) Ghibel: 69 22 Ave regina caelorum ave domina (5vv) Jacquet of Mantua (Conseil): 5 2; 258 3 Ave regina caelorum ave domina (5vv) Nola: 80 10 Ave regina caelorum ave domina (3vv) Tiburtino: 84 6 Ave regina caelorum ave domina Willaert: 7 17 Ave regina caelorum mater regis (Svv) Alberti: 291 7 Ave regina caelorum mater regis Gombert: 3 7; 18 7 Ave regina caelorum mater regis (Svv) Gombert: 20 5; 102 5 Ave regina caelorum mater regis (6vv) Jacquet of Mantua: 86 12 Ave regina caelorum mater regis (Svv) Vinci: 396 25 Ave regina caelorum mater regis Willaert: 8 12 Ave salus mundi verbum patris (6vv) Gombert: 86 13

Ave sanctissima Maria Animuccia: 242 10 Ave sanctissima Maria Gombert: 3 18; 18 16

Ave sanctissima Maria (Svv) Gombert: 4 1] Ave sanctissima Maria (5vv) Nola: 80 27 Ave sanctissima Maria (Svv) Schaffen: 253 5 984

Latin Texts

Ave sanctissima Maria (6vv) Schiavetto: 255 15

Ave sanctissima Maria (2vv) Scotto: 23 39; 111 38; 159 38; 2259

Ave sanctissima Maria (3vv) Sermisy: 92 | Ave sanctissima Maria (Svv) [no attribution]: 36 14 Ave verum corpus (3vv) Ferrarese: 261 63

Ave verum corpus Ferrarese: 261 28 Ave virginum gemma Catherina (2p. of Inclita sanctae virginis)(Svv) Jacquet of Mantua: 5 12 Ave virginum gemma sancta Catherina (Svv) Vinci: 161 12

Ave virginum gemma sancta Catherina Willaert: 8 15

Ave virgo gloriosa (Svv) Jacquet of Mantua (Berchem): 258 17 Ave virgo gloriosa (3vv) Lhéritier: 91 7 . Ave virgo gloriosa Lhéritier: 90 22; 142 13; 218 19 Ave virgo gratiosa stella sole clarior (6vv) [no attribution]: 40 21 Ave virgo sanctissima (2p. of Ave virgo gloriosa) (3vv) Lhéritier: 917

Ave vivens hostia veritas (Svv) Contino: 177 5

Averte faciem tuam (2p. of Cor mundum crea in me Deus) Crecquillon: 134 4 Averte faciem tuam a peccatis meis (2p. of Miserere mei Deus) Lambertini: 322 12

Averte mala inimicis meis (2p. of Deus in nomine tuo) (6vv) Ruffo: 145 7

Averte oculos meos Gombert: 21 3

Averte oculos meos (2p. of Dirige gressus meos) (Svv) Crecquillon: 88 13 Averte oculos meos (2p. of Legem pone mihi Domine) (6vv) Ruffo: 145 13

Beata Barbara (6vv) Palestrina: 393 21

Beata caeli nuntio (2p. of Quem terra pontus aethera) Willaert: 8 13 Beata cuius brachiis 3p. of Vexilla regis prodeunt) (2vv) Lasso: 259 10

Beata Dei genitrix Maria Aretino: 44 33; 248 33

Beata Dei genitrix Maria Lhéritier: 142 10 Beata Dei genitrix Maria (Svv) Schaffen: 253 12 Beata Dei genitrix Maria Willaert: 7 13

Beata es virgo Maria Clemens: 134 6 Beata es virgo Maria. Lhéritier: 90 16; 142 3; 218 16 Beata es virgo Maria (3vv) Tiburtino: 84 10 Beata mater & innupta virgo Gombert: 21 11

Beata viscera Mariae virginis Aretino: 44 35; 248 35 Beata viscera Mariae virginis vv) Willaert: 91 14 Beatae steriles (2p. of Filiae Hierusalem nolite flere) (Svv) Monte: 392 15

Beatam familiam beati Augustini (Svv) Gero: 141 16

Beatam me dicent omnes generationes (2p. of Congratulamini mihi) Conseil: 86 7 (6vv)

Beatam me dicent omnes generationes (2p. of Congratulamini mihi) Willaert: 8 20

Beati estis sancti Dei omnes (Svv) Gero: 140 8 Beati omnes qui timent Dominum Rore: 242 4

Beati omnes qui timent Dominum (5vv) Schaffen: 253 9

[Beati omnes qui timent Dominum] Qui ambulant Jacquet of Mantua: 137 20

Beati quorum remissae sunt iniquitates Lambertini: 322 4 Beati servi tui qui hic stant coram (2p. of Nunc cognovi) (6vv) Rore: §2 19

Beatissimae virginis Mariae (2p. of Hodie nata est beata) Boyleau: 38 16 Beatissimae virginis Mariae (2p. of Hodie nata est virgo) (Svv) Gombert: 20 13; 102 13

Beatus Bernardus quasi vas auri (6vv) Willaert: 40 22 Beatus homo quem tu erudieris 2p. of Quam magnificata) (6vv) Lasso: 259 9

Beatus homo qui invenit sapientiam (Svv) Rore: 52 1 Beatus Joannes apostolus & evangelista Willaert: 8 19 Beatus Laurentius clamavit & dixit (Svv) Gero: 140 15

Beatus Laurentius dum in craticula 2p. of Levita Laurentius) Verdelot: 93 8 Beatus Laurentius Hippolyto dixit (2p. of O Hippolyte) (Svv) Vinci: 1618

Beatus Stephanus preciosus Willaert: 8 9

[Beatus vir] In mandatis eius [1] Jacquet of Mantua: 137 9 [Beatus vir] In mandatis eius [2] Jacquet of Mantua: 137 15 [Beatus vir] In mandatis eius (6vv) Pratoneri: 328 4 [Beatus vir] In mandatis eius Secundi Toni Phinot: 138 3; 1443

[Beatus vir] In mandatis eius Septimi toni Rore: 137 3 [Beatus vir] In mandatis eius Tertii toni Phinot: 138 8; 144 8

Beatus vir qui inventus est (Svv) Schaffen: 253 14 985

Index of First Lines

Beatus vir qui non abiit Gvv) Scotto: 92 5 Benedic Domine domum istam (5vv) Gero: 141 4

Benedicam Dominum in omni tempore (3vv) De Silva: 91 20 Benedicam Dominum in omni tempore (5vv) Lasso: 270 19

Benedicat te Dominus in virtute sua Lhéritier: 142 9

Benedicite Deum caeli (2p. of Benedicat te Dominus in virtute sua) Lhéritier: 142 9

Benedicite Deum caeli (Svv) Nola: 80 13

[Benedicite Dominum] Omnes Angeli eius / Alleluia (Svv) Contino: 175 36

Benedicta es caelorum regina Willaert (Bouteillier): 7 12

Benedicta & venerabilis (3vv) Tiburtino: 84 5

[Benedicta sit] Sancta trinitas / Alleluia (Svv) Contino: 175 15

Benedicta tu (2p. of Sancta & immaculata virginitas) Morales: 18 10

Benedicta tu (2p. of Sancta & immaculata virginitas) (6vv) Palestrina: 393 22 Benedictum fructum ventris tui (3p. of Salve Regina) (3vv) Richafort: 91 23

Benedictum sit nomen Domini (3vv) . Sermisy: 92 30 Benedictus (7p. of Kyrie eleison) (2vv) Tiburtino: 84 13

Benedictus Deus & pater (6vv) Contino: 176 11 Benedictus Dominus Deus Israel Aretino: 44 28; 248 28 Benedictus Dominus Deus Israel Lupi: 90 8; 218 8 Benedictus Dominus Deus Israel [1] Ferrarese: 261 79 Benedictus Dominus Deus Israel [2] Ferrarese: 261 81 Benedictus Dominus Deus Israel 4. Toni. Ferrarese: 261 54 Benedictus Dominus Deus Israel. Octavi Toni [1] Ferrarese: 261 23 Benedictus Dominus Deus Israel. Octavi Toni [2] Ferrarese: 261 52

Benedictus es Domine (5vv) Contino: 175 15 Benefac Domine bonis et rectis (2p. of Qui confidunt in Domino) Lhéritier: 142 6

Beth. Plorans ploravi [Lamentatio prima] Aretino: 234 |

Biduanis ac triduanis (2p. of Cantantibus organis Caecilia) Jacquet of Mantua: 6 15 Biduanis ac triduanis (2p. of Cantantibus organis Caecilia) (Svv) Rore: 52 13

Bonitatem fecisti cum servo (6vv) Ruffo: 145 2

Bonus & rectus Dominus (2p. of Reminiscere miserationum) (Svv) Monte: 392 2

Cadent a latere tuo (2p. of Qui habitat in adiutorio) Willaert: 8 | | Caecilia virgo almachium (2p. of Caeciliam intra cubiculum) Canis: 135 13 Caeciliae laudes celebremus Galli: 135 4 Caeciliam cantate pli cantate pudici (Svv) Gombert: 20 4; 102 4 Caeciliam 3813 17 Caeciliam intra intra cubiculum cubiculum Boyleau: Canis: 135 Caeli Deus omnipotens (6vv) Ghibel: 69 24

Caelorum candor splenduit Jacquet of Mantua: 6 5; 41 9; 257 12 Caesaris magni (c.f. in Felices hominum nexus faelicia) Contino: 176 2

Caligaverunt oculi mei Aretino: 44 18; 248 18

Caligaverunt oculi mei Clemens: 135 7 Caligaverunt oculi mei (Svv) Contino: 193 13 Caligaverunt oculi mei Ferrarese: 261 51 Caligaverunt oculi mei (S5vv) Jacquet of Mantua: 5 25; 256 15

Caligaverunt oculi mei (5vv) Lasso: 270 20 Calliope colles sibi legit Apollo (Svv) Vinci: 396 15 Candida virginitas paradisi Morales: 34 1; 89 16 Canite tuba in Sion (5vv) Palestrina: 393 10 Cantabiles mihi erant (2p. of Memor esto verbi tui) (Svv) Gero: 141 14

Cantabo Domino in vita mea (6vv) Palestrina: 393 23

Cantantibus organis Caecilia Jacquet of Mantua: 6 15 Cantantibus organis Caecilia (Svv) Rore: §2 13

Cantantibus organis Caecilia (Svv) Schiavetto: 255 9 Cantate Domino canticum novum Jacquet of Mantua: 34 21 Cantate Domino canticum novum (5vv) Lasso: 259 3 Cantate ei & psallite (2p. of Cantate Domino canticum novum) Jacquet of Mantua: 34 21

Cantate hodie Deo nostro Maistre Jhan: 31 1 Cantemus Domino gloriose (Svv) Ciccarelli: 302 17

Cantemus Domino gloriose Jacquet of Mantua: 41 18

Cantemus virgini (Svv) Gombert: 20 16; 102 16 Caph. Defecerunt in lachrimis (Svv) Contino: 193 9 986

Latin Texts

Caph. Defecerunt prae [Lamentatio secunda] Aretino: 234 5

Caph. Defecerunt prae lacrimis Jacquet of Mantua: 284 7 Caph. Non enim [Lamentatio prima] Aretino: 234 7

Caro mea vere est cibus (Svv) Monte: 392 7

Caro mea vere est cibus Rore: 242 |

Caro mea vere est cibus (2p. of Hic est panis) (Svv) Gero: 141 17 Causa etiam vitae ferret (2p. of Salve crux sancta arbor) Willaert: 8 17

Ceduntur gladiis more bidentium (3vv) Willaert: 92 32 Cenantibus illis accepit Jesus panem Pont: 90 5; 218 5 Cenantibus illis accepit Jesus panem (Svv) Palestrina: 393 6

Cerne meos ergo gemitus Maistre Jhan: 90 7; 218 7 Cemere divinum lumen (2p. of Solem iustitiae) Boyleau: 38 19

[Christe redemptor omnium] Beata quoque Contino: 194 18

[Christe redemptor omnium] Beata quoque Jacquet of Mantua: 30 3; 106 3; 269 17

[Christe redemptor omnium] Beata quoque Willaert: 30 2; 106 2

[Christe redemptor omnium] Tu lumen tu splendor patris Contino: 194 2 [Christe redemptor omnium] Tu lumen tu splendor patris Jacquet of Mantua: 269 2

Christus factus est pro nobis Ferrarese: 261 25

Christus factus est pro nobis (5vv) Schiavetto: 255 10 Christus natus est nobis. 4. Toni. Ferrarese: 261 93 Christus natus est nobis. 6. Toni. Ferrarese: 261 92 Christus resurgens ex mortuis (Svv) Willaert: 9 3; 105 3 [Cibavit eos] Ex adipe frumenti (Svv) Contino: 175 13 Cilicio Caecilia membra domabat (2p. of Virgo gloriosa) Canis: 135 14 Circuire possum Domine (5vv) Palestrina, Angelo: 393 12 Cito euntes dicite (2p. of Maria Magdalene et altera Maria) (5vv) Gombert: 4 10

Clama ne cesses quasi tuba Canis (Benedictus): 135 15 Clamavi ad te Domine (2p. of In via hac qua ambulabam) (Svv) Monte: 392 10 Clara sit innumeris majorum fama (2p. of Parcius Estenses) (Svv) Zarlino: 291 5

Clare sanctorum senatus apostolorum (5vv) Lasso: 270 18

Clementissime Christi confessor Morales: 34 3

Cogitationes meae dissipate sunt (2p. of O vos omnes) Jacquet of Mantua: 41 12

Cognoscimus Domine quia peccavimus Crecquillon: 135 5

Conceptio tua Dei genitrix (Svv) Gombert: 20 9; 102 9 Concordes igitur (2p. of Caeciliam cantate pil cantate pudici) (Svv) Gombert: 20 4; 102 4 Concupiscendo concupiscit (6vv) Lasso: 259 11

Conditor alme syderum Contino: 194 }

Conditor alme syderum Willaert: 30 1; 106 1

[Conditor alme syderurm] Qui condolens Jacquet of Mantua: 269 1 {Confessio] Et pulcritudo in conspectu (Svv) Contino: 175 32

Confitebimur tibi Deus (Svv) Gombert: 20 10; 102 10 Confitebor tibi Domine (8vv) Palestrina: 393 26 Confitebor tibi Domine (S5vv) Palestrina, Rodolfo: 393 15

Confitebor tibi Domine (Svv) Baston: 88 7

Confitebor tibi Domine (3p. of Inclina Domine aurem tuam) Morales: 18 4

[Confitebor tibi Domine] In consilio justorum [1] Jacquet of Mantua: 137 8 [Confitebor tibt Domine] In consilio justorum [2] Jacquet of Mantua: 137 14 [Confitebor tibi Domine] In consilio justorum (6vv) Pratoneri: 328 3 [Confitebor tibi Domine] In consilio justorum Secundi Toni Phinot: 138 7; 144 7 [Confitebor tibi Domine] In consilio justorum Septimi toni Rore: 137 2 [Confitebor tibi Domine] In consilio justorum Tertii Toni Phinot: 138 2; 144 2 Confitemini Domino (2p. of Haec dies quam fecit Dominus) (Svv) Gombert: 4 3 Confitemini Domino (2p. of Haec dies quam fecit Dominus) (Svv) [no attribution]: 36 5

Confitemini Domino (2p. of Letentur celi exultet terra) (Svv) Contino: 177 3

Confitemini Domino & invocate nomen eius (Svv) Lasso: 270 1

Confiteor Deo patri (6vv) Maistre Jhan: 86 11

Confundantur in omni populo (2p. of Omnia quae fecistis) (Svv) Dalla Viola, F.: 88 15

Confundantur omnes qui me persequuntur Clemens: 135 2

Confundantur superbi (Svv) Lasso: 270 16

Congratulamini mihi omnes (6vv) Conseil: 86 7 Congratulamini mihi omnes (6vv) Contino: 176 13 Congratulamini mihi omnes Lasson: 90 10; 218 10

Congratulamini mihi omnes Sermisy: 90 21 987

Index of First Lines

Congratulamini mihi omnes [1] Willaert: 8 11 Congratulamini mihi omnes [2] Willaert: 8 20

Congratulamini mihi omnes (Svv) Willaert: 9 20; 105 20 Congregati sunt inimici nostri (Svv) Corfini: 365 7

Conserva me Domine (5vv) Monte: 392 9 Contristamur Domine De Silva: 93 11 Contristatus sum in cogitatione (2p. of Exaudi Domine orationem) Clemens: 134 5 (3vv)

Converte Domine captivitatem nostram (2p. of In convertendo Rore: §2 3 Dominus captivitatem Sion) (Svv)

Convertimini ad me omnes (S5vv) Carli: 120 13

Convertimini ad me omnes (5vv) [no attribution] (Ruffo): 19 10; 108 10 Cor contritum humiliatum Deus (2p. of Tibi soli peccavi) Jacquet of Mantua: 6 12 Cor meum conturbatum est (2p. of Domine ne in furore tuo) Lambertini: 322 8

Cor mundum crea in me Deus Crecquillon: 134 4 Corona aurea super caput eius (Svv) Palestrina: 393 3

Crastina die delebitur (2p. of Hodie scietis quia veniet) Gero: 89 2

Creator omnium (7vv) Corfini: 365 26

Creavit Deus hominem (Svv) Clemens: 136 7

[Credidi propter] Ego autem humiliatus sum Jacquet of Mantua: 137 18

Crescite et multiplicamini (2p. of Creavit Deus hominem) (Svv) Clemens: 136 7

Crimina laxa pietate multa ablue (3vv) Willaert: 91 18 Crucem sanctam subiit (Svv) Carli: 120 6 Crucifixus etiam pro nobis [1] (3vv) [no attribution]: 92 24 Crucifixus etiam pro nobis [2] (3vv) [no attribution]: 92 27 Crux fidelis inter omnes (2p. of Ecce lignum crucis) (Svv) Willaert: 9 14; 105 14

Cum audissent apostoli Maistre Jhan: 31 6 Cum audisset David rex (Svv) Ciccarelli: 302 15

Cum autem venissem (2vv) Ferrarese: 261 33 Cum autem venissem Ferrarese: 261 61 Cum dederit dilectis suis (2p. of Nisi Dominus) Lhéritier: 142 7

Cum igitur saxorum crepitantium (2p. of Stephanus servus Dei) Jacquet of Mantua: 6 21

Cum inducerent puerum Jesum Gero: 34 12; 899 [Cum invocarem exaudivit] In tribulatione (5vv) Jacquet of Mantua: 284 12 Cum natus esset Jesus (Svv) Morales: 19 13; 108 13

Cum vero venissem [I | Ferrarese: 261 35 Cum vero venissem [2] Ferrarese: 261 62 Cum videritis abominationem desolationis (vv) Carli: 120 21

Cumque audissent quod Jesus (2p. of Ingrediente Domino) [no attribution]: 34 16

Cumque audisset Jacob (2p. of Nunciaverunt Jacob) Boyleau: 38 6 Cumque complexet a proeliis cursu (2p. of Apparuit suo caro) (Svv) Gero: 1402 Cumque vidisset ventum validum (2p. of Domine si tu es jube me) Gombert: 3 23; 18 24

Cunctus autem populus (Svv) Vinci: 161 3 Cur quisquam coradat Gombert: 21 17 Currebant duo simul (6vv) Garugli: 209 20 Cursu festa redit (Svv) Gombert (Hellinck): 20 18; 102 18 Custodi Domine Deus (S5vv) Corfini: 365 13 Da mihi intellectum (2p. of Legem pone mihi Domine) (Svv) Lasso: 270 22

Da pacem Domine in diebus nostris Barré: 31 19

Da pacem Domine in diebus nostris (Svv) Carli: 120 10 Da pacem Domine in diebus nostris (Svv) Garugli: 209 9 Da pacem Domine in diebus nostris (Svv) Migret: 291 11 Da pacem Domine in diebus nostris (5vv) Nola: 80 15 Da pacem Domine in diebus nostris (6vv) Schiavetto: 255 17 Da pacem Domine sustinentibus te (Svv) Nola: 80 16 Daleth. Viae Sion lugent [Lamentatio secunda] Aretino: 234 2

Daleth. Viae Sion lugent (5vv) Contino: 193 2

De lamentatione Hieremiae prophetae (Svv) Contino: 193 16 De lamentatione Hieremiae prophetae [1] Jacquet of Mantua: 284 6 De lamentatione Hieremiae prophetae [2] Jacquet of Mantua: 284 9

De ore prudentis procedit mel (Svv) Lasso: 259 4

De profundis clamavi (Svv) Corfini: 365 6 988

Latin Texts

De profundis clamavi Lambertini: 322 19 [De profundis clamavi} Domine exaudi Quarti toni Rore: 137 4

[De ventre] Matris meae (6vv) Contino: 176 14

[De ventre] Matris meae vocavit / Alleluia (Svv) Contino: 175 27

Decantabat populus in Israel (Svv) Jacquet of Mantua: 19 5; 108 5; 256 17 {[Decus morum dux minorum] Plaudat frater Willaert: 30 12; 106 12

Deduc me Domine (Svv) Monte: 392 13

Deduc me Domine (2p. of Inclina Domine) Jacotin (Courtois): 34 14 Deduc me Domine in via (2p. of Inclina Domine) (3vv) Jacotin: 92 10 Deduc me Domine (3p. of Exaudi Domine orationem meam) Clemens: 134 5 Defende [eum] a sagitta volante (2p. of O Domine Jesu Christe) Jacquet of Mantua: 6 3; 41 3 Deficiant peccatores a terra (2p. of Cantabo Domino) (6vv) Palestrina: 393 23

Delectare in Domino Crecquillon: 134 11 Delicta juventutis meae (2p. of Erravi sicut ovis quae periit) Clemens: 134 7

Derelinquat impius viam suam (Svv) Palestrina: 393 7

Descendit angelus Domini ad Zachariam (Svv) [no attribution]: 36 12

Descendit de caelis (Svv) Londariti: 291 12 Deus canticum novum (Svv) Lasso: 259 5

Descendit spiritus sanctus (2p. of Hodie in Jordane baptizato) (6vv) |= Gombert (Maistre Jhan): 86 9

Deus in nomine tuo salvum me fac (2p. of Peccantem me quotidie) Gero: 89 3

Deus in nomine tuo salvum me fac (6vv) Ruffo: 145 7 Deus meus es tu Ghibel: 57 9 Deus meus es tu (Svv) Ghibel: 69 11 Deus meus quare me dereliquisti (2p. of Domine ne longe facias) Boyleau: 38 |

Deus noster refugium & virtus (Svv) Lasso: 259 7

Deus pacis qui reduxit a mortuis Rore: 242 8 Deus patrum nostrorum (2p. of Caeli Deus omnipotens) (6vv) Ghibel: 69 24 Deus qui beatum Marcum (5vv) Gero: 140 12 Deus qui beatum Marcum (2p. of Quasi unus de paradisi) Willaert: 7 3

Deus qui nobis (5vv) Contino: 177 16

Deus qui sedes super thronum (Svv) Lasso: 270 9 Deus tuorum gloria sacerdotum (5vv) Gero: 141 9

[Deus tuorum militum] Hic nempe mundi Contino; 194 21

[Deus tuorum militum] Hic nempe mundi Jacquet of Mantua: 269 20

Deus ultionum Dominus Conseil (Gombert): 89 8

Deus venerunt gentes Conseil: 89 7 Dextera Domini fecit virtutem Ferrarese: 261 26 Dic Maria quid fecisti contemplando (2p. of Surgit Christus) Willaert: 7 25 Dic Maria quid fecisti postquam Jesum (3p. of Surgit Christus) Willaert: 7 25 Dic nobis Maria (2p. of Victimae paschali laudes) (Svv) Contino: 178 7

Dic nobis Maria (2p. of Victimae paschali laudes) Willaert: 8 7

Dic nobis Maria (2p. of Victimae paschali laudes) (6vv) Zarlino: 86 17 Dicant nunc Judaei (2p. of Christus resurgens ex mortuis) (Svv) Willaert: 9 3; 105 3 Dicebant ergo quid est hoc (2p. of In illo tempore dixit Jesus Jacquet of Mantua: 6 1; 41 1; 90 1; 218 1; 257 1 discipulis .. . modicum)

Dicebant ergo quid est hoc (2p. of In illo tempore dixit Jesus Morales: 34 6 discipulis ... modicum)

Dicite in magni dum spes altera mundi Gombert: 3 4 Dies mei sicut umbra (2p. of Domine exaudi orationem meam) Lambertini: 322 16 Dies sanctificatus illuxit nobis (2p. of Hic est dies praeclarus) (Svv) | Garugli: 209 10

[Dies sanctificatus] Quia hodie descendit lux (Svv) Contino: 17§ 2

Dignare me Jaudare te : Gombert: 3 21

Digne pater statuit nobis (6vv) Pratoneri: 328 | Dilecte mi apprehendam te (2p. of Adjuro vos filiae Jerusalem) Clemens: 135 |

[Dilexisti justitiam] Et odisti iniquitatem (Svv) Contino: 175 43

Dilexisti omnia verba (Svv) Schiavetto: 255 4 [Dilexit Andream Dominus] Suavitatis (Svv) Contino: 175 16

Dilexit Dominus sanctam Annam (2p. of O sancta mater) (3vv) Jacotin: 91 16

Diligite justiciam qui judicatis Wert: 242 9 Dirige gressus meos (5vv) Crecquillon: 88 13

Disperde illos (2p. of Congregati sunt inimici nostri) (Svv) Corfini: 365 7

Dissimulare ettam (Lamento di Didone} (5vv) Rore: 289 3

Divitias & paupertates Domine (S5vv) Ghibel: 69 26 989

Index of First Lines Dixerunt viri tabernaculi mei (2p. of Cenantibus illis accepit Jesus) Pont: 90 5; 218 5

Dixit autem Dominus servo Boyleau: 38 3

Dixit autem Dominus servo (S5vv) Jacquet of Mantua: 5 10; 258 5

Dixit autem Maria ad angelum (3p. of Missus est angelus) 3vv) Lasso: 259 | Dixit autem Maria, ecce ancilla (4p. of Missus est angelus) (6vv) Lasso: 259 1 Dixit autem Petrus Domine (2p. of Asumpsit Jesus Petrum) (6vv) Ruffo: 145 8

{Dixit Dominus Domino meo] Sede a dextris meis (6vv) Pratoneri: 328 2

[Dixit Dominus] Sede a dextris meis [1] Jacquet of Mantua: 137 7 [Dixit Dominus] Sede a dextris meis [2] Jacquet of Mantua: 137 13 [Dixit Dominus] Sede a dextris meis Primi Toni [1] Phinot: 138 1; 144 1 [Dixit Dominus] Sede a dextris meis Primi Toni [2] Phinot: 138 6 [Dixit Dominus] Sede a dextris meis Primi Toni [3] Phinot: 138 11; 144 6

[Dixit Dominus] Sede a dextris meis Primi toni Rore: 137 1

Dixit ei mulier Gp. of In illo tempore erat autem Jesus) Jacquet of Mantua (Morales): 6 16; 41 4; 257 7

Dixit itaque Sarra (2p. of Dixit Tobias) (Svv) Monte: 392 1

Dixit Tobias (Svv) Monte: 392 1

Doleo super te frater mi Jonata (Svv) Ciccarelli: 302 14 Domine ante te omne desiderium meum (Svv) Monte: 392 4

Domine audivi auditum tuum (2p. of O magnum misterium) (Svv) Gombert: 20 21; 102 21

Domine bonum est Jacquet of Mantua: 41 19; 257 17 Domine da nobis Canis: 135 11 Domine Deus agnus Dei vv) Morales: 92 19 Domine Deus agnus Dei (3vv) [no attribution]: 92 25

Domine Deus creator caeli & terrae (2p. of Spem in alium) (Svv) [no attribution] (Ruffo): 19 17; 108 17

Domine Deus miserator (3p. of Inclina Domine aurem tuam) Jacotin (Courtois): 34 14

Domine Deus omnipotens gui ad principium(Svv) Nola: 80 18

Domine Deus omnipotens pater (5vv) Gombert: 4 12; 19 3; 108 3

Domine Dominus noster (S5vv) Donato: 88 10 Domine exaltetur manus tua Arcadelt: 90 11; 218 11 Domine exaudi orationem meam [1] Lambertini: 322 15 Domine exaudi orationem meam [2] Lambertini: 322 22 Domine Jesu Christe fili Dei vivi qui de caelis Willaert: 7 18

Domine Jesu Christe fili Dei vivi qui frigescente (Svv) Willaert: 9 6; 105 6 .

Domine Jesu Christe memento Willaert: 8 8 Domine Jesu Christe salvator (2p. of Laudemus fortissimum (Svv) Ghibel: 69 8

Domine labia mea aperies (3p. of Miserere mei Deus) Lambertini: 322 13 Domine miserere mei (c.f. in Dum perambulet Dominus) Ghibel: 69 27

Domine ne in furore tuo arguas me (6vv) Corfini: 365 22 Domine ne in furore tuo arguas me [1] Lambertini: 322 | Domine ne in furore tuo arguas me [2] Lambertini: 322 7 Domine ne longe facias a me Boyleau: 38 1 [Domine] Ne longe facias auxilium (Svv) Contino: 175 7 Domine ne memineris (Svv) Monte: 392 12 Domine non secundum peccata nostra Gombert: 21 2 Domine non secundum peccata nostra (Svv) Nola: 80 23 Domine non secundum peccata nostra (Svv) Schaffen: 254 1

Domine nonne bonum semen seminasti (Svv) Schiavetto: 255 12 Domine ostende nobis (2p. of In illo tempore dixit Jesus . . . non Boyleau: 38 9 turbetur)

Domine ostende nobis (2p. of In illo tempore dixit Jesus .. . non Jacquet of Mantua: 256 12 turbetur) (Svv)

Domine pater & Deus vitae meae Gombert: 3 1; 18 1

Domine pater & Deus vitae meae (Svv) Palestrina, Silla: 393 14 Domine praevenisti eum (2p. of Corona aurea super caput) (Svv) Palestrina: 393 3

Domine quis habitabit (Svv) Rore: §2 17

Domine secundum actum meum (8vv) Corfini: 365 27

Domine secundum actum meum (Svv) Jacquet of Mantua: 88 6; 256 6 Domine si peccaverit in te (2p. of Benedic Domine domum) (5vv) Gero: 141 4

Domine si tu es jube me venire Gombert: 3 23; 18 24 Domine tu omnia nosti (2p. of In illo tempore dixit Jesus Symoni) Maistre Jhan: 31 16

Domine vim patior (Svv) Monte: 392 16

Dominus caelorum (2p. of Cantate hodie Deo nostro) Maistre Jhan: 31 | Dominus conservet eos (2p. of Retribuere dignare Domine) Jacquet of Mantua: 6 17; 41 21

| 990

Latin Texts

Dominus custodit te (2p. of Levavi oculos meos) Gombert: 3 11; 18 23

Dominus custodit te (2p. of Levavi oculos meos) (5vv) Rore: 52 16 Dominus custodit te (2p. of Levavi oculos meos) (6vv) Ruffo: 145 6

Dominus dedit (2p. of Job tonso capite) (Svv) Morales (Clemens): 88 11

[Dominus] Dixit ad me ftlius / Alleluia (Svv) Contino: 175 1

Dominus in templo sancto suo (2p. of In Domino confido) Jacquet of Mantua: 6 14; 257 6; 41 6 Dominus in templo sancto suo (2p. of In Domino confido) (Svv) Rore: §2:7

Dominus in virtute tua laetabitur (8vv) Palestrina: 393 28

Dominus Jesus in qua nocte (5vv) Palestrina: 393 17 Dominus Jesus postquam cenavit Ferrarese: 261 29

Dominus mecum est (Svv) Vinci: 161 2

Dominus regit me Willaert: 8 18

Dominus sapientia fundavit terram (3p. of Beatus homo qui) (Svv) Rore: §2 |

Dulce lignum dulces clavos Boyleau: 38 15

Dulce lignum dulces clavos (Svv) Willaert: 20 20; 102 20 Dulce lignum dulces clavos (2p. of O crux splendidior) (6vv) Corfini: 365 20 Dulce lignum dulces clavos (2p. of O crux splendidior) (Svv) Willaert: 9 13; 105 13

Dulces exuviae (5vv) Schaffen: 253 4 Dum complerentur dies Penthecostes (Svv) Gardane: 87 17 Dum complerentur dies Penthecostes (Svv) Nola: 80 12 Dum complerentur dies Penthecostes (Svv) Vinci: 396 21

Dum complerentur dies Penthecostes (Svv) [no attribution}: 36 2

Dum esset summus pontifex (Svv) Vinci: 161 13

Dum medium silentium tenet omnia (Svv) Carli: 120 4

Dum ortus fuerit (Svv) Ghibel: 69 17 Dum perambularet Dominus (6vv) Ghibel: 69 27

Dum sacrum misterium cerneret Joannes (Svv) Garugli: 209 14

Dum transisset sabbatum Alart: 90 6; 218 6 Dum transisset sabbatum (Svv) Vinci: 161 7

Dum vastos Adriae fluctus (Svv) Jacquet of Mantua: 136 14; 256 10 Duo rogavi ne deneges mihi (2p. of Verbum iniquum) (Svv) Willaert: 9 1; 105 1

Duo rogavi te Domine Gombert: 3 10 [Ecce advenit] Dominator Dominus (5vv) Ghibel: $7 21 [Ecce advenit] Dominator Dominus & regnum Alleluia (5vv) Contino: 175 5

Ecce amica mea colomba mea Maistre Jhan: 34 24 Ecce apparebit Dominus (2p. of Ecce Dominus veniet) (3vv) Tiburtino: 84 7

Ecce appropinquat hora (2p. of Tristis est anima mea) Nasco: 242 11 Ecce dedi verba mea (c.f. in Hic est praecursor dilectus) Contino: 177 7 Ecce divinitatem humanatam (2p. of Ecce salvator mundi) Ghibel: 57 17

Ecce Dominus veniet (3vv) Certon: 92 7 Ecce Dominus veniet (3vv) Tiburtino: 84 7

Ecce ego mitto ad vos prophetas (Svv) Garugli: 209 11 Ecce ego Romulea fueram (2p. of Jam bene fortunae rerum ) (S5vv) Schaffen: 253 6 Ecce enim Deus adiuvat me (2p. of Deus in homine) (3vv) Verdelot: 92 20 ; Ecce enim relinquetur domus vestra deserta (2p. of Jerusalem quae Schaffen: 254 9 occidis prophetas) (Svv)

Ecce jam venit Christus Deus noster (5vv) Garugli: 209 6

Ecce jam venit plenitudo temporis Zarlino: 242 19

Ecce lignum crucis in quo salus mundi (5vv) Willaert: 9 14; 105 14

Ecce Maria genuit nobis salvatorem (3vv) Certon: 92 2

Ecce nos relinquimus omnia Maistre Jhan: 31 8

Ecce nunc benedicite Dominum (Svv) Corfini: 365 1

[Ecce nunc benedicite] Omnes servi Domini (5vv) Jacquet of Mantua: 284 15

Ecce nunc tempus acceptabile Gombert: 3 5

Ecce quomodo moritur justus Aretino: 44 24; 248 24 Ecce quomodo moritur justus Ferrarese: 261 75

Ecce salvator mundi Ghibel: 57 17 Ecce st benedicetur homo (2p. of Beati omnes qui timent) Rore: 242 4

Ecce si benedicetur homo (2p. of Beati omnes qui timent) (Svv) Schaffen: 253 9

Ecce vidimus eum non habentem speciem Aretino: 44 3; 248 3 Ecce vidimus eum non habentem speciem Ferrarese: 261 16 Ecce vidimus eum non habentem speciem Ferrarese: 261 34 991

Index of First Lines

Ecce virgo & pariet filium (Svv) Vinci: 396 12 Ecclesiam tuam quaesumus Domine (2p. of Joannes apostolus) Willaert: 7 21

Educes me de laqueo (2p. of In te Domine speravi) (6vv) Gombert: 86 2 Effunde iram tuam (2p. of Deus venerunt gentes) (3vv) Conseil: 89 7

Ego autem constitutus sum rex (3vv) Sermisy: 92 3

Ego enim sum Dominus (2p. of Hierusalem cito veniet) (6vv) Palestrina: 393 20

Ego flos campi & lilium convallium (5vv) Gombert: 19 12; 108 12

Ego infelix peccator Ivo Barry: 18 20 Ego pro te rogavi (2p. of Surge Petre) (Svv) Contino: 178 16

Ego rogabo patrem & alium Barré: 31 18

Ego rogabo patrem & alium (2p. of Ascendo ad patrem) (Svv) Palestrina: 393 8 Ego rogabo patrem meum (2p. of Non turbetur cor vestrum) Gosse: 90 14; 218 14

Ego sum panis vitae (Svv) Phinot: 36 7

Ego sum panis vitae (2p. of Nemo potest venire ad me) (5vv) Zarlino: 88 17

Ego sum panis vivus (2p. of Ego sum panis vitae) (Svv) Phinot: 36 7 :

Ego sum qui sum (Svv) Conseil: 19 24

Ego sum qui sum (S5vv) Schiavetto: 255 11 Ego sum qui sum (5vv) [no attribution]: 108 20

Ego sum resurrectio & vita (Svv) Schaffen: 253 16 Ego sum via veritas & vita (Svv) Carli: 120 12

Egredientem de templo (5vv) Contino: 175 46 Egredientem de templo a latere dextro (Svv) Garugli: 209 19

Egredimini & videte (Svv) Nola: 80 1

Egredimini filiae Syon & videte (Svv) Vinci: 396 18

Eia ergo advocata nostra (Svv) Nola: 80 5

Eia ergo advocata nostra (2p. of Salve regina) Contino: 176 17 Eia ergo advocata nostra (2p. of Salve regina) Gombert: 21 9 Eia ergo advocata nostra (2p. of Salve regina) Porta: 242 15

Eia ergo advocata nostra (2p. of Salve Regina) Gvv) Richafort: 91 23 Eia ergo advocata nostra (2p. of Salve regina) (3vv) Tiburtino: 84 11 Eia ergo advocata nostra (2p. of Salve regina) (3vv) Verdelot: 93 | Eia Verona fortunata civitas (2p. of Alma civitas laetare) (6vv) Ruffo: 145 15

Elegerunt apostoli Stephanum levitam (Svv) Vinci: 396 17 | Elegit nobis haereditatem suam (2p. of Omnes gentes) (Svv) Corfini: 365 3

Emendemus in melius (Svv) Gombert: 4 9; 19 6; 108 6 Emendemus in melius (2vv) Scotto: 23 43; 225 12 Emittet verbum suum (3p. of Lauda Hierusalem Dominum) (3vv) Lasso: 259 12 Equalis see Aequalis

Eram quasi agnus innocens Aretino: 44 7; 248 7 Eram quasi! agnus innocens (5vv) Contino: 193 4 Eram quasi agnus innocens Ferrarese: 261 20 Ergo ne vitae quod superest meae Gombert: 21 5 Erravi sicut ovis quae periit Clemens: 134 7 Erravi sicut ovis quae periit (Svv) Monte: 392 8

Est genitor Caesar proles (2p. of Felices hominum nexus) (6vv) Contino: 176 2 Estimatus see Aestimatus

Esto mihi Domine (Svv) Sermisy: 88 9 Esto mihi Domine turris fortitudinis (Svv) Carli: 120 14

Estote fortes in bello (Svv) Ghibel: 57 2; 69 3

Estote fortes in bello (5vv) Vinci: 161 14 Ft apertis thesauris suis (2p. of Videntes stellam Magi) (5vv) Lasso: 270 4

Et beata quae credidit (2p. of Beata Dei genitrix Maria) Lhéritier: 142 10 Et beata quae credidit (2p. of Beata Dei genitrix Maria) Willaert: 7 13 Et beata viscera Mariae virginis (2p. of Laus Deo pax vivis) (Svv) Gombert: 4 5

Et concede mihi (2p. of Domine Jesu Christe memento) Willaert: 8 8

Et cum tam sero Ferrarese: 261 6

Et concidam a facie eius (2p. of Nihil proficiet inimicus in eo) (Svv) | Crecquillon: 136 9 Et dum ad monumentum (2p. of Congratulamini mihi omnes) (Svv) — Willaert: 9 20; 105 20

Et ecce stella quam viderant (3p. of Cum natus esset Jesus) (Svv) Morales: 19 13; 108 13

Et ecce vir nomine Joseph Ferrarese: 261 9

Et educet quasi Jumen (2p. of Delectare in Domino) Crecquillon: 134 11

Et ego reficiam (S5vv) Contino: 175 37 [Et enim sederunt principes] Et adversum me / Alleluia (Svv) Contino: 175 3

992

Latin Texts Et eripuisti animam meam (2p. of Confitebor tibi Domine) (5vv) Baston: 88 7

Et exultavit [Octavi toni] Morales: 55 16 Et exultavit [Primi toni] Morales: 55 2 Et exultavit [Quarti toni] Morales: 55 8 Et exultavit [Quinti toni} Morales: 55 10 Et exultavit [Secundi toni] Morales: 55 4 Et exultavit [Septimi toni] Morales: 55 14 Et exultavit [Sexti toni] Morales: 5§ 12 Et exultavit [Tertii toni} Morales: $5 6 Et factus sum sicut homo non audiens (2p. of Domine ante te) (Svv) = Monte: 392 4

Et honore coronasti eum (Svv) Contino: 175 39 Et in terra pax (2p. of Kyrie eleison) (3vv) Tiburtino: 84 13

Et intravit cum illis (2p. of Mane nobiscum Domine) (5vv) Crecquillon: 136 5 Et introeuntes in monumentum (2p. of Angelus Domini descendit) Lhéritier: 142 2 Et introeuntes in monumentum (2p. of Angelus Domini descendit) {no attribution]: 36 18 (Svv)

Et introibo ad altare Dei (2p. of Judica me Deus) (5vv) Gombert: 4 1

Et iterum venturus est (3vv) {no attribution]: 92 22

Et Jesum benedictum (3p. of Vita dulcedo & spes nostra salve) Gombert: 21 19

Et Jesum benedictum fructum (3p. of Salve regina) (6vv) Contino: 176 17

Et Jesum benedictum fructum (3p. of Salve regina) Verdelot: 93 | Et omnes angeli (2p. of Vidi turbam magnam) (6vv) Ruffo: 145 11

Et omnis qui reliquerit (2p. of Ecce nos relinquimus omnia) Maistre Jhan: 31 8 Et persequimini de civitate (2p. of Ecce ego mitto) (Svv) Garugli: 209 11

Et post dies octo (2p. of Thomas unus de duodecim) Maistre Jhan: 90 4; 218 4 Et posuerunt adversum me (2p. of Locuti sunt adversum) (Svv) Willaert: 9 16; 105 16 Et publicanus a longe stans (2p. of In illo tempore dixit Jesus ad Maistre Jhan: 31 14 quosdam)

Et resurrexit (Sp. of Kyrie eleison) (3vv) Tiburtino: 84 13 Et sicut dies verni (2p. of Quae est ista quae processit) Gombert: 3 13

Et tu Maria exaudi preces nostras (2p. of Cantemus Domino) Jacquet of Mantua: 41 18

Et valde mane (2p. of Dum transisset sabbatum) Alart: 90 6; 218 6 Et valde mane (2p. of Dum transisset sabbatum) (Svv) Vinci: 161 7 Et videntes vultum eius (2p. of Beatus Stephanus preciosus) Willaert: 8 9

Et videte filiae / Alleluia (Svv) Contino: 175 17 Et vox clara intonuit (2p. of Hic est discipulus ille) (Svv) Gombert: 87 5

Euntes ibant & flebant vv) Sermisy: 92 9 Exaltabo te Deus meus (2p. of Concupiscendo concupiscit) (6vv) Lasso: 259 11

Exaudi Domine orationem meam Clemens: 134 5 Exaudi Domine vocem meam (5vv) Lasso: 270 13 Exaudi me Domine (2p. of Inclina Domine aurem tuam ) (Svv) Gombert (Berchem): 20 2; 102 2

Exaudiat me Dominus in die tribulationis (Svv) Rore: 52 9

Excita Domine potentiam tuam & veni (2p. of Veni Domine) (6vv) Palestrina: 393 19

[Exclamaverunt] Ad te Domine / Alleluia (vv) Contino: 175 24

Exi cito inest plateas (Svv) Palestrina: Exortum in tenebris Barré: 31393 1711 Expectans expectavi Dominum (2p. of Bonitatem fecisti) (6vv) Ruffo: 145 2

Expectans expectavi & expectabo (2p. of Ad te Domine animam Perissone Cambio: 88 18 (Svv)

Expurgate vetus fermentum (5vv) Gombert (Berchem/Lupi): 20 1; 102 1

Exultans jubila Luca (7vv) Corfini: 365 23 [Exultet caelum laudibus] Quorum precepto subditur Contino: 194 20

[Exultet caelum laudibus] Vos saecli justi Jacquet of Mantua: 269 18

Exurge quare obdormis Domine Escobedo: 18 22

Exurge quare obdormis Domine (Svv) Monte: 392 11 Exurge quare obdormis Domine (Svv) Phinot: 87 11 Eya see Eta

Fac tibi mortales Gombert: 21 1 Facta autem hac voce (2p. of Dum complerentur) (5vv) Gardane: 87 17 Fac mecum signum bonum (2p. of Deduc me Domine) (5vv) Monte: 392 13 Factus est quasi ignis effulgens (2p. of Beatus Bernardus) (6vv) Willaert: 40 22

Favus distillans labia tua (2p. of Veni dilecte) Jacquet of Mantua: 41 5 993

Index of First Lines

Felices hominum nexus faelicia (6vv) Contino: 176 2 Felix namque es (5vv) [no attribution]: 36 Felix Thomas doctor ecclesiae (Svv) Gero: 141 5

19

Festina Domine ne tardaveris (2p. of Universi qui te) (Svv) Vinci: 161 18 Fiat cor meum immaculatum (2p. of Confundantur superbi ) (Svv) Lasso: 270 16 Fiat pax in virtute tua (2p. of Da pacem Domine in diebus) (Svv) Nola: 80 15

Fidelium Deus omnium Gombert: 3 22 Filiae Hierusalem (2p. of Anima mea liquefacta est) (Svv) Gombert: 4 22

Filiae Hierusalem nolite flere (Svv) Monte: 392 15 Filiae Hierusalem venite & videte (Svv) Gero: 140 9

Filii vestri vobiscum Domino (2p. of Quaerite Dominum) (5vv) Schaffen: 254 7

Flores apparuerunt in terra nostra (2p. of Ecce amica mea) Maistre Jhan: 34 24 Fluenta evangelii de ipso (2p. of Iste est Joannes) (Svv) [no attribution]: 36 22

[Fons pietatis culmina] Cuius refulsit facies Contino: 194 15 [Fons pietatis culmina] Cuius refulsit facies Willaert: 30 20; 106 20

Fratres ego enim accepi a Domino Jacquet of Mantua: 6 8; 41 13; 257 4

Fuerunt mihi lachrimae meae (Svv) Ciccarelli: 302 12

Fuerunt mihi lachrimae meae Clemens: 135 9

Fuit homo missus a Deo Gombert: 3 19 Fuit homo missus a Deo (2p. of Inter natos mulierum) Morales: 34 4

Funde preces pro nobis Jacquet of Mantua (Maistre Jhan): 257 15 Gabriel angelus apparuit dicens (3vv) Mathias: 91 8

Gabriel angelus locutus (Svv) Nola: 80 22 Gabrielem archangelum credimus divinitus (2p. of Gaude Maria) Rore: 52 4 (Svv)

Gabrielem archangelum credimus divinitus (2p. of Gaude Maria) Verdelot: 93 4

Gaude Barbara beata (Svv) Palestrina: 393 13 Gaude & laetare Ferrariensis (6vv) | Morales: 86 15

Gaude & laetare Jacob (2p. of Hierusalem plantabis vineam) (Svv) Lasso: 270 3

Gaude felix civitas (Svv) Ghibel: 69 7

Gaude gloriosa (2p. of Ave regina caelorum ave domina) (3vv) Festa, C.: 91 22 Gaude gloriosa (2p. of Ave regina caelorum ave domina) (Svv) Jacquet of Mantua: 5 2;.258 3

Gaude gloriosa (2p. of Ave regina caelorum ave domina) Willaert: 7 17 Gaude (Svv) Rore: 52 GaudeMaria Mariavirgo virgo Verdelot: 9344

[Gaude mater pietatis] Ubi patres Jacquet of Mantua: 269 14

Gaude mater sanctissima (6vv) Ruffo: 145 4

Gaude quia meruisti (2p. of Gaude Barbara beata) (Svv) Palestrina: 393 13

Gaudeamus omnes et laetemur (5vv) Gombert: 4 14 [Gaudeamus] omnes in Domino (6vv) Contino: 176 5 [Gaudeamus] omnes in Domino (Svv) Ghibel: 57 24

[Gaudeamus] omnes in Domino (Svv) Jacquet of Mantua: 5 17; 258 13

Gaudeamus omnes in Domino Verdelot: 93 2

[Gaudemus] Omnes in Domino diem / Alleluia (Svv) Contino: 175 37 Gaudent in caelis Clemens: 135 8

Gaudent in caelis (Svv) Garugli: 209 2 Gaudent in in caelis caelis (Svv) (Svv) Vinci: Ghibel:161 69 10 20 Gaudent [Gaudete] In Domino semper (5vv) Ghibel: 57 15 Gaudete omnes & laetamini Verdelot: 93 7 Genuit puerpera regem (2p. of O magnum misterium) Boyleau: 38 2

Genuit puerpera regem (2p. of Quem vidistis pastores dicite) (Svv) Carli: 120 19 Gloria patri & filio (3p. of Beati quorum remissae sunt iniquitates) Lambertini: 322 6

Gloria patri & filio Gp. of De profundis clamavi) Lambertini: 322 21 Gloria patri & filio Gp. of Domine exaudi orationem meam) Lambertini: 322 24 Gloria patri & filio (3p. of Domine ne in furore tuo arguas me) Lambertini: 322 3 Gloria patri & filio (4p. of Domine exaudi orationem meam) Lambertini: 322 18

Gloria patri & filio (4p. of Domine ne in furore tuo) Lambertini: 322 10

Gloria patri & filio (4p. of Miserere mei Deus) Lambertini: 322 14

Gloriosae virginis Mariae (Svv) Ghibei: 87 25 Gloriosam mortem (2p. of Beata Barbara) (6vv) Palestrina: 393 21 Gloriose pater o vincenti (Svv) Gero: 140 7 994

Latin Texts

Gratia vobis & pax a Deo Rore: 242 7 Gratiam tuam (Svv) Corfini: 365 8 Gratias agimus tibi (2p. of Quidquid appositum est) Gombert: 21 18

Gressum cepit cum concepit Maria Contino: 194 27 Gymel. Migravit Judas [Lamentatio secunda] Aretino: 234 2

Haec arbor est sublimior (2p. of Signum crucis mirabile) Morales: 34 22 Haec cum dixisset (2p. of Stetit Jesus in medio discipulorum) Rore: 242 5

Haec dies quam fecit Dominus (Svv) Carli: 120 17 Haec dies quam fecit Dominus (5vv) Ciccarelli: 302 $ Haec dies quam fecit Dominus (Svv) Ghibel: 57 4; 69 13 . Haec dies quam fecit Dominus (Svv) Gombert: 4 3 [Haec dies] quam fecit Dominus (Svv) Jacquet of Mantua: 5 24; 258 6 Haec dies quam fecit Dominus (Svv) Nola: 80 9 Haec dies quam fecit Dominus (Svv) [no attribution]: 36 5 Haec est regina virginum (2p. of Sancta Dei genitrix) (Svv) Lupi: 87 12 Has tibi dum canimus laudes (2p. of Gaude mater sanctissima) (6vv) Ruffo: 145 4

Haud aliter pugnans fulgebat Caesar (Svv) Willaert: 9 17; 105 17

He. Facti sunt hostes [Lamentatio tertia] Aretino: 234 2

He. Facti sunt hostes (2vv) Ferrarese: 261 13

He. Facti sunt hostes Ferrarese: 261 84

He. Facti sunt hostes Jacquet of Mantua: 284 4 He. Factus est Dominus (2vv) Ferrarese: 261 42 He. Factus est Dominus Ferrarese: 261 87 Heri enim rex noster (2p. of Hesterna die Dominus natus est) Verdelot: 93 9

Hesperiae quum laeta suas (Svv) Rore: 88 4 Hesperiae ultimae invicto regi (Svv) Jacquet of Mantua: 136 13; 256 9 Hesterna die Dominus natus est Verdelot: 93 9 Heth. Cogitavit Dominus [Lamentatio prima] Aretino: 234 4

Heth. Denigrata est super carbones (2vv) Ferrarese: 261 68 Heu mihi Domine quia incolatus (2p. of Ad Dominum) Verdelot: 93 5

Heu mihi Domine quia peccavi nimis Clemens: 134 12

Heu quantus dolor (5vv) Lasso: 270 10 Hi sunt qui cum mulieribus (2p. of Isti sunt sancti qui non) (Svv) Gero: 1417 Hic est beatissimus (Svv) Ciera: 136 16

Hic est dies praeclarus (Svv) Garugli: 209 10 Hic est discipulus ille (Svv) Gombert: 87 5 [Hic est discipulus] Quia verum est testimonium (Svv) Contino: 175 4

Hic est enim propheta (2p. of Puer qui natus est nobis) (Svv) [no attribution] (Ruffo): 19 15; 108 15

Hic est panis (Svv) Gero: 141 17 Hic est panis (2p. of Caro mea vere est cibus) (Svv) Monte: 392 7 Hic est panis (2p. of Caro mea vere est cibus) Rore: 242 1

Hic est praecursor dilectus (Svv) Contino: 177 7

Hic est praecussor dilectus (2p. of Puer qui natus est nobis) (Svv) Gero: 140 17

Hic Franciscus (2p. of Alleluia) (Svv) Ghibel: 57 28

Hic nempe mundi gaudia Contino: 194 30 Hic praecursor & dilectus (2p. of Fuit homo missus a deo) Gombert: 3 19

Hierusalem cito veniet salus tua (6vv) Palestrina: 393 20 Hierusalem gaude gaudio magno (2p. of Veniet Dominus) (Svv) Carli: 120 1

Hierusalem luge et exue te Aretino: 44 20; 248 20

Hierusalem luge et exue te Ferrarese: 261 69

Hierusalem plantabis vineam (Svv) Ciccarelli: 302 6 Hierusalem plantabis vineam (Svv) Lasso: 270 3 His ego nam truxem donis (2p. of Ut te muneribus) (Svv) Contino: 178 9 Hoc signum crucis erit (2p. of Dulce lignum dulces clavos) Boyleau: 38 15 |

Hodie beata virgo Maria (S5vv) Contino: 178 6 Hodie beata virgo Maria (Svv) Gombert: 4 19 Hodie beata virgo Maria (2p. of Senex puerum portabat) Lhéritier: 142 11 Hodie beatissimus Prosper (5vv) Carli: 120 7

Hodie beatus Grisantus cum virgine Daria (5vv) Carli: 120 16

Hodie caelesti sponso Maistre Jhan: 31 11 Hodie caelesti sponso (Svv) Vinci: 396 14

Hodie Christus natus est (Svv) Contino: 177 17 995

Index of First Lines

Hodie Christus natus est (Svv) Corfini: 365 15 Hodie Christus natus est (Svv) Garugli: 209 8 Hodie Christus natus est (Svv) Ghibel: 69 9 Hodie Christus natus est (Svv) Schiavetto: 255 8

Hodie Christus natus est (Svv) [no attribution] (Ruffo): 19 16; 108 16

Hodie completi sunt (6vv) Contino: 176 9 Hodie completi sunt (Svv) Monte: 392 5 Hodie gloriosa virgo (Svv) Gero: 141 10

Hodie in Jordane baptizato (6vv) Gombert (Maistre Jhan): 86 9 Hodie Maria virgo caclos ascendit (Svv) Carli: 120 18 Hodie nata est beata virgo Maria Boyleau: 38 16 Hodie nata est beata virgo Maria (5vv) Vinci: 396 26

Hodie nata est virgo Maria (Svv) Gombert: 20 13; 102 13 Hodie nobis caelorum rex (5vv) . Gombert: 20 6; 102 6

Hodie nobis caelorum rex Aretino: 44 29; 248 29

Hodie nobis de caelo Aretino: 44 30; 248 30 Hodie nobis de caelo (2p. of Hodie nobis caelorum rex) (Svv) Gombert: 20 6; 102 6

Hodie scietis quia veniet Gero: 89 2 Hodie Simon Petrus (Svv) Ghibel: 69 18

Hodie Simon Petrus (S5vv) [no attribution]: 36 13 Hodie sollemnis illuxit (Svv) Contino: 178 10

Homo quidam fecit cenam magnam (Svv) Jacquet of Mantua: 108 22

Homo quidam fecit cenam magnam (5vv) Palestrina: 393 9 Homo quidam fecit cenam magnam (Svv) Phinot: 19 21 Honor virtus & potestas (2p. of Benedictus Dominus Deus Israel) Lupi: 90 8; 218 8

Honora Dominum de tua substantia (Svv) Vinci: 161 15

[Hostis Herodes impie] Ibant magi Contino: 194 3

[Hostis Herodes impie] Ibant magi Jacquet of Mantua: 269 3 [Hostis Herodes impie] Ibant magi Willaert: 30 4; 106 4 Jam pascha nostrum Christus est Gvv) Willaert: 92 21 Ideo cum Christo (2p. of Gaudent in caelis) Clemens: 135 8

Ideo precor virginem Mariam (2p. of Confiteor Deo patri) (6vv) Maistre Jhan: 86 11 Illic sedimus & flevimus (2p. of Super flumina Babilonis) (vv) Lasso: 292 12; 356 12

Illum mitra decens (2p. of Cursu festa redit ) (Svv) Gombert (Hellink): 20 18; 102 18

lumina oculos meos (6vv) Corfini: 365 19 lilumina oculos meos (2p. of Usquequo Domine oblivisceris) (Svv) Rore: 52 11

Illumina oculos meos (2p. of Usquequo Domine oblivisceris) Willaert: 8 3

Iltuxit nunc sacra dies (Svv) Rore: 88 12

Immutemur habitu in cinere Morales (Escobedo): 34 15 Impetum fecerunt (2p. of Lapidabant Stephanum invocantem) Clemens: 134 8 Impleat Dominus omnes petitiones meas (2p. of Exaudiat me) (Svv) —- Rore: 52 9

Impleta sunt quae concinet David (2p. of Vexilla regis) (6vv) Lasso: 259 10

Improperium expectavit cor meum Ferrarese: 261 2

In conveniendo populos in unum (3p. of Domine exaudi) Lambertini: 322 17

In convertendo Dominus captivitatem Sion (Svv) Rore: §2 3 [In convertendo Dominus] Facti sumus sicut Jacquet of Mantua: 137 19

In die tribulationis meae (3vv) Havericq: 92 17 In die tribulationis meae (Svv) Jacquet of Mantua: 87 1; 256 2 In die tribulationis meae (3vv) Morales: 91 6 In die tribulationis meae (2p. of Inclina Domine aurem [1]) Gvv) Morales: 18 4 In Domino confido Jacquet of Mantua: 6 14; 41 6; 257 6

In Domino confido (Svv) Rore: 52 7

In Domino laudabitur anima mea (2p. of Benedicam Dominum in Lasso: 270 19 omni tempore) (Svv)

[In exitu Israel de Egipto] Domus Jacob de populo (6vv) Pratoneri: 328 7 In hac cruce te invenit (2p. of Circuire possum Domine) (5vv) Palestrina, Angelo: 393 12

In hoc cognovi quoniam voluisti me (2p. of Adversum me) Gombert: 21 7 In hoc confido quod major est (2p. of Miser ubi parebo) (Svv) Schaffen: 253 7

In illo tempore accesserunt ad Jesum Mouton: 11 6 In illo tempore accesserunt ad Jesum (Svv) Schaffen: 254 2 In illo tempore dixerunt Pharisei (7vv) Corfini: 365 24 996

Latin Texts

In illo tempore dixit Jesus ad quosdam Maistre Jhan: 31 14 In illo tempore dixit Jesus discipulis suis modicum Morales: 34 6

In illo tempore dixit Jesus discipulis suis modicum Jacquet of Mantua: 6 1; 41 1; 90 1; 218 1; 257 1

In illo tempore dixit Jesus discipulis suis vigilate Scotto: 18 5

In illo tempore dixit Jesus . . . nolite timere Morales: 34 25 In illo tempore dixit Jesus . . . non turbetur Boyleau: 38 9

In illo tempore dixit Jesus .. . non turbetur (Svv) Jacquet of Mantua: 256 12

In illo tempore dixit Jesus Symoni Petro Maistre Jhan: 31 16

In illo tempore egressus Jesus (Svv) Palestrina: 393 4 In illo tempore erat autem Jesus Jacquet of Mantua (Morales): 6 16; 41 4; 257 7 In illo tempore loquente Jesu (Svv) Schaffen: 254 6 In illo tempore respondens Jesu dixit (6vv) Jacquet of Mantua: 86 4 In illo tempore stabant autem Jacquet of Mantua: 34 19; 41 11 In illo tempore stabant autem Willaert: 7 20 In manibus portabunt te (3p. of Qui habitat in adiutorio) Willaert: 8 1 In manus tuas Domine (S5vv) Jacquet of Mantua: 284 19 In manus tuas Domine (2p. of Illumina oculos meos) (6vv) Corfini: 365 19

In me saevaruit (Svv) Corfint: 365 5

In me transierunt ire tuae (Svv) Lasso: 270 8 In medio ecclesiae aperuit (Svv) Vinci: 161 20

[In medio ecclesiae] Aperuit os eius /Alleluia (Svv) Contino: 175 4 In monte Oliveti Aretino: 44 261 1; 248 | In monte Oliveti Ferrarese: 12 In prole mater (2p. of Beata mater & innupta virgo) Gombert: 21 11

In rore caeli (c.f. in Caeli Deus omnipotens) Ghibel: 69 24

In te Domine speravi (6vv) Gombert: 86 2

In te Domine speravi (S5vv) Jacquet of Mantua (Berchem): 5 21; 258 15

In te Domine speravi Verdelot: 90 9; 218 9 In te Domine speravi (c.f. in Tribularer si nescierem) Ghibel: 69 25

[In te Domine speravi] In justitia tua libera me (S5vv) Jacquet of Mantua: 284 13 In te signis radians (2p. of O Stupor & gaudium) (Svv) Contino: 178 15

In tua pacientia possedisti animam tuam Jacquet of Mantua: 34 18; 41 10

In Verona Agrippina (c.f. in Inclite dux salve Victor) Willaert: 99; 1059

In via hac qua ambulabam (Svv) Monte: 392 10 | In voluntate tua Domine (5vv) Schaffen: 254 3

Incipit lamentatio Hieremiae prophetae Aretino: 234 |

Incipit lamentatio Hieremiae prophetae [1] (Svv) Contino: 193 1 Incipit lamentatio Hieremiae prophetae [2] (Svv) Contino: 193 19

Incipit lamentatio Hieremiae prophetae (6vv) Contino: 193 18 Incipit lamentatio Hieremiae prophetae (2vv) Ferrarese: 261 11 Incipit lamentatio Hieremiae prophetae (3vv) Ferrarese: 261 83

Incipit lamentatio Hieremiae prophetae Jacquet of Mantua: 284 3 Incipit oratio Hieremiae prophetae (2vv) Ferrarese: 261 70

Incipit oratio Hieremiae prophetae [1] Ferrarese: 261 71 Incipit oratio Hieremiae prophetae [2] Ferrarese: 261 91 Incipit oratio Hieremiae prophetae (Svv) Jacquet of Mantua: 284 11] Inclina Domine aurem tuam (Svv) Gombert (Berchem): 20 2; 102 2

Inclina Domine aurem tuam Jacotin (Courtois): 34 14

Inclina Domine aurem tuam Morales: 18 4

Inclina Domine aurem tuam (5vv) ; Rossetto: 291 10 Inclita sanctae virginis Catherinae (Svv) Gero: 141 12

Inclita sanctae virginis Catherinae (Svv) Jacquet of Mantua: § 12

Inclite dux salve Victor (Svv) Willaert: 9 9; 1059

Inclite Sfortiadum princeps (Svv) Willaert: 9 15; 105 15 Induere vestimentis (2p. of Adorna thalamum tuum) (6vv) Contino: 176 16 Inferni claustra penetrans (2p. of Jesu nostra redemptio) (6vv) Lasso: 291 13

Ingenium ornavit Pallas mucrone (6vv) [no attribution]: 40 19 Ingrediente Domino in sanctam civitatem [no attribution]: 34 16

Ingresso Zacharia templum Domini (Svv) [no attribution] (Jacquet of Mantua): 19 18; 108 18

Innocentes pro Christo (Svv) Contino: 178 3 Innova signa & immuta mirabilia (2p. of Miserere nostri Deus) Morales: 34 20

997

Index of First Lines

Innuebant patri eius (Svv) Vinci: 396 24 Inter 3 16; Internatos natosmuliterum mulierumGombert: Morales: 34 18 4 14

Intelligite insipientes (2p. of Deus ultionum Dominus) Conseil (Gombert): 89 8

Inter vestibulum & altare (Svv) {no attribution} (Ruffo): 19 20; 108 23 [Intret] In conspectu tuo Domine (5vv) Contino: 175 42 Intret super cos formido & pavor (5vv) Vinci: 396 4 Introducit Jesus in caelum suum nutritium (Svv) Garugli: 209 13 [Introduxit vos Dominus] In terram fluentem / Alleluia (Svv) Contino: 175 9 Inveterata sunt ossa mea (2p. of Prolongati sunt dies mei) (Svv) Willaert: 9 4; 105 4

inviolata integra & casta (6vv) Contino: 176 4

Inviolata integra & casta (Svv) Gombert: 4 7; 19 4; 108 4

Inviolata integra & casta Willaert: 8 16

Ioth. Dabit percutienti se maxillam (Svv) Contino: 193 17 loth. Dabit percutienti se maxillam Jacquet of Mantua: 284 10 Joth. Sederunt in terra [Lamentatio secunda} Aretino: 234 5 [psa te cogat pietas (3p. of Jesu nostra redemptio) (2vv) Lasso: 291 13 Ipse est qui evangelii (2p. of Beatus Joannes apostolus) Willaert: 8 19

[Iste confessor Domini] Qui pius prudens Contino: 194 23 [Iste confessor Domini] Qui pius prudens Jacquet of Mantua: 269 23 [Iste confessor Domini} Qui pius prudens , Willaert: 30 23; 106 23

Iste est discipulus qui dignus (Svv) Jacquet of Mantua: 5 4; 258 10

Iste est Joannes (Svv) Vinci: 396 20 Iste est Joannes (Svv) (no attribution]: 36 22 Iste puer magnus coram Domino (2p. of Descendit angelus) (S5vv) [no attribution]: 36 12

Iste sanctus digne in memoriam (Syv) Garugli: 209 5 Isti sunt sancti qui non inquinaverunt (5vv) Gero: 141 7 Isti sunt sancti qui pro amore Christi (Svv) Gero: 141 8

Isti sunt viri sancti (Svv) Gombert (Lupi/Gramsyre): 19 11; 108 11 Istorum est enim regnum caelorum (5vv) Vinci: 161 11

Jam bene fortunae rerum (Svv) Schaffen: 253 6

Janitor caeli doctor orbis Contino: 194 13 Jesu corona virginum (6vv) Lasso: 259 8 Jerusalem quae occidis prophetas (Svv) Schaffen: 254 9

[Jesu corona virginum] Qut pascis inter lilia Contino: 194 24 [Jesu corona virginum] Qui pascis inter lilia Jacquet of Mantua: 269 24 [Jesu corona virginum] Qui pascis inter lilia Willaert: 30 26; 106 26

Jesu nostra redemptio (6vv) Lasso: 291 13

[Jesu nostra redemptio} Quae te vicit clementia Contino: 194 7 (Jesu nostra redemptio] Quae te vicit clementia Jacquet of Mantua: 269 7

Jesum Nazarenum Aretino: 234 10

Jesum Nazarenum (5vv) Contino: 193 26 Jesum Nazarenum (Svv) Jacquet of Mantua: 284 2 Jesum tradidit impius Aretino: 44 17; 248 17 Jesum tradidit impius (Svv) Contino: 193 12

Jesum tradidit impius Ferrarese: 261 50

Joannes apostolus et evangelista Willaert: 7 21 Job tonso capite (Svv) Morales (Clemens): 88 11 Joseph fili David noli timere (Svv) Vinci: 396 11 Josquini antiquos musae memoremus (2p. of Dum vastos Adriae Jacquet of Mantua: 136 15; 256 10 fluctus) (Svv)

Jubilate Deo omnis terra (6vv) Morales: 86 14 Jubilemus Hippolyto & cantemus (2p. of Gaude & laetare) (6vv) Morales: 86 15

Jucundum mea vita (Svv) Jacquet of Mantua: 19 19; 108 19

Judas mercator pessimus Aretino: 44 5; 248 5 Judas mercator pessimus Ferrarese: 261 18

Judica me Deus & discerne causam meam (Svv) Gombert: 4 1

Justus autem si morte aliqua (2p. of Sapientia justum) (5vv) Schaffen: 254 10 Justus es Domine & rectum judicium (2p. of Audite omnes) (Svv) Gero: 140 4

Justus es Dominus (3vv) {no attribution]: 92 29

Juxta vestibulum & altare (2p. of Immutemur habitu in cinere) Morales (Escobedo): 34 15

998

Latin Texts

Kyrie eleison (3vv) Tiburtino: 84 13 Laboravi in gemitu meo (2p. of Domine ne in furore tuo arguas me) = Lambertini: 322 2

Laeta dies terris (2p. of Dicite in magni dum spes altera mundi) Gombert: 3 4

Laetare caelum & exultet terra (Svv) Schaffen: 253 2 Laetare Hierusalem Boyleau: 38 [3 Laetare Hierusalem (Svv) Contino: 177 18 Laetare Lucca (c.f. in Gaude felix civitas) Ghibel: 69 7

Laetare mater nostra Hierusalem (6vv) Ruffo: 145 9 Laetare sancta mater Ecclesia (5vv) Willaert: 9 8; 105 8 Laetatus sum in his (2p. of Laetare Hierusalem) Boyleau: 38 13

[Laetatus sum in his quae dicta sunt mihi] In domum Domini (6vv) Pratoneri: 328 9

{Laetatus sum] In nomen Domini Primi toni Phinot: 138 13; 144 11

Laetentur celi exultet terra (Svv) Contino: 177 3 Lamech. Matribus suis [Lamentatio tertia] Aretino: 234 6 Lamech. O vos omnes qui transitis (Svv) Contino: 193 3

Lamech. O vos omnes qui transitis Ferrarese: 261 85 Lamech. O vos omnes qui transitis Jacquet of Mantua: 284 5 Lamech. Operuisti [Lamentatio secunda] Aretino: 234 8 Lamentabatur Jacob de duobus filiis Boyleau: 38 § Lamentabatur Jacob de duobus filiis (Svv) Ciccarelli; 302 13

Lamentatio prima [2] [1] Aretino: Aretino:234 2347| Lamentatio prima Lamentatio prima [Lamentatio tertia] Aretino: 234 4 Lamentatio secunda Aretino: 234 2 Lamentatio secunda [2] Aretino:234 234 8 5 Lamentatio. 2. Aretino:

Lamentatio. 3 Aretino: Lamentatio tertia Aretino:234 234 3 6

Lapidabant Stephanum invocantem Clemens: 134 8 Lauda Jerusalem Dominum (6vv) Lasso: 259 12 Largire filiis tuis 3p. of Quidquid appositum est) Gombert: 21 18

{Lauda Jerusalem Dominum] Lauda Deum tuum Sion (6vv) Pratoneri: 328 11

{Lauda Jerusalem] Lauda Deum Tertii toni Phinot: 138 15; 144 13 [Laudate Dominum} Laudate eum Quinti toni Phinot: 138 10; 144 10 (Laudate Dominum] Laudate eum Secundi Toni Phinot: 138 5; 144 5

Laudate Dominum omnes gentes (8vv) Palestrina: 393 29

[Laudate Dominum omnes gentes] Laudate eum omnes populi [1] Jacquet of Mantua: 137 11 [Laudate Dominum omnes gentes] Laudate eum omnes populi [2] Jacquet of Mantua: 137 17 [Laudate Dominum omnes gentes] Laudate eum omnes populi (6vv) —_— Pratoneri: 328 6

Laudate pueri Dominum (8vv) Palestrina: 393 27 Laudate pueri Dominum (2p. of Benedicam Dominum) (vv) De Silva: 91 20 [Laudate pueri Dominum] Laudate nomen Domini [1] Jacquet of Mantua: 137 10 [Laudate pueri Dominum] Laudate nomen Domini [2] Jacquet of Mantua: 137 16 [Laudate pueri Dominum] Laudate nomen Domini (6vv) Pratoneri: 328 5 [Laudate pueri Dominum] Laudate nomen Domini Octavi toni [1] Phinot: 138 4; 144 4 [Laudate puer!t Dominum] Laudate nomen Domini Octavi toni [2] Phinot: 138 12 [Laudate pueri Dominum] Laudate nomen Domini Quarti Toni Phinot: 138 9; 144 9

Laudemus fortissimum Christi martirem (Svv) Ghibel: 69 8

Laudes Deo devotes (2p. of Alleluia spiritus Domini) (Svv) Gombert: 4 15

Laus Deo pax vivis (Svv) Gombert: 4 5 Laus honor virtus gloria (4p. of Jesu corona virginum) (6vv) Lasso: 259 8

Lectio actuum apostolorum Garnier: 90 17

Lege sub trina modulatus ora Contino: 194 28

Legem pone mihi Domine (5vv) Lasso: 270 22 Legem pone mihi Domine (6vv) Ruffo: 145 13

Leva eius sub capite meo (2p. of Ego flos campi) (Svv) Gombert: 19 12; 108 12

Levavi oculos meos (Svv) Ciccarelli: 302 3

Levavi oculos meos Gombert: 3 11; 18 23 Levavi oculos meos (5vv) Rore: 52 16 Levavi oculos meos (6vv) Ruffo: 145 6 Levita Laurentius bonum opus Verdelot: 93 8 Levita Laurentius bonum opus (5vv) Vinci: 396 2 999

Index of First Lines

Libera me Domine (Svv) Corfini: 365 11 Libera me Domine (2p. of Spiritus meus attenuabitur) Willaert: 8 6

Liberator animarum mundi redemptor (5vv) Jacquet of Mantua: 5 11; 258 4 Locuti sunt adversum me lingua dolosa (Svv) Willaert: 9 16; 105 16

Locutus est Dominus ad Moysen (5vv) Jacquet of Mantua: 87 4; 256 |

Locutus sum in lingua mea (6vv) Corfini: 365 18 Longitudo dierum in dextera eius (2p. of Beatus homo qui invenit Rore: 52 1 sapientiam) (3vv)

Lucia virgo quid a me petis (Svv) Vinci: 161 6

[Lucis creator optime] Qui mane iunctum vesperi Contino: 194 11 [Lucis creator optime] Qui mane iunctum vesperi Jacquet of Mantua: 269 26 jLucis creator optime] Qui mane tunctum vesperi Willaert: 30 24; 106 24

Lumen ad revelationem gentium Maistre Jhan: 31 7 Lumen ad revelationem gentium (c.f. in Bonitatem fecisti) Ruffo: 145 2

Lux de caelo adveniens Manchicourt: 134 10 Magi videntes stellam dixerunt (Svv) Ghibel: §7 20 Magna est gloria eius (2p. of Dominus in virtute tua laetabitur) (8vv) Palestrina: 393 28 Magne martir Adriane Willaert: 7 16 [Magne pater] Amatorem paupertatis Willaert: 30 9; 106 9

[Magnificat] Anima mea Dominum (6vv) Pratoneri: 328 8

[Magnificat] Anima mea Dominum [Octavi toni] Morales: 55 15 {Magnificat} Anima mea Dominum Octavi toni Phinot: 144 14 [Magnificat] Anima mea Dominum [Primi toni] Morales: 27 1; 55 1! {Magnificat} Anima mea Dominum [{Quarti toni] Morales: 27 4; 55 7 (Magnificat] Anima mea Dominum [Quint toni] Morales: 55 9 [Magnificat] Anima mea Dominum [Secundi toni] Morales: 27 2; 55 3 {[Magnificat] Anima mea Dominum [Septimi toni] Morales: 27 7; 55 13 [Magnificat] Anima mea Dominum [Sexti toni} Morales: 27 6; 55 11 [Magnificat] Anima mea Dominum [Tertii toni] Morales: 55 5

[Magnificat] Et exultavit Jacquet of Mantua: 137 12 [Magnificat] Et exultavit Rore: 137 6 {Magnificat} Et exultavit Primi toni Phinot: 144 15

[Magnificat] Et exultavit Quarti tont Phinot: 138 16; 144 16

[Magnificat] Octavi toni Festa, C.: 122 8

[Magnificat] Octavi toni Jacquet of Mantua: 27 9

[Magnificat] Octavi toni Menon: 27 8 [Magnificat] Primi toni Festa, C.: 122 1 [Magnificat] Primi toni [no attribution]: 27 11 [Magnificat] Quarti toni Festa, C.: 122 4 [Magnificat] Quarti toni Piéton: 27 10 [Magnificat] Quinti toni Festa, C.: 122 5 [Magnificat] Quinti toni Richafort: 27 5

[Magnificat] Secundi toni Festa, C.: 122 2 [Magnificat] Septimi toni Festa, C.: 122 7

{Magnificat} Sexti toni Festa, C.: 122 6 [Magnificat] Tertii toni Festa, C.: 122 3

[Magnificat] Tertii toni Jacquet of Mantua: 27 3

Magnificavit Dominus facere quoniam (2p. of Quo abiit dilectus) Conseil: 93 14

Magnum haereditatis misterium (Svv) Contino: 177 10 Magnum haereditatis misterium (Svv) Ghibel: 57 19; 69 10

Magnum haereditatis misterium Willaert: 7 26 Mandatum novum do vobis (Svv) Vinci: 396 5 Mane nobiscum Domine (5vv) Crecquillon: 136 5 Manus tuae Domine fecerunt me (3p. of Parce mihi Domine) Zarlino: 242 18 Manus tuae fecerunt me (Svv) Monte: 392 6 Maria dixit putas (2p. of Gabriel angelus locutus) (5vv) Nola: 80 22

Maria Magdalene et altera Maria (Svv) Gombert: 4 10

Maria mater gratiae (2p. of Memento salutis auctor) (Svv) Crecquillon: 136 10

Maria stabat ad monumentum plorans (Svv) Contino: 177 21 Maria virgo assumpta est (2p. of Assumpta est Maria) (Svv) Contino: 178 4

Maria virgo virginum Gardane: 90 13; 218 13

Martinus Abrahe sinu fetus [no attribution}: 34 17 1000

Latin Texts

[Me exspectaverunt] Peccatores ut perderent (S5vv) Contino: 175 30 Mea nox obscur non habet (2p. of Beatus Laurentius clamavit) (Svv) Gero: 140 15 Mea nox obscurum non habet (2p. of Strinxerunt corporis membra) Willaert: 8 4 Memento Abraam, Isaac, & Jacob (2p. of Precatus est Moyses) (Svv) Willaert: 9 19; 105 19

[Memento Domine David] Et omnis mansuetudinis Octavi toni Rore: 137 5

Memento salutis auctor (Svv) Crecquilion: 136 10

Memor esto verbi tui (Svv) Gero: 141 14

Memor esto verbi tui (Svv) Palestrina: 393 2 Memor fui nocte nominus tui Domine (2p. of Quam delecta) (3vv) Phinot: 92 15

Men. Cui comparabo te [Lamentatio tertia] Aretino: 234 6

Men. Quis est iste [Lamentatio prima] Aretino: 234 7 Mene fugis? (3p. of Dissimulare etiam) (7vv) Rore: 289 3

[Mihi autem nimis] Honorati sunt amici / Alleluia (Svv) Contino: 175 16

Mihi Domine (5vv) Jacquet of Mantua: 284 16 Mirabile misterium (5vv) Ciccarelli: 302 8 Mirabile misterium (Svv) Jacquet of Mantua: 5 7; 258 9 Mirabile (Svv) Vinci: 396 8 Mirabilemisterium misterium Willaert: 7 15 Miser factus sum & curvatus sum (Svv) Schaffen: 254 8

Miser ubi parebo (Svv) Schaffen: 253 7

Misereatur nostri omnipotens (3p. of Confiteor Deo patri) (6vv) Maistre Jhan: 86 11

Miseremini mei saltem vos amici mei (6vv) Contino: 176 7

Miserere mei Deus [1] (Svv) Contino: 193 7 Miserere mei Deus [2] (5vv) Contino: 193 15 Miserere mei Deus [3] (Svv) Contino: 193 24

Miserere mei Deus [1] Ferrarese: 261 24 Miserere mei Deus [2] Ferrarese: 261 53 Miserere mei Deus [3] Ferrarese: 261 55 Miserere mei Deus [4] Ferrarese: 261 80 Miserere mei Ferrarese: 261 Miserere mei Deus Deus[5] . Lambertini: 32282 3] Miserere mei Domine (2p. of Inclina Domine aurem tuam) (Svv) Rossetto: 291 10

Miserere nostri Deus Rore: 242 6 Miserere nostri Deus omnium Gombert: 21 4

Miserere nostri Deus omnium Morales: 34 20 Miserere nostri Domine (2p. of Ad te levavi oculos meos) (Svv) Rore: 291 4

Miserere pie Jesu Gombert: 3 2; 18 2 [Misereris] Omnium Deus & nihil odisti (Svv) Contino: 175 6

Misericordia Domini (Svv) Vinci: 396 | Misit eos in universum mundum (2p. of Hodie completi sunt) (Svv) = Monte: 392 5

Missa a Ja Incoronation (S5vv) Gombert: 25 3 Missa a voci part [Vous ne I'aurez} (Svv) Rore: 148 4

Missa Altro non e il mio amor (5vv) Jacquet of Mantua (Berchem): 25 5

Missa Aspice Domine Morales: 43 1; 249 | Missa Ave [fuit] prima salus Jacquet of Mantua: 11 2 : Missa Ave Maria Morales: 26 1; 43 4; 249 4 Missa Benedicam dominum omni tempore Contino: 192 6

Missa Benedicta es caelorum regina Contino: 192 3

[Missa] Christus resurgens Hellinck: 47 2 Missa Congratulamini mihi Contino: 192 5

Missa Cum quatuor vocibus (no attribution]: 26 4

Missa Cum quatuor vocibus [Alma redemptoris] Ruffo: 26 7

Missa De beata virgine Contino: 192 2

Missa De beata virgine Morales: 11 1; 43 2; 249 3 Missa De beata virgine (Svv) Morales: 33 3; 10 2; 233 3 Missa De beata virgine (6vv) Varoto: 239 1 Missa De Filumena (Svv) Gombert: 25 4 Missa De media vita (Svv) Gombert: 25 2 Missa De mon triste desplaisir Jacquet of Mantua: 11 7

Missa Deus misereatur nostri (Svv) Jacquet of Mantua (Berchem): 25 6 [Missa] Dormend'un giorno a Baia (Svv) Alberti: 76 3 Missa Ferdinandus dux Calabriae (Svv) Jacquet of Mantua: 10 5

Missa Gaude virgo mater Christi [no attribution]: 26 6 1001

Index of First Lines

Missa Hercules dux Ferrariae (Svv) Jacquet of Mantua: 10 3

Missa Illuminare Hierusalem Contino: 192 4 [Missa] In Antiphona S. Sebastiani Hesdin: 47 5

Missa In die tribulationis (Svv) Jacquet of Mantua: 124 1;196 1

Missa In illo tempore Jacquet of Mantua: 11 5 [Missa] Italia mia (Svv) Alberti: 76 2 Missa Mort e merci (5vv) Berchem: 10 4

[Missa] Mort et fortune Berchem: 47 4 [Missa] Peccata mea Domine Hellinck: 47 1

[Missa] Philomena Verdelot: 47 3

Missa Pro defunctis (6vv) Varoto: 239 4 [Missa] Quaeramus cum Pastoribus Alberti: 76 1

Missa Quaeramus cum Pastoribus (5vv) Morales: 33 2; 233 2

Missa Quam puichra es Jacquet of Mantua: 26 5 Missa Sancta Maria Gombert: 113 | Missa Sancta trinitas (6vv) Varoto: 239 $

Missa Si bona suscepimus (Svv) Jacquet of Mantua: 25 1 Missa Sine nomine a 5 (S5vv) Jacquet of Mantua: 195 4

[Missa sine nomine] Morales: 43 5

Missa Super Alla dolce ombra (Svv) Jacquet of Mantua: 195 3

Missa Super Anchor che col partire (Svv) Jacquet of Mantua: 124 5

Missa Super Aspice Domine (5vv) Baccusi: 338 2

Missa Super Chiare dolci e fresche acque (Svv) Jacquet of Mantua: 124 2; 196 2

Missa Super Ego qui sum (5vv) Ciera: 148 3

[Missa] Super Enceladi (Svv) Jacquet of Mantua: 195 2

Missa Super Iluminare Hierusalem (Svv) Baccusi: 338 |

[Missa] Super La fede unque debbe esser corrotta (5vv) Jacquet of Mantua: 148 2; 196 5

Missa Super Lomme Arme (5vv) Morales: 33 1; 10 1; 233 1 Missa Super Peccata mea (Svv) Jacquet of Mantua: 124 3; 196 3 [Missa] Super Rex Babilonis (5vv) Jacquet of Mantua: 148 1; 196 4 Missa Super Standomi un giorno (5vv) Baccusi: 338 4 Missa Super Vado ad eum (5vv) Jacquet of Mantua: 195 |

Missa Surrexit Pastor bonus (Svv) Hellinck: 33 4; 2334. Missa Vent creator spiritus (6vv) Varoto: 239 3 Missa Veni sancte spiritus Contino: 192 |! Missa Veni sponsa Christi (Svv) Hellinck: 33 5; 233 5 Missa Voycy le temps (6vv) Varoto: 239 2 Missa Vulnerasti cor meum Morales: 26 3; 43 3; 249 2 Missa Tribularer Falcidii fortiuliensis (Svv) Baccusi: 338 3

[Missus est angelus Gabriel a Deo] Ad virginem (Svv) Lasso: 259 |

Missus est archangelus Gabriel Gero: 89 |

Missus est Gabriel angelus Morales: 26 2

Monstra te esse matrem (2p. of Ave maris stella) (Svv) Willaert: 9 21; 105 21 Mortem enim quam salvator (2p. of Patefactae sunt) (Svv) Gombert: 20 8; 102 8

Mortem enim quam salvator (2p. of Patefactae sunt) Willaert: 7 24 Mortuus est enim (2p. of Expurgate vetus fermentum) (Svv) Gombert (Berchem/Lupi): 20 1; 102 1 Mulier ecce filius tuus (2p. of In illo tempore stabant autem) Jacquet of Mantua: 41 11

Multiplicati sunt (6vv) Ruffo: 145 10

Muro tuo inexpugnabili (2p. of Aspice Domine quia facta est) Gombert: 3 20

Musica dulci sono caelestia Rore: 330 5

Nardi Maria pistici (Svv) Jacquet of Mantua: 269 13 [Nardi Maria pistici] Honor decus imperium Contino: 194 14

Narrate omnia mirabilia eius (2p. of Confitemini Domino & invocate Lasso: 270 | nomen eius) (Svv) Natale sanctae Eufemiae Willaert: 7 8

Nativitas gloriosae virginis (3vv) Tiburtino: 84 8 Nativitas tua Dei genitrix (6vv) Contino: 176 6 Nativitas tua Dei genitrix (Svv) Ghibel: 57 27

Nativitas tua Dei genitrix Billon: 90 12; 218 12 Ne avertas faciem tuam (2p. of Exaudi Domine vocem meam) (Svv) —_ Lasso: 270 13

Ne avertas faciem tuam (2p. of Multiplicati sunt) (6vv) Ruffo: 145 10

Ne derelinquas me Domine (S5vv) Phinot: 87 10 1002

Latin Texts

Ne projicias me in tempore (Svv) Crecquillon: 136 8

Ne projicias nos Domine in tempore (5vv) Willaert: 9 23; 105 23

Ne reminiscaris delicta mea (2p. of Peto Domine) (Svv) Gombert: 20 19; 102 19

Ne reminiscaris Domine (5vv) Gombert: 20 14; 102 14 Ne timeas Maria, invenisti enim (2p. of Missus est angelus) (Svv) Lasso: 259 1

Ne virgo mala sana tuos (2p. of Texebat viridem Cloris) (Svv) Contino: 177 12 Nec bello iuveni tantum (2p. of Objectum Antoni ne pectus) (Svv) Contino: 177 9

Nemo potest venire ad me (5vv) Zarlino: 88 17

Nigra sum sed formosa (Svv) Nola: 80 3 Nigra sum sed formosa (Svv) Silva: 88 3

Nihil proficiet inimicus in eo (5vv) Crecquillon: 136 9 Nisi Dominus aedificaverit domum Lhéritier: 142 7 [Nisi Dominus aedificaverit domum] In vanum laboraverunt (6vv) Pratoneri: 328 10

{[Nisi Dominus aedificaverit domum] In vanum laboraverunt Phinot: 138 14; 144 12 Nisi ego abiero paracletus (2p. of Tempus est ut revertar) (vv) Contino: 177 8

Nobilissimis orta natalibus (2p. of Agatha laetissime) (3vv) Lahaya: 91 9 Nobis dum sacros templis (2p. of Adriacos numero si quis ) (5vv) Willaert: 9 7; 1057 Nobis ergo petimus (2p. of O constantia martyrum laudabilis) (Svv) | Crecquillon: 136 11

Noe noe noe puer natus est nobis (6vv) Ruffo: 145 1

Non avertas faciem tuam (2p. of Domine exaudi orationem meam) Lambertini: 322 23

Non confundantur omnes (2p. of Esto mihi Domine) (Svv) Carli: 120 14 Non confundantur omnes (2p. of Esto mihi Domine ) (Svv) Sermisy: 88 9 Non esurient neque sitient (2p. of Absterget Deus omnem) Boyleau: 38 7 Non fecit taliter (4p. of Lauda Hierusalem Dominum) (6vv) Lasso: 259 12

Non in die festo ne forte tumultus (Svv) Jacquet of Mantua: 284 1 Non in die festo ut quod perditi [Passio Jesu Christi] Aretino: 234 [0

Non in die ne forte tumultus (Svv) Contino: 193 25 Non moriar sed vivam (2p. of O Domine salvum me fac) (Svv) Lasso: 270 6 Non relinquam vos orphanos (Svv) Schaffen: 253 8 Non sic impii non sic (2p. of Beatus vir qui non abtit) Gvv) Scotto: 92 5

Non sis occisor (2p. of Unum cole Deum) Jacquet of Mantua: 6 10; 41 14; 2575

Non turbetur cor vestrum Gosse: 90 14; 218 14 Non vos relinquam orphanos (5vv) Ghibel: 57 10; 69 1 Nonne dissimulavi (2p. of Antequam comedam suspiro) Morales: 18 12

[Nos autem] Gloriari oportet in cruce (Svv) Contino: 175 25

Nos pueri tibi principi Jacquet of Mantua: 18 21; 242 20 Nos vero pro te nunquam desistimus (2p. of Quis incredibili non) Jacquet of Mantua: 6 20; 41 7; 2579

Nostra ut pura pectora (2p. of Inviolata integra & casta) (Svv) Contino: 176 4

Nostra ut pura pectora (2p. of Inviolata integra & casta) Willaert: 8 16 Notam fac mihi viam (2p. of Vias tuas Domine) (Svv) Rore: 52 [8

Notas facit (2p. of Confitebor tibi Domine) (8vv) Palestrina: 393 26

Novae laudes adest festivitas (Svv) Gero: 1416

Nudus egressus sum (2p. of Si bona suscepimus) Lhéritier: 142 8

Nudus egressus sum (2p. of Si bona suscepimus) (5vv) Schiavetto: 255 13

Nulla scientia melior (Svv) Rore: 52 2

Numquid & tu ex discipulis [Passio Jesu Christi] Aretino: 234 10

Nun. Plauserunt super te manibus Jacquet of Mantua: 284 8 Nun. Scrutemur [Lamentatio secunda] Aretino: 234 8 Nunc cognovi Domine quia verus est sermo (6vv) Rore: 52 19

Nunc dimittis servum tuum Domine (7vv) Corfini: 365 25 Nunc dimittis servum tuum Domine (5vv) Garugli: 209 3 Nunc dimittis servum tuum Domine (6vv) Palestrina, Silla: 393 25

Nunc ergo exaudi Deus (Svv) Nola: 80 17

[Nunc scio] Vere quia misit Dominus / Alleluia (Svv) Contino: 175 28 Nunciaverunt Jacob Boyleau: 38 6 Nunquam super terram (5vv) Jacquet of Mantua: 87 14; 256 4

O admirabile commertium (Svv) Contino: 177 22

O adorandum sacramentum (Svv) Gombert: 20 3; 102 3

O altitudo divitiarum (Svv) Ciccarelli: 302 4

O altitudo divitiarum (Svv) Rore: 88 14

O angele Dei qui custos es Jacquet of Mantua: 6 4 O Anna felix domina (2p. of Novae laudes adest festivitas) (Svv) Gero: 141 6

1003

Index of First Lines

O Anna purissima (2p. of O felix Anna) (Svv) Gombert: 20 15; 102 15 O Antoni pater veni (2p. of Antoni pater inclyte) Lasson: 93 15

O beata Maria (Svv) Gombert: 4 16

O beate Christi confessor (Svv) [no attribution]: 36 21 O beatum hominem cui tu protector (2p. of Quam benignus) (Svv) Lasso: 270 7

O beatum Martinum (5vv) Ghibel: 57 5; 69 12 O beatum pontificem (Svv) Contino: 177 19

O beatum pontificem Martinum Gero: 34 13; 89 12 O beatum virum (5vv) Contino: 177 11

O benigna o Maria (2p. of Inviolata, integra & casta) (Svv) Gombert: 4 7; 19 4; 108 4 O benigna o regina (3p. of Inviolata integra & casta) (6vv) Contino: 176 4

O clemens genti (2p. of Fac tibi mortales) Gombert: 21 1

O clemens o pia (4p. of Vita dulcedo & spes nostra salve) Gombert: 21 19

O constantia martyrum laudabilis (5vv) Crecquillon: 136 11

O crux benedicta Rore: 242 3 O crux benedicta (Svv) Vinci: 396 6

O crux ave spes unica (4p. of Vexilla regis prodeunt) (6vv) Lasso: 259 10

O crux gloriosa (Svv) Gero: 141 | O crux splendidior cunctis (6vv) Corfini: 365 20

O crux splendidior cunctis (Svv) Willaert: 9 13; 105 13 O decus ecclesiae pie rex francorum (5vv) Gero: 140 18 O Dei electe pietate (Svv) Jacquet of Mantua (Lebrun/Berchem): 5 8;

O doctoroptime optime (Syv) Ciccarelli: 302 18 | O doctor (Svv) Ruffo: 19 23 258 11

O Domina mundi Gombert: 21 12

O Domine Jesu Christe .. . in cruce pendentem Willaert: 7 14 O Domine Jesu Christe . . . in cruce vulneratum (2p. of O Domine Willaert: 7 14 Jesu Christe ... in cruce pendentem)

O Domine Jesu Christe... propter illam (3p. of O Domine Jesu Willaert: 7 14 Christe .. . in cruce pendentem)

O Domine Jesu Christe justos conserva (4p. of O Domine Jesu Willaert: 7 14 Christe .. . in cruce pendentem)

O Domine Jesu Christe obsecro te Jacquet of Mantua: 6 3; 41 3

O Domine salvum me fac (Svv) Lasso: 270 6

O dulcissima, o charissima virgo Maria (2p. of Rogamus te) (5vv) [no attribution]: 36 15

O faelicis soror utraque meritis (2p. of Videns Dominus) (5vv) Schaffen: 254 13

O felix aetas (2p. of Jubilate Deo omnis terra) (6vv) Morales: 86 14

O felix Anna (Svv) Gombert: 20 15; 102 15 O felix civitas (2p. of Gaude felix civitas) (Svv) Ghibel: 69 7

O felix martir quo duce martirum (2p. of Splendor ecclesiae) (6vv) Ruffo: 145 16

O fides spei columen (2p. of O quam praeclara sunt) (Svv) Jacquet of Mantua: 5 3; 256 13

O flos campi & lilium convalium (Svv) Gombert: 4 4; 19 2; 108 2 O gemma clarissima Willaert: 7 9 O gloriosa Dei genitrix Gombert: 3 6; 18 6

O gloriosa domina Dei genitrix Gombert: 3 14; 18 13 O gloriosa domina excelsa super sydera Contino: 194 29

O gloriosa domina excelsa super sydera Arcadelt: 142 14; Jacquet of Mantua (Arcadelt): 257 19

O Gratiane, o pie (2p. of Sacerdotum diadema) (Svv) Willaert: 9 10; 105 10

O Hippolyte si credideris (Svv) Vinci: 161 8 O inestimabile sacramentum Barges: 242 13 O jubar nostrae specimen Wihlaert: 30 10; 106 10

O lampas ardens in virtute tua (Svv) Jacquet of Mantua: 5 23; 258 12 O litium convallium refugium (2p. of O Maria piissima) (6vv) Maistre Jhan: 86 8

O lux beatissima (2p. of Veni sancte spiritus) (6vv) Pieton: 86 5

O lux & decus Hispaniae (5vv) Jacquet of Mantua (Berchem): 258 18

O magnum mysterium Aretino: 44 32; 248 32

O magnum mysterium Boyleau: 38 2 O magnum mysterium (Svv) Contino: 177 1

O magnum mysterium (S5vv) Gombert: 20 21; 102 21

O magnum mysterium (Svv) Schiavetto: 255 3

O magnum mysterium Willaert: 8 14 1004

Latin Texts O Maria flos virginum (2p. of Ave Maria gratia plena que tu virgo) Maistre Jhan: 31 9

O Maria piissima (6vv) Maistre Jhan: 86 8

O mulier Samaritana (2p. of In illo tempore erat autem Jesus) Jacquet of Mantua (Morales): 6 16; 41 4; 257 7

O pastor eterne o clemens et bone custos (Svv) Gero: 141 3

O patriarcha pauperum Francisce (Svv) Vinci: 161 4

O Petre martir inclite (Svv) Gero: 140 5

O praeclara stella maris (3vv) Févin: 91 15

O proles Hispaniae (Svv) Gero: 140 3 O proles Hispaniae (Svv) Ghibel: 57 30

O pulcherrima inter mulieres Gvv) Jacquet of Mantua: 91 24

O pulcherrima mulierum (2p. of Surge amica mea) (3vv) Festa, C.: 91 4

O quam gloriosum est regnum (Svv) Carli: 120 11 O quam gloriosum est regnum (6vv) Contino: 176 12 O quam gloriosum est regnum De Silva: 93 17 O quam gloriosum est regnum (5vv) Ghibel: 57 1; 69 23 O quam necessaria discussio (2p. of Nulla scientia melior) (Svv) Rore: 52 2 O quam praeclara sunt (Svv) Jacquet of Mantua: 5 3; 256 13

O quam suavis est (Svv) Ghibel: 69 21

O quam suavis est Domine (2p. of O sacrum convivium [1]) (Svv) Ciccarelli: 302 ]

O quam veneranda es virgo Marina Gero: 34 11; 89 11 O quanta est exultatio (2p. of Adoremus regem magnum Dominum) ___Lupi: 87 6 (Svv)

O regina poli (2p. of Dignare me laudare te) Gombert: 3 21

O Contino: 178814 O rex rexgloriae gloriae(Svv) (5vv) Nola: 80 O rex gloriae Domine virtutum (Svv) Garugli: 209 15 O rex gloriae Dominus virtutum (2p. of Ascendens Christus) (Svv) Gero: 140 14

O Roche beatissime Maistre Jhan: 31 12 O sacrum convivium Barges: 242 12 O sacrum convivium (Svv) Carli: 120 22 O sacrum convivium [1] (Svv) Ciccarelli: 302 1 O sacrum convivium [2] (Svv) Ciccarelli: 302 21

O sacrum convivium (Svv) Ghibel: 69 6

O sacrum convivium Jacquet of Mantua: 6 24; 257 14 O sacrum convivium (S5vv) Jacquet of Mantua (Arcadelt): 258 14 O sacrum convivium (Svv) Palestrina: 393 5

O sacrum convivium (Svv) Vinci:242 396 21 23 O salutaris hostia Nasco: O salutaris hostia (Svv) [no attribution]: 36 8 O sancta mater Anna (3vv) Jacotin: 91 16 O sancte Antoni gemma confessorum (2p. of Sancte Antoni pater) Morales: 18 11

O sancte Hieronyme doctor inclite Maistre Jhan: 31 13 O singulare praesidium (2p. of O lux & decus Hispaniae) (Svv) Jacquet of Mantua (Berchem): 258 18

O stupor & gaudium (5vv) Contino: 178 15 O Thoma didime per Christum (S5vv) Gero: 1406

O Thoma laus & gloria Willaert: 7 10 O virgo felix (2p. of O virgo generosa) (Svv) Crecquillon: 136 4

O virgo generosa (5vv) Crecquillon: 136 4 O virgo maxima prestans gloria (Svv) Gero: 140 13

O virgo simul & mater (Svv) Palestrina: 393 |

O virum mirabilem (S5vv) Ghibel: 57 29

O vos omnes qui transitis per viam Aretino: 44 23; 248 23 O vos omnes qui transitis per viam Ferrarese: 261 74 O vos omnes qui! transitis per viam Jacquet of Mantua: 41 12 O vos omnes qui transitis per viam (5vv) Schaffen: 254 12 O vos omnes qui transitis per viam (2p. of Caligaverunt oculi mei) Clemens: 135 7

Objectum Antoni ne pectus (Svv) Contino: 177 9

Obsecro te Domina (Svv) Schaffen: 254 5 Occurrunt turbe cum floribus Boyleau: 38 8

Octavus tonus [de canto Ilano] (3vv) [no attribution]: 153 62 Oculi mei semper ad Dominum (5vv) Ciccarelli: 302 10 Odisti omnes qui operantur (2p. of Verba mea auribus percipe) De Silva: 93 10

Omnes amici mei Aretino: 44 10; 248 10 1005

Index of First Lines

Omnes amici mei Ferrarese: 261 41

Omnes enim vos fratres estis (2p. of Super cathedram Moysi) Maistre Jhan: 31 4

Omnes gentes plaudite manibus (Svv) Corfini: 365 3

Omnes sancti tui Jacquet of Mantua: 6 23; 89 10; 257 11

Omnes sancti tui (2p. of Spem in alium nunquam habui) Jacquet of Mantua: 41 16

Omni tempore (c.f. in Benedictus Deus & pater) Contino: 176 11 Omnia judicia tua iusta sunt (2p. of Sana me Domine) (Svv) Clemens: 136 3

Omnia quae fecisti nobis Domine (5vv) Dalla Viola, F.: 88 15

Omnia quae fecisti nobis Domine (Svv) Lasso: 270 2 Omnipotens sempiterne Deus Jacquet of Mantua: 6 18; 41 20; 257 13

Omnipotens sempiterne Deus Maistre Jhan: 31 10 Omnipotens sempiterne Deus Willaert: 7 5 Omnis pulchritudo Domini (Svv) Ciccarelli: 302 9

[Optimam partem] Elegit tibi Maria (Svv) Jacquet of Mantua: 5 19

Ora pro populo interveni (2p. of Felix namque es) (Svv) . {no attribution]: 36 19 Orabat dum respiceret in celum (2p. of Andreas Christi famulus) Ruffo: 145 5 (6vv)

Orabat sanctus Benedictus (Svv) Gero: 140 10 Orabat sanctus Hipolitus voce magna (5vv) Gero: 141 11 Orante sancto Clemente apparuit ei Barré: 31 20 Oratio Hieremiae Prophetae (Svv) Aretino: 234 9

Ornatam monilibus filiam Boyleau: 38 11 Ortus conclusus (Svv) Gombert: 20 7; 102 7 {Os justi] Meditabitur sapientiam / Alleluia Virginum (Svv) Contino: 175 35

Osanna in excelsis (8p. of Kyrie eleison) Gvv) Tiburtino: 84 13

Ostende faciem tuam (Svv) Nola: 80 2

Ostende nobis Domine (2p. of Veni ad liberandum nos) Canis: 135 10

Pacem relinquo vobis (Svv) Corfini: 365 9 Pange lingua gloriosi [1] Ferrarese: 261 30 Pange lingua gloriosi [2] Ferrarese: 261 31 Pange lingua gloriosi {3] Ferrarese: 261 58 Panem nostrum quotidianum (2p. of Pater noster) (Svv) Schiavetto: 255 14

[Pange lingua gloriosi] Nobis datus nobis natus Contino: 194 10 [Pange lingua gloriosi] Nobis datus nobis natus Jacquet of Mantua: 269 10 [Pange lingua gloriosi] Nobis datus nobis natus Willaert: 30 16; 106 16

Pange Thalia modos (Svv) Contino: 178 2 Panis quem ego dabo Ivo Barry: 89 19 Parasti in conspectu meo (2p. of Dominus regit me) Willaert: 8 18

Parce Domine (c.f. in Dixt autem Dominus servo) Jacquet of Mantua: 5 10 Parce Domine parce populo (2p. of Plorabant sacerdotes & levite) Jacquet of Mantua: § 13; 258 7 (Svv)

Parce [eis] Domine & defende (2 p. of Miserere pie Jesu) Gombert: 3 2; 18 2

Parce Barry:242 18 18 19 Parce mihi mihi Domine Domine Ivo Zarlino: Parcius Estenses proa vos Ferraria (Svv) Zarlino: 291 5 Parens tonantis maximi Willaert: 8 2 Paries quidem filium (2p. of Suscipe verbum virgo Maria) (6vv) Schiavetto: 255 18 Passio Jesu Christi Aretino: 234 10 Patefactae sunt januae caeli (Svv) Gombert: 20 8; 102 8

Patefactae sunt januae caeli Willaert: 7 24

Pater noster qui es in caelis (Svv) Contino: 178 13

Pater noster qui es in caelis (S5vv) Gombert: 4 20; 19 7; 108 7 Pater noster qui es in caelis (Svv) Jacquet of Mantua: 5 1; 256 14

Pater noster qui es in caelis (Svv) Nola: 80 20 Pater noster qui es in caelis (5vv) Schiavetto: 255 14 Pater noster qui es in caelis (3vv) Tiburtino: 84 | Pater noster qui es in caelis (Svv) Vinci: 161 21

Pater peccavi in caelum (Svv) Phinot: 87 3 Pater peccavi in caelum (6vv) Ruffo: 145 12 Pater peccavi in caelum (2p. of Quanti mercenarii in domo) (5vv) Rore: 52 14 Pater peccavi in caelum (2p. of Quanti mercenarii in domo) (Svv) Vinci: 1619

Pater si non potest hic calix Ferrarese: 261 4 1006

Latin Texts Patrem immense maiestatis (2p. of Te Deum / Te Lutherum) (3vv) Maistre Jhan: 92 18

Patrem omnipotentem (4p. of Kyrie eleison) (vv) Tiburtino: 84 13

Paulus apostolus spirans in discipulos Maistre Jhan: 34 23

Peccantem me quotidie (6vv) Corfini: 365 21 Peccantem me quotidie (6vv) Gabrieli: 291 15 Peccantem me quotidie Gero: 89 3 Peccantem me quotidie (Svv) Palestrina: 393 16 Peccantem me quotidie (3vv) Tiburtino: 84 9

Peccata mea Domine (5vv) Mouton: 124 4

Peccata (5vv) Nola:18 80 17 6 Peccatamea meaDomine Domine Scotto: Peccata mea sicut sagittae (6vv) Gombert: 86 |

Peccavi quid faciam tibi (2p. of Parce mihi Domine) Ivo Barry: 18 19

Peccavi supra numerum arenae maris (5vv) Ciccarelli: 302 11

Peccavi supra numerum arenae maris (6vv) Corfini: 365 17 Peccavi supra numerum arenae maris (5vv) Willaert: 9 12; 105 12 Peccavimus cum patribus nostris (2p. of Emendemus) (2vv) Scotto: 23 43; 225 12 Peccavimus cum patribus nostris (2p. of Tribulationes civitatum (no attribution]: 36 1 audivimus) (5vv)

Peccavimus Domine (2p. of Emendemus in melius) (S5vv) Gombert: 4 9; 19 6; 108 6 Per illud ave prolatum (2p. of Benedicta es caelorum regina) Willaert: 7 12

Perfice quaesumus Domine (Svv) Gero: 140 16

Perpetuum clemens (2p. of Qui colis ausoniam glaebe) (6vv) Gombert: 86 10

Peto Domine ut de vinculo (5vv) Gombert: 20 19; 102 19 Petre diligis me qui respondit (2p. of Quem dicunt homines) (2vv) Scotto: 23 42

[Petrus beatus catenarum] Gloria Deo per immensa Contino: 194 19 Philippe te discedente (2p. of Hesperiae ultimae invicto regi) (Svv) Jacquet of Mantua: 136 13; 256 9

Plange quasi virgo Aretino: 44 21; 248 21 Plange quasi virgo Ferrarese: 261 72 Plange quasi virgo (Svv) Rore: 52 10 Plange urbs Bergomea exanimis jacet (5vv) Vinci: 396 3

Plangent eum Ferrarese: 261 60 Plorabant sacerdotes (Svv) Jacquet of Mantua: § 13; 258 7 Pioremus omnes et lacrimemur (Svv) Jacquet of Mantua: 5 16 [Populus sion] Ecce Dominus veniet (Svv) Ghibel: 57 14

Portio mea Domine (3p. of Memor esto verbi tui) (Svv) Gero: 141 14

Possederunt nos Domine (2p. of Domine exaltetur manus tua) Arcadelt: 90 11; 218 11

[Post partum virgo] Sancta Dei genetrix (Svv) Contino: 175 34

Postquam consumati sunt dies octo Lupus: 142 16 Postquam consumati sunt dies octo Maistre Jhan: 31 2

Postquam impleti sunt dies (Svv) Billon: 88 5 Praeparate corda vestra Domino Porta: 242 17 Praeses atrox illi ferrum (2p. of Caeciliae laudes celebremus) Galli: 135 4

Praesta pater omnipotens (Svv) Jacquet of Mantua: 284 18

Praesul sanctissime Augustine (Svv) Jacquet of Mantua: 5 26; 256 16 Precare Deum quaesumus (2p. of O Roche beatissime) Maistre Jhan: 31 12

Precatus est Moyses in conspectu Domini (Svv) Willaert: 9 19; 105 19

Presbyter in laudes (Svv) [no attribution]: 19 22 Primus Tono [de canto Ilano] (3vv) [no attribution]: 153 55 [Proles de caelo prodiit} Spoliatis egyptiis Willaert: 30 11; 106 11

Profongati sunt dies mei (Svv) Willaert: 9 4; 105 4

Propter hoc dimittet homo (2p. of In illo tempore accesserunt) Mouton: I1 6

Propter hoc dimittet homo (2p. of In illo tempore accesserunt) (Svv) Schaffen: 254 2

Propter miseriam inopum (2p. of Salvum me fac Domine) Gombert: 3 9; 189

Propter nimiam charitatem (Svv) Ghibel: 57 18

Propter nimiam charitatem (2p. of Ecce jam venit plenitudo) Zarlino: 242 19

Prosternens se Jacob (2p. of Lamentabatur Jacob de duobus filiis) Boyleau: 38 5

[Protexisti me Deus] A conventu malignantium (5vv) Contino: 175 22

Prudens & vigilans virgo Catherina (Svv) Contino: 177 4 Prudentes virgines aptate vostras lampades (5vv) Vinci: 161 17

Puer natus est nobis (3vv) Morales: 91 3

[Puer natus est nobis| Et filius datus est nobis (Svv) Contino: 17§ 2 [Puer natus est nobis] Et filius datus est nobis / Alleluia (Svv) Contino: 175 2 1007

Index of First Lines

Puer qui natus est nobis (Svv) Gero: 140 17

Puer qui natus est nobis Jacquet of Mantua: 6 13; 41 17; 257 16

Puer qui natus est nobis (Svv) [no attribution] (Ruffo): 19 15; 108 15 _ Pulchra facie sed pulchrior fide (Svv) Gero: 141 15

Pulchra es & decora (Svv) Ciccarelli: 302 7

Pulchrae sunt genae tuae (2p. of Si ignoras o pulchra) (Svv) Jacquet of Mantua: 5 9; 258 1 Pulchrae sunt genae tuae (2p. of Si ignoras o pulchra) (Svv) Zarlino: 88 16

Pulchrior Italicis formosa Arzilla puellis (Svv) Rore: 52 5

Quae cum audisset, turbata es in sermone eius (2p. of Missus est Morales: 26 2 Gabriel angelus)

Quae est ista quae ascendit (6vv) Contino: 176 8

Quae est ista quae ascendit (2 p. of O gloriosa dei genitrix) Gombert: 3 6; 18 6

Quae est ista quae processit Gombert: 3 13 Quae est ista quae processit (2p. of Sancta & immaculata) (Svv) Gombert: 87 16

Quae est ista quae progreditur Pieton: 90 18; 218 17

Quae meruit Dominum (2p. of Candida virginitas paradisi) Morales: 34 1; 89 16

Quaeramus cum pastoribus verbum incarnatum (6vv) Ruffo: 145 14

Quaerite Dominum Deum nostrum (Svv) Schaffen: 254 7

Qualis est dilectus meus Clemens: 134 16 Quam benignus es, O Domine (Svv) Lasso: 270 7

Quam fecit Dominus (2p. of Haec dies ) (Svv) Ghibel: 69 13

Quam magnificata sunt (6vv) Lasso: 259 9 Quam pulchra es Jacquet of Mantua (Lupi): 257 18 Quam pulchra es (2vv) Scotto: 111 39; 159.39; 225 10

Quam pulchra es (3vv) Tiburtino: 84 12

Quam pulchra es amica mea (3vv) Jacquet of Mantua: 91 25 Quam pulchra es et quam decora (3vv) Festa, C.: 91 2 Quam pulchra es et quam decora Gombert: 3 17; 18 15; 89 5 Quam pulchra es et quam decora (Svv) Schiavetto: 255 7 Quam pulchra es et quam decora (2vv) Scotto: 23 40 Quam pulchrae sunt (2p. of O flos campi) (Svv) Gombert: 4 4; 19 2; 108 2

Quanti mercenarii in domo patris mei (Svv) Rore: 52 14

Quanti mercenarii in domo patris mei (Svv) Vinci: 161 9 Quanti mercenarii in domo patris mei (2p. of Pater peccavi) (5vv) Phinot: 87 3 Quanti mercenarii in domo patris mei (2p. of Pater peccavi) (6vv) Ruffo: 145 12

Quare memento mei (2p. of Domine non secundum peccata) Gombert: 21 2 Quare memento mei (2p. of Domine non secundum peccata) (Svv) Schaffen: 254 1 Quare tristis es anima mea (2p. of Fuerunt mihi lachrimae meae) Clemens: 135 9

Quartus tonus [de canto llano] (vv) [no attribution]: 153 58

Quasi unus de paradisi fluminibus Willaert: 7 3

Quem dicunt homines (5vv) Lasso: 291 3 Quem dicunt homines (2vv) Scotto: 23 42 Quem terra pontus aethera Willaert: 8 13 Quem vidi quem amavi (2p. of Regnum mundi) (Svv) Vinci: 161 19 Quem vidistis pastores Aretino: 44 31; 248 31 Quem vidistis pastores (Svv) Carli: 120 19 Quem vidistis pastores (S5vv) Ghibel: 69 19 Quem vidistis pastores (3vv) Willaert: 91 13 Qui colis ausoniam glaebe (6vv) Gombert: 86 10 Qui confidunt in Domino Lhéritier: 142 6 Qui confidunt in Domino (S5vv) Schaffen: 253 13

Qui fecit caelum & terram (2p. of Alleluia surrexit Dominus vere) Jacquet of Mantua: 6 22; 41 15; 257 10

Qui habitat in adiutorio Willaert: 8 1

[Qui habitat in adiutorio] In protectione Dei (Svv) Jacquet of Mantua: 284 14

Qui odit animam suam (5vv) Ghibel: 69 14 Qui parce seminant (2p. of Qui seminant in lachrimis) Gombert: 90 2; 218 2 Qui seminant in lachrimis Gombert: 90 2; 218 2 Qui tollis peccata mundi (3p. of Kyrie eleison) (3vv) Tiburtino: 84 13

Qui vuit venire (c.f. in Laudemus fortissimum Christi martirem) Ghibel: 69 8 Quia delectasti me Domine (2p. of Deus canticum novum) (Svv) Lasso: 259 5 Quia dixi ne quando super gaudeant Gp. of Domine ne in furore) Lambertini: 322 9 Quia multum repleti sumus despectione (3p. of Ad te levavi) (Svv) Rore: 291 4

1008

Latin Texts Quia neque ab oriente (2p. of Confitebimur tibi Deus) (Svv) Gombert: 20 10; 102 10

Quia viderunt oculi mei (5vv) Jacquet of Mantua: 284 20

Quia vidisti me Thoma (Svv) Vinci: 396 19

Quia visitavit & fecit redemptionem [1] (Svv) Contino: 193 6 Quia visitavit & fecit redemptionem [2] (Svv) Contino: 193 14 Quia visitavit & fecit redemptionem (3] (Svv) Contino: 193 23

Quibus accedant litterarum scientia (2p. of Quid moram) (Svv) Schaffen: 253 3 Quid est homo quod memores (2p. of Domine Dominus) (5vv) Donato: 88 10

Quid gloriaris in malitia (vv) Rore: §2 15

Quid igitur faciam (2p. of Tristitia obsedit me) Clemens: 134 13

Quid moram facimus surgamus (5vv) Schaffen: 253 3 Quid prodest stulto habere divitias (Svv) Lasso: 259 6

Quidquid appositum est Gombert: 21 18 Quin etiam hyberno moliris (2p. of Dissimulare etiam) (6vv) Rore: 289 3 Quin tenes legum sophiam (2p. of Quis tuos presul valeat) (6vv) Rore: 40 24

Quintus tonus [de canto Ilano] (3vv) [no attribution]: 153 59 Quis curare neget divos mortalia (2p. of Victor io salve) (5vv) Willaert: 9 18; 105 18

Quis dabit mihi pennas Crecquillon: 134 3 Quis enim cognovit (2p. of O altitudo divitiarum) (Svv) Rore: 88 14

Quis es Domine (2p. of Paulus apostolus spirans in discipulos) Maistre Jhan: 34 23

Quis est homo qui timet Dominum (5vv) Lasso: 291 1} Quis incredibili non exultet gaudio Jacquet of Mantua: 6 20; 41 7; 2579 Quis mihi te similem pinxit (2p. of Hesperiae quum laeta suas) (Svv) —_‘Rore: 88 4 Quis neget esse homini pulchrum (5vv) Contino: 177 14 Quis sicut Dominus Deus (2p. of Laudate pueri Dominum) (8vv) Palestrina: 393 27

Quis tuos presul valeat nitenti pileo (6vv) Rore: 40 24

Quo abiit dilectus inter lilia Conseil: 93 14

Quo agnito discipuli Willaert: 30 13; 106 13

Quod transiturus de hoc mundo (2p. of O adorandum) (5vv) Gombert: 20 3; 102 3 Quodcumque ligaveris super terram (2p. of Tu es Petrus) (Svv) Carli: 120 5 Quodcumque ligaveris super terram (2p. of Tu es Petrus) (Svv) Morales: 19 14; 108 14 Quodcumque ligaveris super terram (2p. of Tu es Petrus) (6vv) Palestrina: 393 24 Quodcunque pergis virgines (2p. of Jesu corona virginum) (6vv) Lasso: 259 8

Quoniam benigna est misericordia (Svv) Contino: 175 6

Quoniam confortavit seras (2p. of Filie Hierusalem venite) (Svv) Gero: 140 9 Quoniam fortitudo mea (2p. of In te Domine speravi) (Svv) Jacquet of Mantua: § 21; 258 15

Quoniam fortitudo mea (2p. of In te Domine speravi) Verdelot: 90 9; 2189 Quoniam humiliata est (2p. of Exurge quare obdormis Domine) Escobedo: 18 22

Quoniam iniquitatem meam (2p. of Peccata mea sicut) (6vv) Gombert: 86 | Quoniam iniquitatem meam (2p. of Peccata mea Domine sicut) Scotto: 18 17 Quoniam iniquitatem meam (2p. of Peccavi supra numerum) (5vv) Ciccarelli: 302 11 Quoniam iniquitatem meam (2p. of Peccavi supra numerum) (6vv) Corfini: 365 17 Quoniam iniquitatem meam (2p. of Peccavi supra numerum) (S5vv) Willaert: 9 12; 105 12

Quoniam sicut (2p. of Benedictus Deus & pater) (6vv) Contino: 176 11 Quoniam tribulatio proxima est (2p. of Confundantur omnes) Clemens: 135 2

Quorum precepto subditur Gvv) Willaert: 92 31 Recedentibus discipulis (2p. of Congratulamini mihi omnes) (6vv) Contino: 176 13

Recedentibus discipulis (2p. of Congratulamini mihi omnes) Lasson: 90 10; 218 10 Recedentibus discipulis (2p. of Congratulamini mihi omnes) Willaert: 8 11

Recessit pastor noster Aretino: 44 22; 248 22

Recessit pastor noster Ferrarese: 261 73 Recordare Domine [2p. of Oratio Hieremiae Prophetae] (Svv) Aretino: 234 9

Regi saeculorum immortali (5vv) Schaffen: 253 17

Regina caeli hodie de terra (2p. of Hodie gloriosa virgo) (Svv) Gero: 141 10 Regina caeli laetare Boyleau: 38 12 Regina caeli laetare (Svv) Carli: 120 23 Regina caeli laetare (6vv) Contino: 176 10 Regina caeli laetare De Silva: 93 13 Regina caeli laetare (Svv) Garugli: 209 16

Regina caeli jaetare (Svv) Ghibel: 57 32 Regina caeli laetare (Svv) Nola: 80 11

Regina caeli laetare (Svv) Schaffen: 253 15 1009

Index of First Lines

Regina caeli laetare (vv) Tiburtino: 84 4

Regina caeli laetare (Svv) Willaert: 9 11; 19 26; 105 11

Regina caeli laetare (3vv) [no attribution]: 91 11 Regina caeli laetare [1] [no attribution]: 342 Regina caeli laetare [2] [no attribution]: 34 5; 89 4

Regnum mundi & omne ornatum (5vv) Vinci: 161 19 Reminiscere miserationum tuarum Gombert: 21 6 Reminiscere miserationum tuarum (5vv) Monte: 392 2 Reminiscere miserationum tuarum (5vv) Nola: 807

Repleatur os meum laude tua (Svv) Jacquet of Mantua: § 20; 87 2; 256 3 Repleti quidem spiritu (2p. of Virtute magna reddebant apostoli) Porta: 242 16

Respexit Helias ad caput suum Boyleau: 38 10 Respexit Helias ad caput suum (6vv) Jarsins: 86 7

Respice Domine & miserere mei (2p. of Respice Domine in Gombert: 87 13 testamentum tuum) (Svv)

Respice Domine in testamentum tuum (5vv) Gombert: 87 13 Respondens miles (2p. of Venit vox de caelo) (vv) Clemens: 136 6 Respondit Archangelo virgo admirata (2p. of Missus est archangelus) Gero: 89 | Responsum accepit Simeon (2p. of Hodie beata virgo Maria) (Svv) Gombert: 4 19

[Resurrexi] Et ad huc tecum / Alleluia (Svv) Contino: 175 8

Resurrexit sicut dixit (2p. of Regina caeli laetare) Boyleau: 38 12 Resurrexit sicut dixit (2p. of Regina caeli laetare) (Svv) Carli: 120 23 Resurrexit sicut dixit (2p. of Regina caeli laetare) (6vv) Contino: 176 10 Resurrexit sicut dixit (2p. of Regina caeli laetare) (Svv) Garugli: 209 16 Resurrexit sicut dixit (2p. of Regina caeli laetare) (Svv) Schaffen: 253 15 Resurrexit sicut dixit (2p. of Regina caeli laetare) (vv) Tiburtino: 84 4 Resurrexit sicut dixit (2p. of Regina caeli laetare) (Svv) Willaert: 9 11; 19 26; 105 11

Retribuere dignare Domine Jacquet of Mantua: 6 17; 41 21

Rex Asiae & Ponti (Svv) Rore:; 264 18; 330 18

Rex Babilonis venit ad lacum (Svv) Jacquet of Mantua: 136 12; 256 8 {Rex gloriose Martyrum] Aurem benignam Jacquet of Mantua: 269 22

Rogamus Deum optimum maximum (2p. of Nos pueri tibi principi) Jacquet of Mantua: 18 21; 242 20

Rogamus te beatissima virgo (Svv) (no attribution]: 36 15 . Rogo te ergo per tllud gaudium (2p. of Saluto te sancta virgo Maria) Willaert: 8 21

[Rorate}] Caeli desuper (Svv) Ghibel: 87 16

Rorate celi desuper & nubes (2p. of Canite tuba in Sion) (Svv) Palestrina: 393 10 Rubiconda plusquam rosa lilio (2p. of Ave virgo gratiosa) (6vv) {no attribution]: 40 21

Sacerdotum diadema (S5vv) Willaert: 9 10; 105 10

Sacris solemniis Ferrarese: 261 32 Salus populi ego sum (5vv) Schiavetto: 255 6

Salutis nostrae authorem (2p. of Tria sunt munera preciosa) (Svv) [no attribution]: 36 4

Saluto te sancta virgo Maria Gombert: 3 12; 18 18

Saluto te sancta virgo Maria Willaert: 8 21

Salva nos ab excidio Geminiane (5vv) Willaert: 9 2; 105 2 Salvator mundi salva nos Clemens: 134 9 Salve crux sancta(Svv) (Svv)Corfini: Carli: 120 216 Salve crux sancta 365 Salve crux sancta Willaert: 8 17

Salve mater salvatoris Lhéritier: 142 12

Salve regina (6vv) Contino: 176 17 Salve regina Gombert: 21 9 Salve regina (Svv) Jacquet of Mantua: 284 21 Salve (3vv) Richafort: 93 91 23 Salveregina regina Verdelot: | Salve regina [A: Ave regina celorum; T: Inviolata integra; B: Alma Gombert: 21 15 redemptoris mater]

Salve regina Mater misericordiae (Svv) Vinci: 396 29

Salve regina misericordiae (Svv) Nola: 80 4

Salve regina misericordiae Porta: 242 15

Salve regina misericordiae (3vv) Tiburtino: 84 11

[Salve] Sancta parens (5vv) Contino: 175 34 [Salve] Sancta parens (5vv) Ghibel: 57 26 1010

Latin Texts

Salve sponsa Dei (Svv) {no attribution]: 36 11 Salve virgo virginum Jacquet of Mantua: Salvum me fac Domine Gombert: 3 9; 18 69 9

Saivum me fac Domine (S5vv) Jacquet of Mantua: 5 14; 87 8; 256 5

Salvum me fac Domine (5vv) Schiavetto: 255 5 Samech Pauserunt super te (Svv) Contino: 193 10 Sana me Domine & sanabor (5vv) Clemens: 136 3

Sancta Christina ora pro nobis (c.f. in O virgo generosa) Crecquillon: 136 4

Sancta Dei genitrix (Svv) Lupi: 87 12 Sancta et immaculata virginitas Aretino: 44 34; 248 34 Sancta et immaculata virginitas (Svv) Gombert: 87 16 Sancta et immaculata virginitas Morales: 18 10 Sancta et immaculata virginitas (6vv) Palestrina: 393 22

Sancta Maria mater Dei Gombert: 21 10 Sancta Maria mater Dei (3vv) Gosse: 92 11 Sancta Maria succurre miseris Boyleau: 38 14

Sancta Maria succurre miseris (3vv) Certon: 92 4 Sancta Maria succurre miseris (Svv) Clemens: 136 2 Sancta Maria succurre miseris (3vv) Festa, C.: 915 Sancta Maria succurre miseris (6vv) Gombert: 86 16

Sancta Maria succurre miseris Morales: 34 7

Sancta Maria succurre miseris Verdelot: 11 4; 90 15; 93 6; 218 15

Sancta Maria succurre miseris [no attribution]: 135 16 Sancte Alphonse confessor Domini Gombert: 21 8 Sancte Antoni pater monachorum Morales: 18 11 Sancte Gratiane (c.f. in Sacerdotum diadema) Willaert: 9 10; 105 10 Sancte pater Egidi (2p. of Clementissime Christi confessor) Morales: 34 3 Sancte Paule apostole Willaert: 8 10 Sancti Dei omnes (Svv) Contino: 177 20 Sancti & justi in Domino gaudete (2p. of O quam gloriosum) De Silva: 93 17

Sancti per fidem vicerunt (Svv) Jacquet of Mantua: 5 22; 258 8 Sancti per fidem vicerunt (2p. of Isti sunt viri sancti) (Svv) Gombert (Lupi/Gramsyre): 19 11; 108 11 [Sancti tui] Domine benedicent (Svv) Contino: 175 40 Sanctificati sunt ergo sacerdotes (2p. of Decantabat populus) (Svv) Jacquet of Mantua: 19 5; 108 5; 256 17 Sanctorum martyrum tuorum (Svv) Contino: 177 13 [Sanctorum meritis inclyta] Hi sunt quos retinens mundus Contino: 194 22 {Sanctorum meritis inclyta] Hi sunt quos retinens mundus Jacquet of Mantua: 269 21

Sanctus Dominus Deus (6p. of Kyrie eleison) (3vv) Tiburtino: 84 13

Sanguine caesareo & virtutis (Svv) Contino: 178 5

Sanguine cum multo victricia (2p. of Inclite dux salve Victor) (S5vv) — Willlaert: 9 9; 105 9

Sanson nunc in pulvere Boyleau: 38 20 Sapientia justum deduxit (5vv) Schaffen: 254 10 Scandit doctor civis caelestium (2p. of Felix Thomas doctor) (5vv) Gero: 141 5

Sciant gentes quoniam nomen tibi (2p. of Exurge quare) (Svv) Phinot: 87 11

[Scio] Cui credidi & certus (Svv) Contino: 175 18

Scio enim quae redemptor (2p. of Miseremini mei saltem) (6vv) Contino: 176 7

Secundum multitudinem (2p. of Tribularer si nescirem) (Svv) Rore: 52 8 Secundum multitudinem (2p. of Tribularer si nescirem) (Svv) Ghibel: 69 25 Secundum multitudinem (2p. of Tribularer si nescirem) (Svv) Jacquet of Mantua: 258 16 Secundum multitudinem (2p. of Tribularer si nescirem) (6vv) Palestrina: 393 18

Secundus tonus [de canto Hano} (3vv) [no attribution]: 153 56 Sed a periculis cunctis (2p. of Sub tuum praesidium) Certon: 90 20; 218 18 Sed tu Domine qui non derelinguis (2p. of Tristitia et anxietas) Clemens: 134 1

Senex puerum portabat (Svv) Ghibel: 57 3; 69 5

Senex puerum portabat Lhéritier: 142 11 Senex puerum portabat (Svv) Vinci: 161 5

Seniores populi concilium fecerunt Aretino: 44 9; 248 9 Seniores populi consilium fecerunt Ferrarese: 261 22

Septimus tonus [de canto Ilano} (3vv) [no attribution]: 153 61 Sepulchrum Christi viventis (2p. of Victimae pascali) Verdelot: 93 3

Sepulto Domino signatum Aretino: 44 27; 248 27 Sepulto Domino signatum (Svv) Contino: 193 22 Sepulto Domino signatum [1] Ferrarese: 261 36 1011

Index of First Lines

Sepulto Domino signatum [2] Ferrarese: 261 37 Sepulto Domino signatum [3] Ferrarese: 261 38 Sepulto Domino signatum [4] Ferrarese: 261 78 . Sequitur in lamentatione (Svv) Contino: 193 8

Sequitur in lamentatione Hieremiae [1] (2vv) Ferrarese: 261 40 Sequitur in lamentatione Hieremiae [2] (2vv) Ferrarese: 261 66 Sequitur in Jamentatione Hieremiae [1] (3vv) Ferrarese: 261 86 Sequitur in lamentatione Hieremiae [2] (3vv) Ferrarese: 261 89 Serve nequam omne debitum (2p. of Dixit autem Dominus) Boyleau: 38 3

Serve nequam omne debitum (2p. of Dixit autem Dominus) (5vv) Jacquet of Mantua: 5 10; 258 5

Servite Domino in timore (2 p. of Venite fili audite me) Gombert: 3 3; 18 3 Servus tuus sum ego (2p. of Erravi sicut ovis quae periit) (Svv) Monte: 392 8

Sextus tonus [de canto llano] (vv) [no attribution]: 153 60 Si autem non abiero (2p. of Ego rogabo patrem & alium) Barré: 31 18

Si bona suscepimus de manu Domini (3vv) De Silva: 91.19

Si bona suscepimus de manu Domini (Svv) Jacquet of Mantua: 88 8; 256 7

Si bona suscepimus de manu Domini Lhéritier: 142 8 Si bona suscepimus de manu Domini Porta: 242 22

Si bona suscepimus de manu Domini (5vv) Nola: 80 25 | Si bona suscepimus de manu Domini (Svv) Schiavetto: 255 13 Si bona suscepimus de manu Domini (6vv) [no attribution]: 86 3

Si ignoras o pulchra (5vv) Jacquet of Mantua: 5 9; 258 |

Si ignoras o pulchra (Svv) Zarlino: 88 16

Si ignoras te o pulchra Gombert: 21 16 Si ignoras te o pulchra (Svv) Rore: 52 12 Si manseritis in me & verba mea (2p. of Ego sum via veritas) (Svv) Carli: 120 12

Si quis diliget me (Svv) Ghibel: 57 7; 69 15

Si quis manducaverit (2p. of Respexit Helias ad caput suum) Boyleau: 38 10 Si quis manducaverit (2p. of Respexit Helias ad caput suum ) (6vv) Jarsins: 86 7

Si rore Aonio fluerent mea (5vv) Willaert: 95; 105 5 Si sustinuero infernus domus mea est (2p. of Spiritus meus) (Svv) Phinot: 87 9

Si vera incessu patuit dea (Svv) Jacquet of Mantua: 19 9; 108 9

Sic Deus dilexit mundum (Svv) Carli: 1209 .

Sic Deus dilexit mundum (S5vv) Corfini: 365 2 Sicut lilium inter spinas (3vv) [no attribution]: 91 17 Sicut lilium inter spinas (Svv) {no attribution]: 36 16 Sicut mater consolatur filios (Svv) Lasso: 270 21

Sicut ovis ad occisionem Aretino: 44 19; 248 19

Sicut ovis ad occisionem Ferrarese: 261 67 Sicut per me civitas Cathanensium (2p. of Lucia virgo) (Svv) Vinci: 161 6 Sicut rosa inter spinas (Svv) Gero: 141 13 Sicut sydus radium (2p. of Laetabundus exultet fidelis) (3vv) Willaert: 92 26

Signum crucis mirabile (Svv) Contino: 178 17

Signum crucis mirabile Morales: 34 22

Similiter & calicem postquam cenavit (2p. of Fratres. Ego enim) Jacquet of Mantua: 6 8; 41 13; 257 4

Simon Petre si diligis me (Svv) Vinci: 396 22 Sine tuo numine (2p. of Veni sancte spiritus) Willaert: 7 11

Sit ergo fas dicere (3p. of Prolongati sunt dies mei) (Svv) Willaert: 9 4; 105 4

Sit trinitati sempiterna gloria Contino: 194 26 Sit vox & jubilatio nostra (2p. of Contristamur Domine) De Silva: 93 11 Solem iustitiae Boyleau: 38 19 Solve vincla reis (2p. of Ave maris stella) (vv) Clemens: 136 1

Specie tua & pulchritudine (2p. of Audi filia & vide) (5vv) Gombert: 4 17; 19 1; 108 1 Specie tua & pulchritudine (2p. of Audi filia & vide) (2vv) Scotto: 23 4]; 159 40; 225 11

Specie tua & pulchritudine (2p. of Pulcra facie) (Svv) Gero: 141 15

Spem in alium nunquam habui Jacquet of Mantua: 6 19; 41 16; 90 24; 257 8 Spem in alium nunquam habui (5vv) [no attribution] (Ruffo): 19 17; 108 17

Spes mea ab uberibus (3vv) Sermisy: 92 8

{Spiritus} Domini replevit orbem / Alleluia (Svv) Contino: 175 12

[Spiritus Domini] Replevit orbem (Svv) Ghibel: 57 8

[Spiritus Domini] Replevit orbem (Svv) Jacquet of Mantua: 19 25; 108 21

Spiritus meus attenuabitur (Svv) Phinot: 87 9

Spiritus meus attenuabitur Willaert: 8 6 1012

Latin Texts

Splendor ecclesiae martirum (6vv) Ruffo: 145 16

Stabat iuxta crucem Ferrarese:261 261 59 57 Stabat mater Ferrarese: [Statuit] Ei Dominus testamentum / Alleluia (Svv) Contino: 175 38

Stephanus autem (5vv) Carli: 120 8 Stephanus autem (Svv) Garugli: 209 18 Stephanus autem (Svv) Ghibel: 57 11 Stephanus autem (S5vv) Jno attribution]: 36 17 Stephanus martir (c.f. in Splendor ecclesiae martirum) Ruffo: 145 16

Stetit Jesus Rore: 242 5

Stephanus servus Dei Jacquet of Mantua: 6 21 Stetit Jesus (2p. of Ego sum qui sum) (5vv) [no attribution] (Conseil): 19 24; 108 20 Stetit Moyses coram pharaone (2p. of Locutus est Dominus ad Jacquet of Mantua: 87 4; 256 1 Moysen dicens) (S5vv)

Stirps Jesse virgam produxit (S5vv) Lupt: 87 7

Strinxerunt corporis membra Willaert: 8 4

Sub tuam protectionem (4p. of Beata mater & innupta virgo) Gombert: 21 11 Sub tuum praesidium Boyleau: 38 18

Sub tuum praesidium Certon: 90 20; 218 18 Sub tuum praesidium (3p. of Beata mater & innupta virgo) Gombert: 21 11

Sub tuum praesidium (S5vv) Portinaro: 291 8

Sub tuum praesidium Rore: 242 2 Subvenias mihi tam in corpore (2p. of Saluto te sancta virgo) Gombert: 3 12; 18 18

Super cathedram Moysi Maistre Jhan: 31 4 Super flumina Babilonis Gombert: 3 15

Super flumina Babilonis (Svv) Lasso: 292 12; 356 12 Super omnia ligna Cedrorum (5vv) Mira: 291 9 Super ripam Jordanis Maistre Jhan: 31 5 Super salutare tuum Domine (5vv) Schaffen: 254 11 Suppliciter te petimus (2p. of Salvator mundi salva nos) Clemens: 134 9

Surge amica mea (3vv) . Festa, C.: 91 4

Surge 1781116 Surge Petre Petre(Svv) (Svv)Contino: Gero: 140

Surge Petre Gombert: 21 14 | Surge Petre (Svv) Gombert: 20 17; 102 17 Surge propera amica mea (5vv) Ciccarelli: 302 2 Surge propera amica mea (2p. of Si ignoras te) (Svv) Rore: §2 12

Surgens Jesus Dominus noster (Svv) Lasso: 270 17

Surgit Christus cum trophaeo Willaert: 7 25

Surrexerunt autem (2p. of Lectio actuum apostolorum) Guarnier: 90 17 Surrexerunt quidam (2p. of Stephanus autem plenus gratia ) (S5vv) (no attribution]: 36 17

Surrexit Christus spes mea (2p. of Victimae paschali laudes) Willaert (Morales): 93 16

Surrexit pastor bonus (Svv) Lasso: 270 15

{Suscepimus Deus] Misericordiam tuam (Svv) Contino: 175 20

Suscipe verbum virgo Maria (6vv) Schiavetto: 255 18 . Suscipe verbum virgo Maria (Svv) [no attribution]: 36 3 Sustinuit anima mea (2p. of De profundis clamavi) (Svv) Corfini: 365 6

Sustinuit anima mea (2p. of De profundis clamavi) Lambertini: 322 20

Taedet animam meam (5vv) Lasso: 270 12 Taedet animam meam (2p. of Parce mihi Domine nihil enim) Zarlino: 242 18 Tamquam ad latronem Aretino: 44 13; 248 13

Tamquam ad latronem Ferrarese: 261 46

Tanto tempore vobiscum sum (5vv) Gero: 140 1 Tanto tempore vobiscum sum Phinot: 89 18 Tanto tempore vobiscum sum (Svv) Vinci: 161 |

Tantum ergo sacramentum (no attribution]: 242 14 Te deprecamur largius Gp. of Jesu corona virginum) (2vv) Lasso: 259 8 Te expectat chorus angelorum (2p. of Lux de caelo adveniens) Manchicourt: 134 10

Te igitur martir egregie (2p. of Armorum fortissime) Willaert: 7 19

Te lucis ante terminum (5vv) Jacquet of Mantua: 284 17 Te matrem summi patris (c.f. in Te regina viam) Ruffo: 145 3

Te regina viam (6vv) Ruffo: 145 3 1013

Index of First Lines

Tempus est ut revertar (Svv) Contino: 177 8 Tempus est ut revertar (Svv) Nola: 80 14 Tempus est ut revertar (Svv) Vinci: 396 13

Tenebrae 44 14; Tenebraefactae factaesunt suntAretino: Ferrarese: 261248 47 14 [Terribilis est] Locus iste hic domus (Svv) Contino: 175 44

Tertius tonus [de canto llano] (3vv) [no attribution]: 153 57 Teth. Defixae sunt in terra [Lamentatio prima] Aretino: 234 4

Teth. Defixae sunt in terra Ferrarese: 261 88 Teth. Defixae sunt in terra (2vv) Ferrarese: 261 44 Teth. Sordes eius in pedibus eius (2vv) Ferrarese: 261 15

Texebat viridem Chloris formosa galerum (5vv) Contino: 177 12 Thoma Bartolomeae Joannes Philippe (2p. of Clare sanctorum Lasso: 270 18 senatus apostolorum) (Svv)

Thomas unus de duodecim Maistre Jhan: 90 4; 218 4

Throni Dominationes (Svv) Contino: 175 38 Tibi caelum et terra (c.f. in Gaude mater sanctissima) Ruffo: 145 4

[Tibi Christe] Collaudamus venerantes Jacquet of Mantua: 269 16 [Tibi Christe] Collaudamus venerantes Willaert: 30 22; 106 22

[Tibi Christe splendor] Collaudamus venerantes omnes Contino: 194 17 Tibi soli peccavi Jacquet of Mantua: 6 12 Tibi soli peccavi (c.f. in Paccavi supra numerum arenae maris) Willaert: 9 12; 105 12

Tibi subjecta sit anima mea (2p. of Domine da nobis) Canis: 135 11 Tota es formosa (2p. of Funde preces pro nobis) Jacquet of Mantua (Maistre Jhan): 257 15

Tota pulchra es amica mea (Svv) Gombert: 4 13 Tota pulchra es amica mea (5vv) Schaffen: 253 |

Tota pulchra es amica mea Willaert: 7 23; 89 17

Tota pulchra es Maria (5vv) Carli: 120 3

Tradent enim vos in concilijs (vv) Vinci: 396 27

Tradiderunt me Aretino: 44 16; 248 16 Tradiderunt me (Svv) Contino: 193 11

Tradiderunt me Ferrarese: 261 49 Trahe nos ad portum maris (2p. of Vias tuas Domine) (Svv) Gombert: 4 18 |

Tria sunt munera preciosa (Svv) [no attribution]: 36 4 Tribue ergo nobis Domine (2p. of Tu Deus noster suavis) (Svv) Gombert: 4 23

Tribue necessaria (c.f. in Divitias & paupertates Domine) Ghibel: 69 26

Tribularer si nescirem (Svv) Ghibel: 69 25 Tribularer si nescirem (Svv) Jacquet of Mantua: 258 16 Tribularer si nescirem (6vv) Palestrina: 393 18 Tribularer si nescirem (5vv) Rore: 52 8 Tribulatio cordis mei (Svv) Corfini: 365 12 Tribulatio cordis mei (Svv) Gombert: 87 15 Tribulatio & angustia (5vv) Gombert: 4 2 Tribulationes civitatum audivimus (Svv) {no attribution]: 36 1

Tribulationes cordis mei (2p. of Oculi mei) (Svv) Ciccarelli: 302 10

Tribulationes cordis mei (2p. of Tribulatio & angustia) (Svv) Gombert: 4 2 Tribus miraculis (Svv) Contino: 178 8 Tribus miraculis (Svv) Ghibel: 57 22; 69 4 Tribus miraculis (5vv) Lasso: 259 2 Tribus miraculis (Svv) Schaffen: 253 11 [Tristes erant apostoli] Sermone blando Jacquet of Mantua: 269 19 Tristis 44 261 2; 248 Tristis est est anima animamea meaAretino: Ferrarese: 142

Tristis estetanima meaClemens: Nasco: 242 [11 Tristitia anxietas 134 Tristitia obsedit me Clemens: 134 13 Tu autem Domine (2p. of Deus meus es tu) Ghibel: 57 9

Tu autem Domine (2p. of Deus meus es tu) (Svv) Ghibel: 69 11

Tu Deus noster suavis (S5vv) Gombert: 4 23 Tu Domine notus omnibus (2p. of Natale sanctae Eufemiae) Willaert: 7 8

Tu es Christus filius Dei vivi (2p. of Quem dicunt homines ) (Svv) Lasso: 291 3

Tu es Petrus Petrus (3vv) (Svv)Morales: Carli: 120 Tu es 91 51 1014

Latin Texts

Tu es Petrus (5vv) Morales: 19 14; 108 14

Tu es Petrus (6vv) Palestrina: 393 24 Tu es Petrus (c.f. in Hodie Simon Petrus ascendit) Ghibel: 69 18

Tu es qui venturus es (Svv) Carli: 120 15

Tu es refugium meum (2p. of Beati quorum remissae) Lambertini: 322 5 Tu esto nostrum gaudium (4p. of Jesu nostra redemptio) (6vv) Lasso: 291 13

Tu gloria Hierusalem (2p. of Tota pulchra es Maria) (Svv) Carli: 120 3 Tu lumen ecclesiae (2p. of O sancte Hieronyme doctor inclite) Maistre Jhan: 31 13 Tu nobis dona fontem lachrimarum (2p. of Crimina laxa) Gvv) Willaert: 91 18 Tu quae genuisti (2p. of Alma redemptoris mater) (6vv) Contino: 176 15 Tu quae genuisti (2p. of Alma redemptoris mater) (Svv) Jacquet of Mantua: 5 15; 258 2

Tu quae genuisti (2p. of Alma redemptoris mater) Lhéritier: 90 3; 142 1; 2183 Tu quae genuisti (2p. of Alma redemptoris mater) (3vv) Tiburtino: 84 3

Tu regis alti janua (2p. of O gloriosa Domina) Arcadelt: 142 14

Tu regis alti janua (2p. of O gloriosa Domina) Jacquet of Mantua (Arcadelt): 257 19

Tu septiformis munere (3vv) Willaert: 92 23 Tua Domine est magnificentia (Svv) Contino: 178 12

Tulerunt Dominum meum (5vv) Nola: 80 19

Tulerunt Dominum meum (2p. of Maria stabat) (Svv) Contino: 177 21 Tulerunt ergo fratres eius (2p. of Videns Jacob vestimenta Joseph) Boyleau: 38 4 Tum vero summo videor (2p. of Aurea dum specto ridentis) (Svv) Corfini: 365 14

Tune ait rex (2p. of Rex Babilonis venit ad lacum) (Svv) Jacquet of Mantua: 136 12; 256 8

Tunc repletum est (2p. of Euntes ibant & flebant) vv) Sermisy: 92 9 Tuque iam toto celebratus orbe (2p. of Austriae stirpis) (Svv) Contino: 177 15

Turba in passione Domini secundum Lucam Ferrarese: 261 8 Turba in passtone Domini secundum Marcum Ferrarese: 261 5 Turba multa (2p. of Occurrunt turbe cum floribus) Boyleau: 38 8

Ubi caritas et amor Ferrarese: 261 39

Ubi est Abel frater tuus? (Svv) Lasso: 291 2 Ubi est Abel frater tuus? (Svv) Vinci: 161 22 Una hora non potuistts Aretino: 44 8; 248 8 Una hora non potuistis (Svv) Contino: 193 5

Una hora potuistisBerchem: Ferrarese: 261 21 Unica luxnon Venetum 93 12 Universe vie tue misericordia (2p. of Misericordias Domini) (3vv) Sermisy: 92 14

Universi qui te expectant Domine (Svv) Vinci: 161 18

Unum cole Deum Jacquet of Mantua: 6 10; 41 14; 257 5

Unum cole Deum Maistre Jhan: 31 15

Unum cole Deum (6vv) Schiavetto: 255 16 Unus ex discipulis meis Aretino: 44 6; 248 6 Unus ex discipulis meis Ferrarese: 261 19 Urbs gladijs truncum infidis plange (5vv) Vinci: 396 7

Usquequo Domine oblivisceris (Svv) Rore: 52 [1

Usquequo Domine oblivisceris Willaert: 8 3

Ut te muneribus (Svv) Contino: 178 9 Vado ad eum qui misit me (Svv) Rore: 52 6

Vae qui dicitis, malum bonum (5vv) Schaffen: 254 4 Vae vae vae Babylon civitas magna Gombert: 21 [3 Vae vae vae civitas illa magna (2p. of Vae vae vae Babylon civitas) | Gombert: 21 13

Valde honorandus est Phinot: 89 14

Valde honorandus est beatus Joannes Willaert: 8 5 Vau. Et egressus [Lamentatio tertia] Aretino: 234 2 Velociter currit sermo eius (2p. of Lauda Hierusalem) (6vv) Lasso: 259 12 |

Velum templi scissum est Aretino: 44 11; 248 11

Velum templi scissum est Ferrarese: 261 43

Veni ad liberandum Canis: 135 10

Veni ad liberandum (2p. of Veni Domine & noli tardare) (6vv) Morales: 86 6

Veni creator spiritus Jacquet of Mantua: 269 8 Veni creator spiritus Willaert: 30 14; 106 14 [Veni creator spiritus] Qui paraclitus diceris Contino: 194 8

Veni dilecte mi (2p. of Qualis est dilectus meus) Clemens: 134 16 1015

Index of First Lines

Veni dilecte mi Jacquet of Mantua: 41 5 Veni dilecte mi (2p. of Quam pulchra es) Jacquet of Mantua (Lupi): 257 18

Veni Domine & noli tardare (6vv) Morales: 86 6 Veni Domine & noli tardare (6vv) Palestrina: 393 19

Veni Domine & noli tardare Verdelot: 89 20

Veni in altitudinem maris (2p. of Salvum me fac Domine) (Svv) Jacquet of Mantua: 5 14; 87 8; 2565 Veni in altitudinem maris (2p. of Salvum me fac Domine) (Svv) Schiavetto: 255 5

Veni in hortum meum (Svv) Lasso: 270 11 Veni plena gratiae (2p. of Audi dulcis amica mea) Jacquet of Mantua: 6 2; 41 2; 257 2 Veni sancte spiritus (Svv) Contino: 175 12; 178 1

Veni sancte spiritus (6vv) Piéton: 86 5

Vent sancte spiritus Willaert: 7 11 Veni sponsa Christi (Svv) Ciccarelli: 302 16 Veni sponsa Christi (Svv) Corfini: 365 4

Veni sponsa Christi (Svv) . [no attribution]: 36 9 Ventant mihi miserationes tuae (2p. of Manus tuae fecerunt) (Svv) Monte: 392 6

Veniet Dominus & non tardabit (S5vv) Carli: 120 1

Venit vox de caelo (Svv) Clemens: 136 6

Venite ad me omnes (5vv) Gombert: 20 12; 102 12

Venite ad me omnes (2p. of In illo tempore respondens) (6vv) Jacquet of Mantua: 86 4

Venite fili audite me Gombert: 3 3; 18 3 Verba mea auribus percipe Domine De Silva: 93 10

Verbum caro factum est Aretino: 44 36; 248 36 Verbum caro factum est Crecquillon: 134 2 Verbum caro factum est | [no attribution]: 153 39

Verbum iniquum et dolosum Clemens (Crecquillon): 134 15 Verbum iniquum et dolosum (Svv) Willaert: 9 1; 105 1

Veritas de terra, orta est (Svv) Schaffen: 253 10 Verum in exilio (2p. of Te regina viam) (6vv) Ruffo: 145 3 Vesperae autem sabbati (Svv) Garugli: 209 7 Vesperae autem sabbati (Svv) Ghibel: 57 6; 69 16

Vexilla regis prodeunt Contino: 194 31

Vexilla regis prodeunt Jacquet of Mantua: 269 5 Vexilla regis prodeunt (6vv) Lasso: 259 10 Vexilla regis prodeunt [1] Willaert: 30 6; 106 6 Vexilla regis prodeunt [2] Willaert: 30 7; 106 7 [Vexilla regis prodeunt] Quo vulneratus in super Contino: 194 5

Vias tuas Domine (Svv) Gombert: 4 18

Vias tuas Domine (Svv) Rore: 52 18 Victimae paschali laudes Verdelot: 93 3 Victimae paschali laudes Willaert: 8 7 Victimae paschali laudes Willaert (Morales): 93 16 Victimae paschali laudes (Svv) Contino: 178 7

Victimae paschali laudes (6vv) Zarlino: 86 17

Victor io salve tantum cui fata triumphi (Svv) Willaert: 9 18; 105 18 Videbunt justi et timebunt (2p. of Quid gloriaris in malitia) (Svv) Rore: 52 15 Videbunt justi & timebunt (2p. of Dilexisti omnia verba) (Svv) Schiavetto: 255 4

Videns Dominus flentem Mariam (Svv) Schaffen: 254 13 Videns Dominus flentes sorores Lazari Willaert: 7 2

Videns Jacob vestimenta Joseph Boyleau: 38 4

Videntes stellam Magi gavisi sunt (Svv) Lasso: 270 4 Viderunt omnes (5vv) Corfini: 365 10 Viderunt omnes (3vv) Sermisy: 92 6 Viderunt omnes (2p. of Cantate Domino) (Svv) Lasso: 259 3 Vidi angelum Dei (2p. of Vidi conjunctos viros) (6vv) Schieti: 291 14

[Vidi aquam] Egredientem de templo a latere dextro (Svv) Schiavetto: 255 2 Vidi caelum novum (2p. of Vidi portam civitatis) (Svv) Schaffen: 254 14

Vidi conjunctos viros (6vv) Schieti: 291 14 Vidi Jerusalem descendentem de caelo Clemens: 135 3 Vidi portam civitatis (Svv) Schaffen: 254 14

Vidi sedere virum / Alleluia (S5vv) Contino: 175 31 Vidi spetiosam sicut columbam [no attribution]: 89 6 Vidi supra montem agnum stantem (2p. of Orante sancto Clemente) —_ Barré: 31 20

1016

ltalian Texts

Vidi turbam magnam (6vv) Ruffo: 145 11 Vidi turbam magnam (5vv) Vinci: 396 28 Vidi turbam magnam (2p. of Angeli archangeli troni dominationes) Canis: 135 12

(Vidimus stellam] Adorare Dominum (5vv) Contino: 175 9 Vinea mea electa Aretino: 44 12; 248 12 Vinea mea electa Ferrarese: 261 45 Virga Jesse floruit Phinot: 90 19; 218 21 Virgo ante partum (2p. of Obsecro te Domina) (5vv) Schaffen: 254 5

Virgo Christi egregia pro nobis Lhéritier: 142 5 Virgo gloriosa semper evangelium Canis: 135 14 Virgo Dei genitrix (2p. of Stirps Jesse virgam produxit) (Svv) Lupi: 87 7

Virgo Maria speciossima caelorum regina (Svv) [no attribution]: 36 6 Virgo Maria virga Jesse florida (2p. of Virgo Maria speciossima [no attribution]: 36 6

Virgo prudentissima (6vv) Contino: 176 | Virgo prudentissima (S5vv) Ghibel: 57 23 caelorum regina) (Svv)

Virgo prudentissima Gombert (Payen): 3 8; 18 8 Virgo prudentissima (Svv) Jacquet of Mantua: § 5

Virgo singularis (3p. of Ave maris stella) (Svv) Clemens: 136 |

(Viri Galilaei] Quid admiramini aspiciente / Alleluia (Svv) Contino: 175 11

Virtute magna reddebant apostoli Porta: 242 16 Visita quaesumus Domine Jacquet of Mantua: 6 7; 41 8; 257 3 Visita quaesumus Domine (S5vv) Vinci: 396 9 Vita dulcedo & spes nostra salve Gombert: 21 19 Vita nostra in dolore (2p. of Cognoscimus Domine) Crecquillon: 135 5

Vivat dux Franciscus (c.f. in Inclite Sfortiadum princeps) Willaert: 9 15; 105 15

Vocatus Joseph ad caelestes nuptias (Svv) Garugi!: 209 12 Vocavit me Dominus nomine meo (6vv) Garugli: 209 17 Voces Christi et Judeorum ad passionem Domini Secundum Ferrarese: 261 1 Matthaeum

Voces Christi et Judeorum in passione Domini secundum Joannem Ferrarese: 261 56

Vos enim in libertatem (8vv) Corfini: 365 28 Vos saeculi justi judices Willaert: 30 25; 106 25

Vox in Rama audita est Clemens: 135 6 [Vultum tuum] Deprecabuntur omnes (5vv) Contino: 175 21

Zain. Candidores Nazarei Ferrarese: 261 90 Pinello: 374 3

ITALIAN TEXTS

A caso un giorn’amor m’avento un dardo (3vv)

A caso un giorno mi guido la sorte (3vv) Bonagiunta: 296 5; 267 5

A caso un giorno mi guido la sorte Casulana: 301 15

A caso un giorno mi guidé la sorte (Svv) Ferretti: 321 19: 367 19 A che cerchar gli specchi & fonti vivi (vv) Ruffo: 169 7

A che con nuovo laccio (Svy) Rore: 99 7; 214 11 A che ne stringi o scelerata fame Corteccta: 39 8

A che preposto tant’a villi vill! (3vv) Nola: 24 38

A che pur piang’o mia fedel’ e ’n vano Spontone: 160 22 A che tanto dolore , Menon: 79 6 A cul piu ch’altri mai servi & devoti Pont: 157 2

A dir il ver Amor non hai cervello Menon: 79 25

A guisa d’huom che da soverchia pena (2p. of Strane rupi) (Svv) Rore: 28 7; 46 18; 129 4; 168 4; 213 4

Ai gigli, e a le viole Qp. of Hor che lucent’e chiara) (Svv) Striggio: 185 3; 186 7; 2747 AV’ see AIP

A lasee Alla

A pie de colli ove Clitia fedele Ragazzo: 252 26 A pie d’un odorifero ginebro (Svv) Contino: 179 |

A pie di colli ove Lagarai oscura (Svv) Ruffo: 169 19 A qualunque animal alberga in terra (Svv) Adriani: 336 8 A qualunque animal alberga in terra Berchem: 139 21

A qualunque animal alberga in terra (Svv) Chamatero: 317 |

A qualunque animal alberga in terra Donato: 304 | 1017

Index of First Lines

A qualunque animal alberga in terra Montagnana: 158 |

A qualunque animal alberga in terra (Svv) Pesciolini: 235 | A qualunque animal alberga in terra (6vv) Vinci: 381 6 A quand’a quand’ haveva una vicina Willaert: 29 34; 48 5; 74 10; 241 24

A quel strano apparire (Sp. of Porgetemi la lira) (Svv) Chamaterod: 319 |

A questa terra mai non hebbe sorte (3vv) Troiano: 309 8

A questo confortand’il popol tutto Pont: 157 4

A questo la mestissim Isabella (4p. of Ella non sa se non) Volpe: 147 30

A questo sacro giorno Spontone: 160 12

A Sa finestra afacciate no poco (Svv) Romano, A.: 371 14

A vita tu mi dai donna gentile Gvv) Gorzanis: 370 15

A voi Londonio invio (Svv) Vinci: 380 |

A voi perche nel core (2p. of Splend’in ciel una stella) Melfio: 149 16

A voi rivolg’il mio debile stile Montagnana: 158 11 A voi Signor tutt’il dominio ho dato Gero: 77 16

Accend’i cor’a l’arme e vibri nuda (6vv) Wert: 201 12; 202 12

Accendi pur tutte le faci Amore (Gvv) Fiorino: 369 3

Accetta questo santo sacrificio Ciera: 1217

Accingetevi dunqu’al alt’impresa Pont: 157 11

Accogli lei che lieto col suo aspetto (2p. of Dal tuo profondo) (vv) Clerico: 207 8 Accorta invention ma iniqua e frale (2p. of Non fu ad Hettor) (Svv) Fiesco: 229 18

Acqua vorria tornar perfetta e chiara 3vv) [no attribution]: 226 68; 266 68

Ad altre lo voi dar ste passate vv) Nola: 24 20

Ad ogni picciol moto ch’egli udiva Lando: 155 20

Addio Lidia mia bella (2p. of Ben venga il pastor mio) Casulana: 339 7

Adonque fia pur ver che mi convegna Lupacchino: 32 21

Affaciati uno poco (3vv) Fiorino: 369 26

Afflitti spirti mei Verdelot: 13 II; 14 38; 54 26; 85 26; 115 26; 146 26

Afflitti spirti miei siate contenti Gvv) Festa, C.: 66 16; 112 19; 174 19

Afflitto lo cor mio disventurato (3vv) Mazzoni: 325 12

Aguaglia la speranza col desire (2p. of Fammi sentir di quell’aura) Porta: 163 39; 188 13; 294 14

Ah forsenati é forse oscur’e humile (7p. of Questo si ch’é felice lieto Contino: 357 6 | giorno) (Svv)

Ah non fia ver’empio tiranno e rio (2p. of Spesso convien) (Svv) Adriani: 336 |

Ahi bella liberta come tu m’hai Ragazzo: 252 2 Ahi bellamio liberta m’hai Ahi caro tesorocome Nola:tu 349 17 Volpe: 147 4 | Ahi chi mi romp’il sonno ahi chi mi priva (vv) Monte: 348 3

Ahi come potrd mai [no attribution]: 276 12

Ahi cruda gelosia cruda mia sorte Rufilo: 237 15 Ahi cruda gelosia cruda mia sorte Volpe: 147 13

Ahi crud’amor ma tu alhor piu m’informi (2p. of Quando ved’el pastor Wert: 162 12; 200 12 calar i raggi) (Svv)

Ahi crud’e fiera stella (2p. of Se *l nodo con che) Ragazzo: 252 28

Ahi disperata vita (6vv) Monte: 326 8; 372 8 Ahi dispietata morte (2p. of Amor mia spem’el guidardon) Schiavetto: 238 23

Ahi dispietat’ Amor come consenti (5vv) Pesciolini: 235 13 Ahi dispietat’ Amor come consenti (6vv) Striggio: 378 23

Ahi dispietato arciero (2vv) Scotto: 23 18; 111 18; 159 18; 224 18; 395 18 Ahi dolce sonno ahi liet’e bel dormire Dattari: 303 20

Ahi dolce sonno ahi liet’e bel dormire (3vv) Nola: 271 23

Ahi fortuna crudel non poss’ahime (5p. of La figliola d’ Amon) Volpe: 147 2 Ahi lassa io sent’il core Casulana: 301 21

Ahi perche chiamo piu crudel’Amore (3vv) Candido: 364 13

Ahi possanza d’amor com’in un tempo Casulana: 339 4

Ahi quante volte per pieta vid’io Romano, A.: 128 3 Ahi quant’ indegni son di lor fortuna Pont: 157 32 Ahi se da voi lontano Schiavetto: 238 12 Ahi se la donna mia Arcadelt: 17 36; 37 14; 56 14; 165 6; 119 7; 151 7; 191 6; 299 3; 337 3

Ahi speranza fallace Menon: 79 35 Ahi spirito gentil’ lassate l’ira (2p. of Deggio sempre) Ruffo: 94 9; 118 9 1018

Italian Texts

Ahimé che col partir mi manca il core (3vv) Nola: 349 14 Ahimé che co! partir mi manca il core (3vv) Scotto: 375 16 Ahimé che nel partir mi manca il core (3vv) [no attribution]: 271 21

Ahimé che quella fede Menon: 79 32 Ahimé che sol ahime che paradiso (5vv) Dattari: 303 27

Ahimé, chi m’ha furat’il mio bel sole Spontone: 160 27 Ahimé cor mio ahime chi mi (ha tolto (3p. of Dolor lagrime) (Svv) Monte: 311 5 Ahimé core mio bello dove vai (3vv) Mazzoni: 343 12

Ahimé dov’e ’1 bel viso Arcadelt: 17 54; 37 54; 56 54; 119 54; 151 54; 165 40; 191 40; 299 42; 337 42

Ahimé quest’occhi tuoi e questo viso (3vv) Venturi: 379 §

Ahimé tal fu d’amore, & I’esc’et l’amo Ragazzo: 252 20

Ai pitl soavi accenti (5vv) Baccusi: 384 1 Ai qua di la va le noiose piume Ragazzo: 252 1 Al di dolce ben mio Azzaiolo: 189 2; 250 3 Al dolce fiammeggiar d’un vostro riso Ciera: 121 8 Al dolce suon del mormorar de |’onde (Svv) Lasso: 333 |

Al dolce vostro canto (Svv) Clerico: 208 2 Al dolce vostro canto (Svv) Cottone: 389 7

Ali dolce vostro canto Monte: 327 12 Al fin ambo conversi al giusto seggio (21p. of Quel’antico) (Svv) Lagudio: 231 3

Al fin poi c’hebbe vint’e presa l’alma (2p. of Tra freddi) (6vv) Pesciolini: 235 15 Al fin vidd’io per entro i fiori e l’herba (6p. of Standomi) (Svv) Lasso: 181 1; 212 1; 286 1

Al mio infelice stat’alcun non trovasi Primavera: 329 17 Al nome se cognosceno le belle Gvv) Mazzoni: 343 21 Al novel’ apparir del mio bel sole (Svv) Portinaro: 307 6 Al partir lagrimoso (Svv) Monte: 346 17 Al piu cocente raggio in gremb’assiso Berchem: 139 13 Al primo sguardo mi rubast’il core Mazzone: 360 29; 397 29

Al splendor de la luna (3vv) Pinello: 394 I

Al tristo suon ch’ogn’hor tra voi s’udiva (2p. of Aura soave) (6vv) Monte: 326 5; 372 5

Al vago ¢ incerto gioco di primiera [La primiera] (Svv) Striggio: 331 3

Alcun non puo saper da chi sia amato Lando: 155 7 Alcun non puo saper da chi sia amato Ruffo: 53 6; 65 35; 150 9; 1849 Alcun non puo saper da chi sia amato Cataldo: 170 19

Alla dolc’ombra delle belle frondi Adriani: 298 1

Alla dole’ombra delle belle frondi (Svv) Animuccia: 277 | Alla dolc’ombra delle belle frondi (Svv) Berchem: 40 18; 204 2 Alla dole’ombra delle belle frondi Gvv) Gero: 173 11; 281 21 Alla dole’ombra delle belle frondi (Svv) Mazzone: 323 13

Alla dole’ombra delle belle frondi Romano, A.: 128 2 Alla dolc’ombra delle belle frondi Rore: 130 1 Alla dole’ombra de la nobil pianta (5vv) Guami, G.: 333 4 Alla dolc’ombra de la nobil pianta Rufilo: 237 10

Alla fontana quando vai per acqua (3vv) [no attribution]: 226 42; 266 42

Alla mia dolce e vaga donn’intorno (6vv) Striggio: 378 10

Alla mia grave pen’al mio tormento (3vv) Fogliano: 66 33; 112 26; 174 26

Alla Sibilla me ne voglio gire (3vv) Merulo: 267 9; 296 9 All’acqua sagra del novello fonte (6vv) Striggio: 378 25 All’apparir del giorno Zoilo: 295 10 All’apparir dell’alba un pastorello (3vv) Bianco: 386 20 All’apparir dell’alba un pastorello (3vv) Policreto: 383 15

All’arme all’arme o fidi mei pensieri (3vv) Primavera: 263 29; 272 29; 350 29 All’arme all’arme o fidi mei pensieri vv) [no attribution]: 263 32; 267 10; 267 24: 278 17; 296 10; 296 24

All’arm’all’arme o spirti mei dolenti Gvv) Troiano: 290 21, 310 21

All’aspre voci di mia lingua afflitta Lando: 155 25 All’aureo crin della mia dolce Philli Spontone: 160 5 Alle fiorite guancie et amorose (5vv) Corona: 317 8

All’assallir della bramata rocca (3vv) Lupacchino: 173 4; 281 25 Alletandomi Amor mostrom’un lauro (5vv) [no attribution]: 357 11 All’hor che cantan poi gi’augei lor canto (4p. of Quando la _ Rossetto: 3127 bell’aurora inanz’al sole)

1019

Index of First Lines

AlVhor ch’ignuda d’herb’et fior la terra vv) Lusitano: 221 11 All’hor lasso la man debol’e stanca (2p. of Se io tal’hor) (Svv) Lasso: 167 16; 180 16; 211 16; 285 16 All’hor nel propri’oggetto la mia vista (4p. of Si com’al chiaro) Lasso: 276 8 Allhor saran’i miei pensier a riva (2p. of Giovane donna sotto) Gabrieli: 312 | All’hor saran’i miei pensier a riva (2p. of Giovane donna sotto) Roussel: 222 18 All’hor saran’i miei pensier a riva (2p. of Giovane donna sotto) (S5vv) Tortora: 355 19

All’ombra d’un bel faggio querci’o d’orno Galletti: 312 2

Allori pini e mirti (3vv) Troiano: 290 16; 310 16 All’ultimo bisogno 0 miser’alma (2vv) Scotto: 171 25

All’ultimo bisogno o miser alma (5p. of La ver l’aurora) Vicentino, Daniele: 158 5

Alma beata e bella (3vv) Scotto: 22 49; 83 49

Alma candid’& chiara piu ch’el sole (S5vv) Hoste da Reggio: 125 23

Alma che da celest’ampi soggiorni (6vv) Striggio: 378 18

Alma cortese in piu bel lembo involta (Svv) Lasso: 167 3; 180 3; 211 3; 285 3

Alma diletta sposa Berchem: 139 24 Alma felice che sovente torni (Svv) Adriani: 336 9

Alma felice che sovente torni Donato: 304 20 Alma felice o felic’alma mia Martinengo: 71 3

Alma gentil s’un vostro sguardo ha forza (Svv) Vicentino, N.: 599

Alma gloria del Sile e de la figlia (Svv) Baccust: 384 5

Alma guidott’amar colei ch’ogn’hora (Svv) Converso: 388 2

Alma mia fiamm’et donna Bargonio: 40 11

Alma perche si trista ogn’hor ti duoli Arcadelt: 17 29; 37 8; 56 8 Alma perche si trista ogn’hor ti duoli Corteccia: 119 48; 151 48

Aima Real se come fida stella (Svv) Rore: 264 16; 330 17

Alma reale a cui somm/’honestate (2p. of Giovane illustre) (Svv) Striggio: 185 4; 186 6; 274 6

Alma se stata fosse a pieno accorta (7vv) Fiesco: 229 27 Alma se stata fosse a pieno accorta (6vv) Monte: 347 5 Alma se stata fosse a pieno accorta (8vv) Nasco: 205 17 Alma Susanna ben felice é ’] core (Svv) Anville: 387 13 Alma Susanna ben felice é ’| core (Svv) Rore: 264 7; 330 6 Alme luci beate’al mondo sole (2p. of Vedet’occhi) (Svv) Schiavetto: 238 10

Almo paese’ov’hor’il mio bel sole (Svv) Clerico: 208 20 |

Alta cagion dunque si chiaro sole Fiesco: 229 3

Alti desiri e voi sospir ardentt Melifio: 149 4

Altiera Donna assai degna d’impero (Svv) Vinci: 380 5

Altieri monti e voi campagne amene Chamatero: 320 7

Altiero sasso lo cui gioco spira (Svv) Rore: 28 6; 46 17; 129 6; 168 6; 213 6 Alto signor, cui donn’altier’e bella (Svv) Animuccia: 219 8 Alto signor nel cui divin cospetto (6vv) Wert: 162 20; 200 21 Altr’amor altre frond’et altro lume (7p. of Alla dolc’ombra) Adriani: 298 1

Altri a cui nota fia vostra sembianza (5vv) Clerico: 208 8

Altri con lieti suoni & dolci accenti Dalla Viola, F.: 72 21 Altri ne le gran corti consumando (10p. of Quando miro la terra) Dorati: 340 1! Altri non vedra mai si chiaro sole (6p. of Si com’al chiaro giorno) Lasso: 276 8 Altri poi vaghi son d’esser pregiati (1 1p. of Quando miro la terra) Dorati: 340 1

Altro che lagrimar gli occhi non ponno Dalla Viola, F.: 72 7 Altro che lagrimar gli occhi non ponno (3p. of Senza ’! mio) (Svv) Pesciolini: 235 3 Altro che lagrimar gli occhi non ponno Tudino: 133 7 Altro non é il mio amor che cant’e riso (3vv) Festa, C.: 281 10 Altro non é il mio amor che ’| paradiso Gvv) Gero: 113 30 Altro non é il mio amor che ’| paradiso (Svv) Mazzone: 323 2

Altro non é il mio amor che ’! proprio inferno (3vv) Festa, C.: 66 30; 112 28; 174 28

Altro non é il mio amor che ’! proprio inferno Mazzone: 324 8

Altro non é il mio amor che ’! proprio inferno (2vv) Scotto: 171 2 Altro non é il mio amor che ’! proprio inferno (3vv) Scotto: 22 3; 83 3 Altro non é il mio amor che ’I proprio inferno (3vv) Tiburtino: 84 20 Altro non é il mio amor che ’! proprio inferno (Svv) Verdelot: 15 8 Altro non si potea fuor che piangendo (2p. of Alma se stata) (6vv) Monte: 347 5

Alza Adige altier alza la fronte (Svv) Chamaterd: 317 11

Alza del foll’ardir le superbe ale (2p. of Quant’é vano) (Svv) Adriani: 336 12

Alzi il front’il gran re de fium’altero (6vv) Pratoneri: 308 16 Ama chi t’amae chi non t’ama lassa (3vv) Troiano: 290 30; 310 30 1020

Italian Texts

Amanti il servir vostro Festa, C.: 14 50; 54 10; 85 10; 115 10; 146 10

Amanti non temet’il rozzo nome (3vv) Venturi: 379 11

Amanti, o liet’amanti Arcadelt: 12 30

Amanti tutt’il bel che voi vedete Arcadelt: 2 37

Amant’il vo pur dir ch’ognun m’intenda Corteccia: 39 31

Amant’ io vi so dire Veggio: 12 12

Amar un sol amante é vero amore Berchem: 107 29; 116 29; 163 29; 188 28; 294 2

Amara vita ¢ quella de gl’amanti (3vv) Bianco: 386 21 Amara Vita é quella de gl’amanti (3vv) Zappasorgo: 382 10

Ameni colli e voi fioriti campi Donato: 304 3

Ameni colli e voi fioriti campi Ruffo: 53 26; 150 12; 184 12 Ameni liti e voi onde tranquille (3vv) Venturi: 379 46 Aminta mio gentil che si cortese (Svv) Gabrieli: 277 8 Amor amor io mor’et tu il vedi (3vv) Scotto: 375 9

Amor ben mi credevo Rore: 130 8 Amor ben puoi tu hormai (5vv) Festa, C.: 15 22 Amor ben tua radice Menon: 79 15 Amor benigno e destra ogni fortuna (Svv) Monte: 373 4

Amor che con pietosi occhi mirasti Tudino: 133 16

Amor che con si caro e dolce nodo (5vv) Clerico: 207 11

Amor che di mortal ogni cor vede (2vv) Gero: 16 29; 50 40; 114 40; 210 40

Amor che fai tu che (3vv) Troiano: 332 4

Amor che ’! cuor mi puns’ & con tormento Ragazzoni: 45 2

Amor che la mia vita Martinengo: 71 23 Amor che mi consigli Martinengo: 71 8 Amor che mi consigli Ruffo: 53 1; 150 1; 184 1 Amor che nel pensier mio vive et regna (Svv) Perissone Cambio: 49 13

Amor che t’ho fatt’io (Svv) Rore: 264 12; 330 12

Amor che vedi ogni pensiero aperto (Svv) Lasso: 232 13; 287 13 Amor che vedi ogni pensiero aperto (Svv) Monte: 348 5

Amor che vedi ogni pensiero aperto (3vv) Nadal: 95 21

Amor che vedi ogni pensiero aperto (Svv) Rore: 28 17; 46 9; 129 17; 168 17; 2156

Amor compagno eterno (Svv) Flori: 277 §

Amor con ogn’imper’e gran possanza (3vv) Franzosino: 361 21

Amor con quali altr’arme (Svv) | Chamatero: 317 10

Amor da che tu voi pur ch’io m’arrischi (Svv) Willaert: 73 7; 215 13

Amor da te conosco quel ch’io sono Gvv) Scotto: 22 39; 83 39

Amor dentr’al mio cor a vol se ’n venne Manara: 72 18

Amor é fatto capitano a guerra (3vv) Flori: 279 11 Amor é gratiosa & dolce voglia (Svv) Padovano: 357 5

Amor é gratiosa & dolce voglia Pont: 157 17

Amor e ’] ver fur meco a dir che quelle (2p. of Ove chi posi) (S5vv) Monte: 182 12; 345 12 Amor e ’| ver fur meco a dir che quelle (2p. of Ove chi posi) (5vv) Spontone: 357 10

Amor e morte fer una battaglia Gvv) Pinello: 374 14

Amor ecco ch’io moro (7vv) Vicentino, N.: 59 18 Amor et honesta han fatto lega (3vv) Venturi: 379 40 Amor et io si pien di meraviglia Gero: 77 28 Amor et jo si pien di meraviglia (Svv) Monte: 373 2 Amor et io si pien di meraviglia (Svv) Primavera: 262 }

Amor fa quanto vuoi con l’arc’e i dardi (Svv) Converso: 388 26

Amor fortuna e Ja mia mente schiva Nola: 51 22

Amor fortuna e la mia mente schiva (Svv) Pratoneri: 308 9 Amor fortuna e la mia mente schiva (S5vv) Primavera: 262 2 Amor fra Pherbe una leggiadra rete (6vv) Vinci: 381 7

Amor gigli & viole, innamorate Ghibel: 123 23

Amor io fallo e veggio *] mio fallire (6vv) Striggio: 206 11; 273 12 Amor io fallo e veggio I mio fallire (Svv) Wert: 201 10; 202 10

Amor io fugg’e vol’a tutte l’hore Gvv) Califano: 282 13 Amor io moio, ahime chi ti da morte (8vv) Aretino: 156 29 Amor io moio, ahime chi ti da morte Perego: 143 11

Amor (6vv) Ruffo: 131259 Amorioiomoro sentomorte l’alma Gero: 117

Amor io sento alma (3vv) Scotto: 22 33; 83 33; 216 13 1021

Index of First Lines

Amor io son si lieto (Svv) Vicentino; 59 10

Amor la bella face (Svv) Barré: 204 5

Amor la gloria tua per queste rive Chamater6é: 3204 Amor la mia ventura ¢ troppo cruda (Sp. of La dolce vista) (6vv) Gero: 78 16

Amor la mia ventura é troppo cruda (Sp. of La dolce vista) Monte: 312 6; 327 |

Amor la tua virtute (Svv) Monte: 373 11

Amor la tua virtute (3vv) Scotto: 22 24; 83 24: 2167 Amor la vaga luce Schaffen: 82 21 Amor la vaga luce che muove (3vv) Scotto: 353 |

Amor lasciami stare (3vv) Ferrello: 271 29 Amor lasciami stare (3vv) Arpa: 263 13; 272 13; 350 13; 363 29 Amor lasciami stare (3vv) Scotto: 376 3 Amor l’aspre catene (3vv) Fiorino: 369 6 Amor mentre dormia quest’occh’aperse (Svv) Zarlino: 219 2

Amor nvha disfidat’alla battaglia Mazzone: 360 31; 397 31 Amor m’ha disfidat’alla battaglia (3vv) Zappasorgo: 382 19 Amor nvha fatto deventar fenice vv) Nola: 349 21

Amor m’ha posto come segno a strale (5vv) Perissone Cambio: 73 4

Amor m’ha posto come segno a strale (2vv) Scotto: 171 24

Amor m’ha posto come segno a strale (Svv) Vinci: 199 3; 240 3; 275 4

Amor mi fa morire Scotto: 29 6

Amor mi fa morire Willaert: 14 43; 54 43; 85 43; 115 43; 146 43; 241 11

Amor mi fea morire Dalla Viola, A.: 117 3

Amor mi manda quel dolce pensiero (Svv) Monte: 182 13; 345 13

Amor mi manda quel dolce pensiero Nola: 51 20

Amor mi sforz’a dirvi (3vv) Bassano: 376 22

Amor mi sprona in un tempo & affrena (6vv) Monte: 326 11; 372 11 Amor mi sprona in un tempo & affrena (Svv) Schiavetto: 238 2 Amor mi strugg’il cor fortuna il priva (Svv) Lasso: 232 5; 287 5

Amor mi strugg’il cor fortuna il priva (6vv) Mira: 381 10

Amor mia spem’el guidardon Schiavetto: 238 23

Amor m’impenna I’ale & tant’in alto (Svv) Rufilo: 198 6 .

Amor m’impenna I’ale & tant’in alto (6vv) Striggio: 378 20 Amor m’impenna l’ale & tant’in alto (3vv) Troiano: 332 5

Amor natura e la bell’alma humile (Svv) Monte: 346 15 Amor, non tua merce, lieto & contento Ragazzo: 2§2 3 Amor per che m’insegn’andar al foco Hoste da Reggio: 127 4

Amor per ch’io sempr’ami (Svv) Contino: 179 11 Amor per esser micidial pietoso (6p. of La dolce vista) (7vv) Gero: 78 16

Amor per qual cagion mi mandi a terra Casulana: 339 2

Amor per suo diletto (Svv) Vinci: 380 6

Amor perche mi fai Donato: 304 10 Amor poca pieta lasso tu m’hai (3vv) Perugino: 361 11 Amor poi che colei Aretino: 81 1 Amor poi che di fede (Svv) Ruffo: 169 6

Amor piu volte di piegarm’i] seno (3p. of Dal di che conobb’io) Hoste da Reggio: 126 20

Amor poi che non vuole Chamatero: 320 15 Amor poi che non vuole (S5vv) Ruffo: 169 10

Amor poi che non vuole Wert: 203 10 Amor quando fia mai Perego: 143 27 Amor quando fioria 3vv) Gero: 113 28 Amor quando fioria (2vv) Scotto: 23 35; 111 33; 159 33; 225 3 Amor quando m’invia Primavera: 276 10 Amor quando piu lieto Verdelot (Arcadelt): 14 53 Amor rilieva lo mio cor in cielo (3vv) Nola: 271 13 Amor s’al primo sguardo Festa, C.: 2 13 Amor scorta mi fosti a bell’imprese Manara: 72 32 Amor se d’hor in hor la doglia cresce Verdelot: 13 8

Amor se mi fai degno (2p. of Mentre la donna mia) (5vv) Portinaro: 236 8

Amor se vuoi ch’i’ torni al giogo antico (Svv) Dorati: 166 1

Amor sei forsi cuoco (Svv) Ferretti: 321 18; 367 18

Amor s’el foco cresce Veggio: 12 33 1022

Italian Texts

Amor s’el vede et sal madonn’& io Gero: 117 30 Amor senno valor pietad’e doglia (2p. of I vid’in terra) (Svv) Gabrieli: 220 5

Amor senza tormento non puo stare (3vv) Mazzone: 325 3

Amor sia benedetto Mazzone: 360 37; 397 37 Amor sia benedetto (3vv) Primavera: 352 4; 363 18 Amor sia benedetto (3vv) Scotto: 376 6

Amor s’io mai sprezzai tuoi strali e l’arco (3vv) Fiorino: 369 13

Amor s’10 posso uscir de tuoi artigli (2vv) Scotto: 171 11

Amor tosco Veggio:379 12 41 Amors’ogni son ioamar (3vv) Venturi: 30

Amor speme e desio Schaffen: 82 8 Amor tante virtut’et gentilezze Verdelot: 14 10; 54 32; 85 32; 115 32; 146 32 Amor ti rendo gratie Ragazzoni: 45 16 Amor tu causi tutt’il penar mio (vv) Dattari: 303 5 Amor tu ’! senti ond’io teco mi doglio Gero: 77 33

Amor tu ’] senti ond’io teco mi doglio (2p. of Che debbo far) Montagnana: 158 3 Amor tu ‘I senti ond’io teco mi doglio (3p. of Che debbo far) Ruffo: 131 14 Amor tu ’] senti ond’io teco mi doglio (2p. of Che debbo far) Vinci: 199 10; 240 10; 275 1

Amor tu sai ch’a voglia di costei Bonizzoni: 315 ! Amor tu sai pur fare Arcadelt: 17 51; 37 51; 56 51; 119 41; 151 41; (Willaert) 241 16 Amor tu vedi gli miei teneri anni Menon: 79 16 Amor tu vo ch’io dica Gero: 78 7 Amore [altro giorno se n’andava Dattari: 303 24 Amore /’altro giorno se n’andava (S5vv) Ferretti: 342 16; 390 16

Amore I’altro giorno se n’andava (3vv) Kohc: 386 16

Amorose mammelle (2p. of Occhi leggiadri amorosetti’e gravi) Lupacchino: 164 14

Amorosetto fiore (6vv) Arcadelt: 40 16 26 Amorosetto fiore Arcadelt: 294 Amorosetto fiore Casulana: 295 9; 301 7

Amorosi pensier che di dolore Arcadelt: 1 21] Amorosi pensier che di dolore Scotto: 29 1 Ampia viva fornace (Svv) Grisostimo da Verona: 243 5

Anchor che col partir l’alma si mora (3vv) Fiorino: 369 15

Anchor che col partire Caldarino: 251 10

Anchor che col partire (6vv) Perissone Cambio: 206 20

Anchor che col partire vv) Gabrieli: 359 6; 398 6

Anchor che col partire Romano, A.: 128 7 Anchor che col partire Rore: 72 11; 1307

Anchor che chevita la partita Adriani: 298 Anchor mia Bonizzoni: 315 611 Anchor ch’io possa dire Donato: 304 11

Anchor ch’io possa dire (6vv) Striggio: 206 3; 273 2 Anchor direi ma temo non tal volta (8vv) Pont: 157 50

Anchor e quest’e quel che tutt’avanza (19p. of Quel’antico) (Svv) Lagudio: 231 3

Ancidetemi pur grievi martiri Arcadelt: 17 8; 37 24, 56 24; 119 15; 151 15; 165 14; 191 14; 299 15; 337 15 Ancor see Anchor

Andand’a spasso sopra d’un monticello Werrecore: 103 3 Andand’un giorn’a spasso per Viena vv) Venturi: 379 9 Andand’un giomo solo sospirando (3vv) [no attribution]: 278 18 Andra la nave mia solcando l’onde (S5vv) Rufilo: 198 8 Angela assai via piu ch’un angiol bella Arcadelt: 2 47

Angelica tua mano (3vv) (no attribution]: 369 22

Anima bella che gia fost’honore Adriani: 298 4 Anima bella e pura (Svv) Dorati: 166 4 Anima dove sei ch’ad hor’ad hora Gero: 77 2 Anima dove sei ch’ad hor’ad hora Ciera: 121 13

Anima dove sei ch’ad hor’ad hora (8vv) Dorati: 166 22 Anima dove vai (7vv) Monte: 348 11 Anno see Hanno Anzi a sue fiamme ahi lasso. (2p. of Come si m’accendete) Zarlino: 295 5 Anzi cresce la pena via piu da quel (2p. of Ne perch’ il mio) (6vv) Striggio: 378 12

1023

Index of First Lines Anzt in voi com’el sol, di raggi accesa (2p. of Mentr’io tengo) (Svv) Contino: 219 16

Anzi non pur Amor le vaghe stelle Pont: 157 19 Anzi questi crudel ha per usanza (6p. of Quando miro Ia terra) Dorati: 340 1 Apollo s’ancor vive 7] desio (Svv) Lagudio: 231 2 Appariran per me le stelle in cielo Lasso: 222 6

Appariran per me le stelle in cielo (Svv) Schiavetto: 220 7 Apremi Amor le labbia esci soave (6vv) Mira: 381 9 Apri homai |’uscio o mia gentil signora (3p. of L’aria s’oscura) Duc: 341 10 Apri homai I’uscio o mia gentil signora 3p. of L’aria s’oscura) (6vv) Striggio: 206 17; 273 17

Apri i tesori tuoi (2p. of Ai pitt soavi accenti) (Svv) Baccusi: 384 1 Apri l’uscio per tempo (2p. of Sovra una verde riva) (no attribution]: 222 17

Apri la porta hormai ivo Barry: 65 8; 107 18; 116 18; 163 18; 188 17; 293 18 Arbor vittorioso trionfale (Svv) Gabrieli: 313 2 Archi statue trofei colossi marmi (2p. of Magnanima pieta) (5vv) Pratoneri: 3085 |

Ardea tutt’a voi presso Arcadelt: 1 14; 14 54

Ardea tutt’a voi presso (2vv) Scotto: 23 32; 111 30; 159 30; 224 30 Ardendo 1’ grid’e moro (Svv) Striggio: 185 20; 186 26; 274 26

Ardenti miei sospiri vv) Primavera: 263 2; 272 2; 350 2

Ardenti miei sospiri vv) Scotto: 375 10 Ardenti miei sospiri [no attribution]: 94 26; 118 26 Arder non sol mi sento Donato: 304 4 Ardir senno virtu bellezza e fede (2p. of Scielgan l’alme) (Svv) Rore: 46 6; 223 12

Ardo moro languisco e chieggio aita (3vv) Primavera: 263 3; 272 3; 350 3

Ardo moro languisco e chieggio aita (3vv) Scotto: 375 18

Ardo nel fuoco com’arido legno (2p. of Se per un sguardo) Anville: 276 15 Ardo, nel ghiaccio, & tremo in mezzo’el fuoco (2p. of Qual duo veneni Contino: 220 6 uniti, ’-huom tal hora) (5vv)

Ardo tremando: e nel arder aggiaccio (Svv) Nasco: 219 14

Arse cosi per voi donna ’! mio core (Svv) Striggio: 185 11; 186 19; 274 19 Arsi alsi osai temei duolo e diletto (2p. of Donna qual mi foss’io) Duc: 341 |

Arsi gl’afflitti spirti miei gia sono (3vv) Venturi: 379 36 Aspetto aspetto quel che non vien mai (3vv) Gorzanis: 370 2 |

Aspro cor e selvaggia e cruda voglia Gero: 78 |

Aspro cor e selvaggia e cruda voglia (Svv) Wert: 162 5; 200 5 Assa buccuccia zuccaro ci tieni (3vv) [no attribution]: 226 43; 266 43

Assai vi fe natura alt’e cortese Lamberto: 117 4

Asta finestra sta no Dio d’amor (3vv) Troiano: 309 26 Augeletto gentil che nido fai (3vv) Zappasorgo: 382 4 Aura gentil che mormorando vieni (3vv) Scotto: 22 52; 83 52 Aura soave che si dolcemente (6vv) Monte: 326 5; 372 5

Aure che ’| trist’e lamentevol suono (5vv) Severino: 311 13 Aventuroso piu d’altro terreno (Svv) Severino (Vinci): 199 14; 275 7 Aventuroso piu d’altro terreno (Svv) Vinci (Severino): 240 14 Avorio e gemma & ogni pietra dura (2p. of A voi Signor) Gero: 77 16

Baci che le colombe gia imitaste (S5vv) Cottone: 389 12 Basciami con ssa bocca saporita (3vv) Gorzanis: 370 13 Basciami mille volt’e mill’all’hora (2p. of Basciami vita) (Svv) Portinaro: 236 12 Basciam! vita mia basciami ancora Donato: 101 22; 109 27; 152 26 Basciami vita mia basciami ancora (5vv) Portinaro: 236 12 Basciami vita mia basciami ancora (5vv) Romano, A.: 344 3; 391 3

Basciami vita mia basciam! ancora [no attribution]: 117 6

Basciami vita mia basciami ogn’hora (5vv) Ferretti: 283 15; 305 15; 334 15; 366 15 Basciami vita mia basciami ogn’hora (3vv) [no attribution]: 226 27; 266 27

Basciami vita mia si dolcemente (3vv) Rampollini: 221 2

Beata e felice Alma (Svv) Clerico: 207 18

Beato chi d’amor non sente pena (Svv) Ferretti: 342 19; 390 19

Beato chi d’amor non sente pena Tudino: 133 20 Beato dunque se beato lice (21 p. of Quando miro la terra) Dorati: 340 1

Begl’occhi occhi divin’ove s’asconde Martinengo: 42 3 Bella che tieni li capigli d’oro (3vv) Zappasorgo: 382 12

Bella che tieni li capigli d’oro Gvv) [no attribution]: 226 36; 266 36 1024

Italian Texts

Bella che tien’in mano la mia vita (Svv) Ferretti: 342 22; 390 22 Bella Fioretta io vorrei pur lodarvi ArcadeJt: 17 46; 37 48: 56 48; 119 39; 151 39; 165 30; 191 30; 299 32; 337 32

Bella guerriera mia perche si spesso (Svv) Lasso: 232 10; 287 10

Bella Smiralda mia che di colore (3vv) Primavera: 351 13

Bell’ Arthemisia mia (Svv) Pratoneri: 308 8

Bellezza che nel cor m’hai post’il foco (3vv) [no attribution]: 352 29 Bellezza ch’empi’il ciel di maraviglia (3vv) Arpa: 263 6; 272 6; 350 6; 363 24

Ben che ’I misero cor lasso tal hora Verdelot: 13 12; 14 7; 54 12; 85 12: 115 12; 146 12

Ben che mill’e mill’occhi sian intenti (vv) Contino: 179 8

Ben con ragion ti veggio (Svv) Pratoneri: 308 2

Ben conobbi madonna Lupacchino: 32 12 Ben convenne madonna in vest’oscura (Svv) Lasso: 333 7

Ben credea del mio amor puro e verace Scotto: 29 28

Ben credev’io che nel tuo regno amore (5vv) Monte: 373 3 Ben debb’io perdonar a tutti i venti (6p. of L’aere gravato) Chamaterd: 320 | Ben debb’io perdonar a tutti i venti (6p. of L’aere gravato) Lando: 155 |

Ben furo aventurosi i cavaiilieri Ghibel: 123 27 Ben furo aventurost i cavallieri Cataldo: 170 13 Ben ho da maledir |’empio signore (Svv) Monte: 373 14 Ben ho del car’oggetto i sensi privi (Svv) Roussel: 205 7

Ben me ’] dovea pensare Lando: 155 8 Ben me ’! dovea pensare Ragazzo: 252 8

Ben mi credea homai del mio amor puro (3vv) Scotto: 22 28; 83 28

Ben mi credea passar mio tempo hormai (Svv) Lasso: 167 18; 180 18; 211 18; 285 18

Ben mi credea quando gia dietr’al’orme La Martoretta: 70 15

Ben mi credeti gia d’esser felice Ragazzo: 252 21

Ben mille nott’ho gia passat’in pianto Ruffo: 53 15; 150 4; 184 4

Ben mille stral’Amore (Svv) Clerico: 207 19 Ben mille volte al ciel quest’occhi giro Berchem: 139 20 Ben mille volte fra me stesso giuro (Svv) Ruffo: 132 2

Ben mille volte fra me stesso giuro Veggio: 12 4

Ben mio che mi ti toglie (Svv) Ivo Barry: 15 30 Ben mio chi mi ti toglie (Svv) Ruffo: 132 11

Ben mio voria saper dove sei gita (3vv) Nola: 360 24; 397 24

Ben mio voria saper dove sei gita (3vv) Scotto: 375 8

Ben pos’amor Natura ogni suo ingegno (2p. of Jo canterd) (Svv) Converso: 388 16

Ben posso dir che sian doi chiari solt (Svv) Schieti: 311 6

Ben pué del ciel’i fervidi calori (Svv) Tortora: 355 3 Ben riconosco in voi l’usate forme (2p. of Valle che di) (Svv) Chamater6: 317 13 Ben riconosco in voi |’usate forme (2p. of Valle che di) (Svv) Taglia: 205 13 Ben riconosco in voi l’usate forme (2p. of Valle che di) (Svv) Vinci: 199 9; 240 9; 275 5

Ben seppi il tuo partire (Svv) Romano, A.: 344 22; 391 22

Ben si conviene a voi cosi bel nome (S5vv) Rore: 28 18; 46 27; 129 19; 168 19; 215 8 Ben si puo dir si com’al mio bel sole (2p. of Qual donna piu) Hoste da Reggio: 126 5

Ben si vedra se la nemica mia (Svv) Vidue: 181 8; 212 8; 286 8

Ben si vedra se la nemica mia [no attribution]: 164 8

Ben s’io non erro di pietad’un raggio (2p. of Pien d’un vago) Manara: 72 6

Ben s’io non erro di pietad’un raggio (2p. of Pien d’un vago) (Svv) Wert: 162 16; 200 16

Ben somigliar mi poss’ alla Farfalla Veggio: 12 1

Ben sperai col partire (Svv) Striggio: 354 14; 377 14

Ben spero donna in vostra cortesia (8vv) Aretino: 156 31

Ben staga tutta questa bella briga Azzatolo: 189 21; 250 22

Ben veggio che per certo Melfio: 149 3

Ben veggio di lontano il dolce lume (2p. of Amor che vedi) (Svv) Lasso: 232 13; 287 13 Ben veggio di lontano il dolce lume (2p. of Amor che vedi) (Svv) Monte: 348 5 Ben veggio di lontano il dolce lume (2p. of Amor che vedi) (Svv) Rore: 28 17; 46 9; 129 17; 168 17; 215 6

Ben venga il pastor mio Casulana: 339 7

Benche Ja donna mia Naich: 65 12; 107 17; 116 17; 163 17; 188 16; 293 17

Benche ne gonna ne faldiglia havesse (4p. of Ad ogni piccio}) Lando: 155 20

1025

Index of First Lines Bench’i non sia di quel grande honor degno (2p. of II mal mi preme) Rore: 28 10; 46 24; 129 11; 168 11; 213 10 (5vv)

Bench’ indarno i gran pianti Porta: 295 12

Benedett’i martirt ch’io sostegno Arcadelt: 17 31; 37 7; 56 7; 119 51; 151 S51; 165 37; 191 37; 299 33; 337 33

Benedetto lo stral che feri l’alma (2p. of Ne si dolce com’hor) Monte: 327 11

Benedetto sia ’1 di che gli occhi mei Arcadelt: 1 7 Ben’io tosto m’accorsi (4p. of Amor la bella face) Barré: 204 5

Bernarde non puo stare ; Azzaiolo: 251 8 Bianca che vesti di bianco colore Gvv) Candido: 364 28

Bianca et vezzosa sei (no attribution]: 188 14; 294 15 Bianca neve il bel coll’il petto latte (2p. of Sotto duoi negri) La Martoretta: 70 8

Bianca neve il bel collo i! petto latte (Svv) Rore: 99 8

Bianch’e vermiglia rosa Arcadelt: 2 30 Bocca pitt dolce cha zuccaro e mele (3vv) Gorzanis: 370 17 Bon cacciator gia mai non perse caccia (3vv) [no attribution]: 360 26; 397 26 Bona via faccia barca Azzaiolo: 251 7 Buccucia dolce chiu che canamielle Perissone Cambio: 74 12 Buongiorno belle donne (2p. of Nella vaga stagion) (7vv) Striggio: 289 1; 331 |

Buon’hora prende il giorno Lasso: 295 3

Caduta é la tua gloria e tu nol vedi (3p. of Che debbo far) Montagnana: 158 3 Caduta é la tua gloria e tu nol vedi (4p. of Che debbo far) (3vv) Ruffo: 131 14 Caduta é la tua gloria e tu nol vedi (3p. of Che debbo far) (Svv) Vinci: 199 10; 240 10; 275 1

Campare di speranza sempre mai (3vv) Primavera: 351 21 Candid’allhor del ciel sces’angioletta (S5vv) Lasso: 167 32; 181 13; 212 13; 286 13 Candide rose & voi ben nati ftori (6vv) Aretino: 156 25

Candide rose & voi ben nati fiori Ciera: 121 | Candide rose & voi ben nati fiort Donato: 304 7 Candid’e vago fliore (Svv) Rore: 264 13; 330 14 Candido leggiadretto ¢ caro guanto (2p. of O bella man che) (Svv) Cavatoni: 387 6

Cane canazza e come lo cognosci (3vv) Pinello: 374 12 Cangia pensier’hormai crudel signora (3vv) Castellino: 361 8 |

Cangia sperar mia voglia (3vv) Tiburtino: 84 23

Canta Giorgia canta che (3vv) [no attribution]: 226 40; 266 40

Canta, o mia musa (Svv) Chamatero: 318 15 Canta o mia rozz’& aspra villanella (3vv) Troiano: 290 24; 310 24 | Cantai e piansi in amoroso stile (Svv) Mazzone: 323 |!

Cantai hor piango e non men di dolcezza (Svv) Lasso: 167 1; 180 1; 211 1; 285 1 Cantai hor piango e non men di dolcezza (Svv) Perissone Cambio: 49 3 Cantai hor piango e non men di dolcezza (5vv) Wert: 201 7; 202 7

Cantai mentre ch’io arsi del mio foco (6vv) Parabosco: 40 20

Cantai mentre ch’io arsi del mio foco (Svv) Rore: 28 1; 46 21; 129 1; 168 1; 213 1

Cantai un tempo e se fu dolce il canto (6vv) Monte: 326 1; 372 1

Cantan fra rami gl’ augeletti vaghi Ruffo: 94 1; 118 1

Cantan le muse e Il’alme gratie a prova Chamatero: 320 8 Cantare voglio sempre e star’in gioco (3vv) Nola: 349 8 Cantar vogli’una canzon (2p. of Horsu horsu compagni) Werrecore: 103 2 Cantemo zazerin e ti cuffetto (3vv) Bellavere: 359 15; 398 15

Canti di voi le lode Naich: 65 10 Cantiamo lieti il fortunato giorno (Svv) Rore: 223 1

Cantemo Zazerin e ti Cuffetto (2p. of Nu semo tre vechieti) (3vv) Bellavere: 279 26

Cantin con dolc’e gratios’accenti (Svv) Zarlino: 219 § Cantin del Mincio alle sue riv’intorno (2p. of Cantin con) (Svv) Zarlino: 219 §

Canzon s’alcun m’accusa (7p. of Amor la bella face) (6vv) Barré: 204 5

Canzon’ va al mio bel sol di che non tardi (5vv) Converso: 388 27

Canzona mia quando inanti serai Melfio: 149 12

Cara la vita mia egl’e pur vero (Svv) Wert: 162 8; 200 8

Cara madre d’amore (3vv) Pinello: 394 2} Cara mia fiamma é bella Lupacchino: 32 24

Cara nemica mia Wert: 203 4

Cara soave & honorata piaga (5vv) Monte: 348 4

Cara vagha bellezza Lupacchino: 32 14 1026

Italian Texts

Carco di tanti’honori’il signor mio Ferro: 164 3 Cari rami dicea ch’havette in dono (2p. of Mentre pasceva ) (S5vv) Ruffo: 131 11 Cari scogli dilette e fide arene (Svv) Monte: 346 3

Carlo ch’en tenerella acerba etade (Svv) Monte: 346 18 Caro dolc’alt’e fatticoso preggio (Svv) Bucca: 231 5 Caro dolce ben mio chi mi vi toglie (6vv) Baccusi: 385 5

Caro dolce ben mio chi mi vi toglie (Svv) Striggio: 185 9; 186 5; 274 5

Caro soave e ben pregiato pegno Gero: 78 {2

Caronte ch’e questo importun’che grida (7vv) Rufilo: 198 22

Castigh’ amor costei Ruffo: 53 25; 150 10; 184 10 Catalina apra finestra Gvv) [no attribution]: 226 57; 266.57 Catalina cu cu ru cu (3vv) Califano: 282 23 Ceda nata nel mar Venere e Amore (2p. of Ne le amare) (Svv) Willaert: 73 17; 215 17

Cedano le piramide d’Egitto (3vv) Fiorino: 369 12 Cedi fortun’homai, lascia ch’al core (Svv) Nasco: 219 17

Celeste d’amor fiamma (5vv) Roussel: 358 2

Celesti occhi sereni (Svv) Romano, A.: 344 14; 391 14 Cercar m’ha fatto diversi paesi (7p. of Quel’antico) (Svv) Lagudio: 231 3

Cercato ho sempre solitaria vita (Svv) Cavatoni: 387 5

Cercato ho sempre solitaria vita Rufilo: 237 7 Cerco fermar il sole arder la neve (2p. of Lasso me ch’ad) (5vv) Adriani: 336 5 Cerere poi che da la madre Idea Cataldo: 170 12

Certo ch’un giorno da st’afflitto core (3vv) [no attribution]: 279 19

Cesare poi che ’! traditor d’Egitto Romano, A.: 128 12

Ch’alzato al suon di mie piu chiare squille (2p. of Voi se col) (5vv) Striggio: 186 27; 274 27

Charita di signore, Amor di donna (2p. of Signor mio caro) Rore: 130 2

Che amaro piu che piu felice stato Ciera: 121 17

Che bisogna dire o signor mio Arcadelt: 1 15

Che con le vostre chiome di fin oro (3vv) Venturi: 379 2

Che cosa al mondo far potea natura Arcadelt: 2 4

Che cosa al mondo far potea natura (5vv) Perissone Cambio: 49 4 Che cosa al mondo mai saria piu bella vv) [no attribution]: 352 30

Che debb’io far? che mi consigli Amore? (8vv) Clerico: 208 21 Che debb’io far? che mi consigli Amore? (Svv) Mazzone: 323 8

Che debb’io far? che mi consigli Amore? Montagnana: 158 3; 158 8 Che debb’io far? che mi consigli Amore? (5vv) Ruffo: 131 14

Che debb’io far? che mi consighi Amore? (2vv) Scotto: 23 36; 111 34; 159 34; 225 4 Che debb’io far? che mi consigli Amore? (5vv) Vinci: 199 10; 240 10; 275 1

Che debb’io far poi che son giunto tardi (6vv) Baccusi: 385 4 Che debbo fare ohime st’ anno senza té (3vv) Troiano: 290 19; 310 19

Che deggio far dapoi ch’el mio bel sole (Svv) Striggio: 185 14; 186 18; 274 18

Che dolce piu che piu giocondo stato Ghibel: 123 30 Che dolce piu che piu giocondo stato Martinengo: 71 20

Che dolce piu che piu giocondo stato Naich: 65 13; 107 22; 116 22; 163 22; 188 21: 293 22

Che dolce piu che piu giocondo stato Ragazzo: 252 13 Che dolce piu che piu giocondo stato Cataldo: 170 31 Che fai alma che pensi havrem mai pace (5vv) Monte: 346 1 Che fai che pensi che pur dietro guardi Adriani: 298 14 Che fai che pensi che pur dietro guardi (6vv) Adriani: 336 7 Che fai che pensi che pur dietro guardi Gero: 78 13

Che fai che pensi che pur dietro guardi (6vv) Striggio: 206 10; 273 11 Che fai qui villanella Primavera: 329 6

Che fanno meco hormai questi sospiri Aretino: 81 7

Che far mi deggio amor se non dolermi Bonizzoni: 315 24

Che far mi deggio amor se non dolermi (vv) Mazzone: 325 4 Che far peggio mi poi Reulx: 35 27 Che faret’occhi miei poi ch’io non spero (7vv) Portinaro: 307 11

Che fatt’occh’infelici hor che mirate Flori: 276 13

Che fia dunque di noi con che furore (2p. of Svelt’ha di mort’invido Merulo: 313 1 colp’et fiero) (Svv)

Che fia quand’udira con vivo zelo (2p. of Se ’I breve suon) (Svv) Perissone Cambio: 49 2

Che gentil pianta in arido terreno (2p. of Se voi potesti) (Svv) Rore: 73 16; 214 10 1027

Index of First Lines

Che giova posseder cittadi e regni Pont: 157 43 Che giova posseder cittadi e regni Wert: 203 |

Che giova saettar un che si more (3vv) Festa, C.: 66 22; 112 22; 174 22

Che giova saettar un che si more (Svv) Monte: 373 10 Che giova saettar un che si more Naich: 65 23; 107 20; 116 20; 163 20; 188 19; 293 20

Che giova saettar un che si more Scotto: 29 30

Che giova stratiare un che si rende (3vv) Gorzanis: 370 7 Che ’| chiaro raggio di Gonzaga ardente (2p. of Alzi il front’il gran re Pratoneri: 308 16 de fium’altero) (6vv)

Che legno vecchio mai non rose tarlo (10p. of Quel’ antico) (Svv) Lagudio: 231 3 Che ’ncontra amor & gli elementi (Sp. of Un tempo amor) (Svv) Cottone: 389 9 Che nel mezzo del fum’al ferr’al foco (2p. of Accend’i cori (6vv) Wert: 201 12; 202 12

Che non puo far d’un cuor ch’abbia suggetto Cataldo: 170 9

Che non pur dentr’a lui amor’o fede (2p. of Ogni stato d’amor) Hoste da Reggio: 126 13

Che parlo o dove sono o chi m’inganna (3vv) Festa, C.: 66 17; 112 16; 174 16

Che parlo o dove sono o chi m’inganna Nola: 51 15

Che pensi far Amore (3vv) Califano: 282 20

Che piangi o sventurat’a che pur vai (Svv) Ferretti: 342 6; 390 6 Che piu foc’al mio foc’o fiamm’al core Arcadelt: 17 15; 37 45; 56 45; 165 25; 191 25; 119 36; 151 36; 299 27; 337 27

Che poi tu farm’ amore Ruffo: 53 12; 150 24; 184 24

Che poss’io piu s’el ciel pur mi nasconde (2vv) Gero:16 49; 50 37; 114 37; 210 37 Che poss’io piu s’el cielo pur mi contend’i raggi (Svv) Arcadelt: 15 18 Che questi e quel ch’invola (Sp. of Hor che lucent’e chiara) (Svv) Striggio: 185 3; 186 7; 274 7 Che s’altri cui desio simil compunse (2p. of Amor m’impennal’ale & Rufilo: 198 6 tant’in alto) (Svv)

Che s’altri cui desio simil compunse (6vv) Striggio: 378 21 Che scorger non saprei ne sentir mai (2p. of Quanto m’apparv’amor Striggio: 354 15; 377 15 cortes’all’ hora) (Svv)

Che se la verso ond’a noi men’il giorno (2p. of Quel chiaro) (Svv) Lasso: 167 25; 181 4; 212 4; 286 4 Che se partir potesse alma gradita (2p. of Tu tu Caro ancor) (Svv) Renaldi: 313 11

Che se tant’a vol piace (3p. of Voi mi ponest’in foco) Palestrina: 172 1 | Che s’en principe illustri e cosa bella (2p. of Fin che signore) (Svv) Vinci: 199 1; 240 1; 2753

Che seria se la fioretta mia (3vv) Primavera: 351 8 Che si puo piu vedere (3vv) Festa, C.: 66 11; 112 11; 174 11

Che son io senza lei tu ’| ved’amore (Svv) Corteccia: 15 25 Che son si stanco e tu pur forte giungi (2p. of Lasso ch’io piango) Monte: 327 6

Che thaggio fatto che m’hai tolto il core Nasco: 154 20; 197 20; 260 20

Che val esser esser nutrita nutritaDonato: Ciera: 121 Che val 30415 16

Che val ricchezz’argento perl’ & oro 3vv) Troiano: 309 11

Che veder & udir tosto potrai (2p. of Lunge e Madonna) (6vv) Monte: 326 15; 372 15

Che volete ch’io dichi 0 che ragioni Lando: 155 23

Chi brama al maggior caldo, esser di ghiaccio (Svv) Striggio: 185 18; 186 8; 274 8

Chi brama’udir tra noi Ferro: 164 6

Chi cerca navigar per alto mare (3vv) Mazzone: 360 10; 397 10 Chi cercasse le belle tutte quante (5vv) Ferretti: 342 7; 390 7

Chi chi li chi (3vv) [no attribution]: 226 39; 266 39

Chi con eterna legge Rore: 72 24; 130 18

Chi crederia d’amore (5vv) Striggio: 354 7; 377 7 Chi dalla boch’il fior de l'alm’acoglie Gero: 78 10

Chi de cose celest’al mondo cura Melfio: 149 25

Chi desia di veder’ fiorita Tudino: 133 6

Chi dira mai ch’in donna sia fermezza Donato: 101 21; 109 21; 152 20 Chi dira mai ch’in donna sia fermezza (3vv) Nola: 24 2 Chi dira mai ch’in donna sia fermezza (3vv) Zappasorgo: 382 24 Chi dira mai ch’in donna sia fermezza (3vv) [no attribution]: 278 24

Chi dona lo suo core a donn’ingrata (3vv) Gorzanis: 370 10

Chi é¢ fermato di menar sua vita (5vv) Vinci: 380 9 Chi fa del cavalier e chi del duca (3vv) Bonagiunta: 267 28

Chi fara fede al cielo Ragazzo: 252 9 Chi fara fede al cielo (5vv) Striggio: 277 3 1028

Italian Texts

Chi fie che di guardar donna si vanti (Svv) Dorati: 166 2

Chi giamai vidde donn’al par di questa (3vv) Venturi: 379 23 Chi giov’il mio servir con tanta fede (3vv) Dattari: 303 15

Chi in donna bella loca lo suo core (3vv) Gorzanis: 370 | Chi 1 credera perche lo dica il sole (2p. of Del freddo Rheno) Lasso: 222 §

Chi ‘I credera s’il dico Azzaiolo: 251 |

Chi la gagliarda donne vo imparare Donato: 101 11; 109 14; 152 13 Chi la gagliarda donne vo imparare (3vv) Nola: 24 7 Chi lasso ptangeria se non piang’to Hoste da Reggio: 127 20 Chi mai vedra piu il mar tranquillo e queto Chamaterd: 320 11 Chi me lhavesse ditto amaro mene (3vv) Pinello: 374 20 Chi me Vhavesse ditto amaro mene (3vv) Troiano: 290 13; 310 13

Chi mette il pie su ('amorosa pania Martinengo: 71 29 Chi mette tl pie su l’amorosa pania Cataldo: 170 24 Chi mi dara le voci e le parole Cataldo: 170 3 Chi mi dara si ch’io disfoghi il cuore Raimondo: 183 7

Chi mi fura il ben mio Wert: 203 14

Chi mi leva di terra e m’alz’al cielo (Svv) Cavatoni: 387 7 Chi mi ti tols’oime forse fu il cielo Qp. of Dove sei tu mio) (Svv) Willaert: 73 8

Chi nol sa di ch’io viv’e vissi sempre (Svv) Comis: 311 9

Chi nol sa di ch’io viv’e vissi sempre Menon: 79 18

Chi non adora quesse trezze d’oro (3vv) [no attribution]: 267 17; 296 17

Chi non conosce Amore Dalla Viola, F.: 72 17

Chi non fa prov’ Amore (2vv) Gero: 16 35; 50 34; 114 34; 210 34 Chi non fa prov’ Amore (3vv) Gero: 173 25; 281 23 Chi non prova d’amor l’acerba pena Tudino: 133 22

Chi non sa che chi v’ama Hoste da Reggio: 127 2 Chi non sa che chi v’ama (6vv) Vinci: 381 4 Chi non sa com’a morte altri si toglia (6vv) Dorati: 166 13 Chi non sa com’amor ad’hor ad’hora (7vv) Dorati: 166 18

Chi non sa com’impiaghi (Sp. of S’io non v’amo & adoro) (3vv) Rossetto: 297 7

Chi non ved’i!l mio pianto (2p. of Felice é la catena) Candido: 364 30

Chi passa per sta strad’e non sospira Azzaiolo: 189 1; 250 1

Chi potesse sentir alchuna volta Perego: 143 |

Chi potra dir quanta dolcezza provo Arcadelt: 17 43; 37 29; 56 29; 119 20; 151 20; 165 17; 191 17; 299 16; 337 16

Chi potrebbe stimar che le mie braccia (Svv) Clerico: 207 12

Chi potrebbe stimar che le mie braccia Schaffen: 94 20; 118 20

Chi puo fiso mirar la donna mia Arcadelt: 2 46

Chi puo fuggir Amor che sol con |’arco (Svv) Striggio: 354 19; 377 19

Chi salira per me madonna in cielo (Svv) Mazzone: 323 3

Chi salira per me madonna in cielo Cataldo: 170 35 Chi salira per me madonna in cielo Wert: 172 18

Chi servira pit! amore (Svv) Ferretti: 368 15 Chi si tien lieto & fortunat’amante (Svv) Tortora: 355 8

Chi t’amae chi t’adora (3vv) Mazzone: 360 !; 397 |

Chi t’ama e chi t’adora (3vv) Scotto: 375 |

Chi va lontan da la sua patria vede Cataldo: 170 7

Chi vi contempla fiso gentil Francesca Tudino: 133 10

Chi vi parla é felice (Svv) Hoste da Reggio: 125 18 Chi vi parla é felice (Svv) Romano, A.: 344 15; 391 15 Chi vide mai congionta a nobiltade Tudino: 133 12 Chi vide mai tal caso 0 tal miracolo? Bonizzoni: 315 25

Chi vien ch’alza le ciglia Perego: 143 6 Chi vive senza mai sentir riposo (13p. of Quando miro la terra) Dorati: 340 |

Chi viver sempre vuol con lieto core Corteccia: 39 14 Chi vol see Chi vuol

Chi volesse saper che cos’e amore Willaert: 65 4; 107 27; 116 27; 163 27; 188 26;

2415 Chi vuol dunque esser felice (4p. of Dir si suol felicita) (Svv) Baccusi: 384 8

Chi vuol mirar da man vergine colte [no attribution]: 276 9 Chi vuol udir i miei sospiri in rime vv) Scotto: 22 45; 83 45

Chi vuol veder a pieno (Svv) Hoste da Reggio: 125 6 1029

Index of First Lines

Chi vuol veder amore (3vv) Ghibel: 110 20

Chi vuol veder bellezz’altiera e nova (3vv) Venturi: 379 3

Chi vuol veder crin d’oro cresp’e biondo Berchem: 107 25; 116 25; 163 25; 188 24; 293 24

Chi vuol veder fra noi (5vv) Clerico: 208 15 Chi vuol veder fra noi Festa, C.: 94 18: 118 18 Chi vuol veder in terra le bellezze (3vv) Venturi: 379 8

Chi vuol veder nova fogia d’amore Schaffen: 82 19 Chi vuol veder opra celest’, et rara Veggio: 12 42 Chi vuol veder quanta bellezz’al mondo (3vv) Troiano: 332 16

Chi vuol veder quantunque puod natura Menon: 79 11

Chi vuol veder quantunque pud natura (Svv) Portinaro: 307 4 Chi vuol veder quantunque puo natura (3vv) Primavera: 351 14

Chi vuol veder quantunque pud natura (Svv) Rore: 28 14; 46 10; 129 13; 168 13; 213 12

Chi vuol veder tutta raccolta insieme (3vv) Policreto: 383 6 Chi vuol veder tutta raccolta insieme Rore (Ingegneri): 264 3; 330 3

Chi vuol veder tutta raccolta insieme Volpe: 147 26

Chi vuol veder tutte le bellezze (3vv) [no attribution]: 226 59; 266 59 Chi vuol veder un bosco e spesso folt’e (3vv) Tudino: 271 26 Chi vuol veder un miracol d’ Amore (3vv) Tiburtino: 84 14 Chiamo la mort’ ahime che me ne leva Nasco: 154 18; 197 18; 260 18 Chiamo la mort’haime che me ne leva (3vv) Scotto: 376 15 Chiamo la mort’haime che me ne leva (3vv) [no attribution]: 226 21; 266 21

Chiamo la mort’ogn’hor che me leva Waelrant: 265 18

Chiara chiara piu che la nev’homai Schaffen: 82 3

Chiara coi chiari rai vv) Pinello: 394 14

Chiara fontana in quel medesmo bosco (4p. of Standomt) (Svv) Lasso: 181 1; 212 1; 286 1

Chiara si chiaro e de vostr’occhi ’| sole Ferro: 164 22 Chiara stella dal ciel disces’in terra Ragazzoni: 45 18 Chiare fresche e dolci acque (5vv) Arcadelt: 204 1

Chiare fresche e dolci acque (3vv) Ghibel: 110 3

Chiare fresche e dolci acque Mazzone: 324 13 Chiare fresche e dolci acque Ragazzo: 252 23

Chiare fresche e dolci acque Palestrina: 172 25 Chiaro leggiadro lume che dal cielo Doni: 40 15 Chiaro si vede quello che natura Ragazzoni: 45 13

Chiedend’un bascio a la mia car’amica (Svv) L’intrico: 277 11

Chin de dara la bose al solfizar (3vv) Gabrieli: 359 5; 398 5 Ch’inditi’alcun di lui, o del suo piede (2p. of Non trem’alcun) Spontone: 160 |

Ch’io scriva di costei ben m’hai tu detto (7vv) Fiesco: 229 28 Clio scriva di costei ben m’hai tu detto (6vv) Monte: 326 17; 372 17 Clio scriva di costei ben m’hai tu detto (8vv) Wert: 162 21; 200 20

Chisso marito tuo che ne voi fare (3vv) Mazzoni: 325 14

Chisso mussillo d’oro Gvv) Califano: 282 16

Chiudimi gl’occhi amore Ruffo: 164 20 Chiudimi pur le luci (2p. of Fuor fuori 6 Muse uscite) (6vv) Baccusi: 385 |

Chiunque ’n petto d’amoroso foco Berchem: 139 7 Chiunqu’il trov’& giunge, il prend’et leghi (6p. of Non trem’alcun) Spontone: 160 1

Chius’er’il sol da un tenebroso velo (Svv) Rufilo: 198 5 Chiuso gran tempo in questo cieco legno (3p. of Chi é fermato di Vinci: 3809 menar sua vita) (Svv)

Ch’udirai un se si lontan risuona (2p. of Alma cortese) (Svv) Lasso: 167 3; 180 3; 211 3; 285 3

Ch’una vespe crudel chi ’! crederebbe (Svv) Aretino: 156 8

Ciancia per che mi fai ste guaciarele Primavera: 329 16

Cibo dolce & soave Dalla Viola, F.: 72 1

Cingari simo venit’a giocare (3vv) Nola: 24 21 Cingari simo venit’a giocare Willaert: 48 2; 74 4; 241 22 Cinge ’| mio crin intorno (Svv) Pratoneri: 308 14 Cinque noi siamo nat’a la Torchia (5vv) Troiano: 290 32; 310 32

Cinta di fior’un giorno Casulana: 339 8

Cinto di chiare palme (8vv) Padovano: 295 14

Cipressi e l’auri che gli estivi ardori (2p. of Rose novelle) (Svv) Romano, A.: 371 18

Clara fenice (3vv) Venturi: 379 32 1030

Italian Texts

Clara luce padrona inclita e degna Ghibel: 123 9

Claudia di virtu colma saggi’e bella Ragazzoni: 45 19

Claudia vaga gentil voi sete quella Gvv) Venturi: 379 12 Clori gentil’é bella Casulana: 301 5 Cogliete de le spine homai le rose Berchem: 139 1; 294 17

Col chiaro viso e col soave sguardo Hoste da Reggio: 126 3 Col tempo manca ciascun’herb’e fiore (3vv) Troiano: 309 3

Colonna di smeraldo (Svv) Monte: 182 3; 345 3

Com’a fanciul ch’a pena (Svv) Mazzone: 323 7 Com’a corrier tra via se ’| cibo manca Aretino: 81 6 Com’a cui vi donate voi disdice Pont: 157 36

Com’a raggi del sole (Svv) Portinaro: 236 9 Com/’al partir del caro unico figlio Nasco: 295 6

Com’al partir del sol si fa magiore (3p. of Son simil’all’avar) Lando: 155 12

Come io conobbi me di fuor cacciato (3p. of Lagrimando dimostro) Scotto: 353 8 (3vv)

Come afflitto nocchiero alzai ja testa Lupacchino: 32 8 Come Cinthia talhor s’e nub’oscura (4p. of Qual di notte tal hor) Wert: 162 1; 200 |

Come colui che con la prima nave Martinengo: 71 11 Come da quieta riva Tudino: 133 {3 Come da set’oppresso |’ infelice Gvv) Fiorino: 369 9 Come de voi piu bella Gero: 77 20 Come de voi piu bella (3vv) Scotto: 216 22

Come de voi piu bella Gvv) Tiburtino: 84 24

Come di foschi horror aria disgombra (5vv) Cottone: 389 |

Come diro piu vita a la mia vita (Svv) Hoste da Reggio: 1259

Come divers’et strano (Svv) Corteccia: 15 26 Come donna poss’ io (3vv) Arcadelt: 173 28; 281 6 Come esser puo ch’io viva Ragazzoni: 45 { Come esser puo che ’| core Casulana: 301 17 Come fard cor mio quando mi parto (3vv) Nola: 349 5; 363 10

Come fard cor mio quando mi parto Taglia: 315 19

Come fenice son che de mia morte Gvv) [no attribution]: 279 8

Come fra verd’ erbette Casulana: 339 12

Come fuggir per nudi campi suole (Svv) Dorati: 166 5

Come gia fece all’hor che primi rami (2p. of La sera desiare) (Svv) Chamatero: 319 10 Come gia fece all’hor che primi rami (2p. of La sera desiare) (Svv) Primavera: 262 5 Come gia fece all’hor che primi rami (2p. of La sera desiare) (Svv) Schieti: 219 10

Come havra vita amor la vita mia (6vv) Monte: 347 4 Come havran fin le dolorose tempre Rore: 72 8; 1309 Come havrian posto al nostro nascimento Pont: 157 38

Come il candido pie per I’herba fresca (Svv) Monte: 348 6; 373 9

Come il sol volge l’infiammate rote (Svv) Chamatero: 318 9 Come in piu negre tenebr’et piu folte (Svv) Cartolaio: 358 4

Come io vidi l’altrui sott’al ner velo (2p. of Non é si chiaro) (Svv) Perissone Cambio: 49 11

Come ’I sol fra le nuvole si scopre (3vv) Fiorino: 369 |

Come [a nell’Epiro (2p. of Se quante stelle ha il cielo) (Svv) Chamaterd: 318 4

Come Ja nott’ogni fiammell’é viva Donato: 304 6 Come la nott’ogni fiammell’é viva (4p. of Son simil’all’avar) Lando: 155 12

Come la pecorella all’hor che ’1 sole Chamatero: 320 6

Come la vagh’auror aparir suole Perego: 143 30 Come lume di nott’in alcun porto Reulx: 35 28

Come l’effett’al nome (6vv) Striggio: 378 13 Come lume di nott’in alcun porto (4p. of Chi é fermato) (Svv) Vinci: 380 9 Come natura al ciel fa lunae ‘I sole (2p. of Tra quantunque) Ghibel: 123 8

Come nave ch’in’mezo’all’onde sia [no attribution]: 164 24 Come ne la stagion nova si mostra (Svv) Adriani: 335 11 Come ne la felice anticha etade (15p. of Quando miro la terra) Dorati: 340 |

Come non conosc’io I’alma mia diva (4p. of La notte che) (6vv) Adriani: 336 17 Come non conosc’io l’alma mia diva (4p. of La notte che) (Svv) Lasso: 358 17

Come notturn’augel ch’el di s’annida (Svv) Tortora: 355 17

Come novello fior colmo d’odore (5vv) Rufilo: 198 13

Come ogni altro animal cervo fugace (6vv) Tortora: 355 21 1031

Index of First Lines

Come orsa che |’alpestre cacciatore (5vv) Adriani: 336 13

Come poi ch’in te figlia pose mano La Martoretta: 70 21 Come poss’io morir se non ho vita Gvv) Celano: 271 12 Come poss’io morir se non ho vita (Svv) Ferretti: 283 4; 305 4; 334 4; 366 4 Come poss’io scoprirv’il mio desio Dalla Viola, F.: 72 3 Come poss’io se non m’insegn’amore (Svv) Hoste da Reggio: 125 8

Come poss’io senza tua aita amore Lando: 155 6 Come posso dir’io lontan da vol Schaffen: 94 30; 118 30

Come potro fidarmi (Svv) Barré: 15 38

Come potro narrarv’il dolor mto Anville: 276 16 Come puol star amor & gelosia Ciera: 121 12 Come purpureo fior giace fra herba (2p. of Qual di notte tal hor) Wert: 162 1; 200 1!

Come purpureo fior vinto dal gielo Arcadelt: 94 13; 118 13 Come quel di Vincenza il cui splendore (2p. of Non mai si bionda Adriani: 335 6 treccia) (Svv)

Come s’a mar tranquillo Rufilo: 237 26 Come s’allegra il cielo Schaffen: 82 13

Come sei stato o ciel come sei fero (2p. of Ove sei vita mia) (Svv) Lasso: 358 10 Come si m’accendete Zarlino: 295 5 Come si vidde il successor d’Astolfo (3p. of Ad ogni picciol moto) Lando: 155 20

Come Sia questo mar colm’e ripieno (5vv) Dorati: 166 6 Come son viv’ahime dolce ben mio (3vv) Zappasorgo: 382 22

Come son viv’oime (3vv) Troiano: 332 15 Come tal’hor se da desio compunta (5vv) Adriani: 335 13

Come t’haggio Jasciat’o vita mia Azzaiolo: 189 16; 250 16

Come un soverchi’ardire Veggio: 12 34 Come vagg’augelin ch’a poc’a poco (Svv) Portinaro: 236 6

Come viver debb’io Qvv) Gero: 16 19; 50 11; 114 11; 210 11 Come viver poss’io senz’il mio sole (3vv) Don Fiolo: 280 20 Com’esser see Come esser

Con ceppi ¢ con catene vv) Arpa: 360 23; 397 23

Con dogli’e con pieta piu ch’infinita (vv) Aretino: 156 21 Con dogli’e con pieta piu ch’infinita (Svv) Maistre Jhan: 243 11

Con dogli’e con pieta ptu ch’ infintta Willaert: 241 8 Con lagrime ch’ogn’hor da gli occhi versi (Svv) Monte: 346 §

Con lagrim’et sospir negando porge [1] Verdelot: 13 5; 14 23; 54 35; 85 35; 115 35; 146 35

Con lagrim’et sospir negando porge [2] Verdeiot (Arcadelt): 14 55

Con l’angelico riso Verdelot: 13 19; 14 13; 54 29; 85 29; 115 29; 146 29

Con le mie mani mi daria la morte vv) Ferrello: 280 4 Con lei foss’io da che si parte il sole (6p. of A qualunque) (Svv) Adriani: 336 8

Con lei foss’io da che si parte il sole Arcadelt (Corteccia/Pont): 65 34 Con lei foss’io da che si parte il sole (6p. of A qualunque) Berchem: 139 21

Con lei foss’io da che si parte il sole (Svv) Cavatoni: 387 {3 Con lei foss*io da che st parte il sole (6p. of A qualunque) (S5vv) Chamatero: 317 |!

Con lei foss’io da che si parte il sole (6p. of A qualunque) Donato: 304 |

Con lei foss’io da che si parte il sole (Svv) Lasso: 167 17; 180 17; 211 17; 285 17 Con lei foss’io da che si parte il sole (6p. of A qualunque) Montagnana: 158 | Con lei foss’io da che si parte il sole (6p. of A qualunque) (6vv) Pesciolini: 235 1

Con lei foss’io da che si parte il sole Pont: 107 21; 116 21; 163 21; 188 20; 293 21 Con lei foss’io da che si parte il sole (6p. of A qualunque) (6vv) Vinci: 381 6

Con molt’altere gratie adorn’, et sacra (Svv) Corteccia: 15 27 Con mormorar soave (2p. of Ecco pur riede il sole) Rossetto: 295 8

Con parlar puro & con un cuor sincero Ragazzoni: 45 22

Con parole soavi Martinengo: 42 17 Con quel poco di spirito che gl’avanza (3p. of A caso un giorno mi Bonagiunta: 267 5; 296 5 guido la sorte) (3vv)

Con quel poco di spirito che gl’avanza (3p. of A caso un giorno) Casulana: 301 15 Con quel poco di spirito che gl’avanza Gp. of A caso un giorno mi‘ Ferretti: 321 19; 367 19 guido la sorte) (Svv)

Con quessa bella mano (3vv) Mazzone: 360 9; 397 9 Con queste labra tua dolc’e rosate Dattari: 303 19 1032

Italian Texts

Con queste labra tua dolc’e rosate (3vv) Santuccio: 369 28

Con soave parlar, con dolc’accento Verdelot: 14 51; 54 38; 85 38; 115 38; 146 38

Con tue lusingh’ Amore (3vv) Fiorino: 369 4

Con tuoni & Jampi una crudel tempesta (2p. of Mentre la nave pitinon Adriani: 335 2 si confida) (Svv) Conobbi alhor si com’in paradiso (2p. of Quel vag’impallidir che *]| Rore: 73 9; 2147 dolce riso) (Svv) )

Consolato fu il giorno Lupacchino: 32 17 Constantia ’| vo pur dire (Svv) Festa, C.: 15 23

Consumando mi vo di piaggia in piaggia Aretino: 81 10; 1178 Consumando mi vo di piaggia in piaggia (Svv) Berchem: 15 35 Consumando mi vo di piaggia in piaggia (Svv) Chamatero: 317 3

Consumando mi vo di piaggia in piaggia (4p. of Non ha tanti) (5vv) | Chamaterd: 318 |

Consumando mi vo di piaggia in piaggia (4p. of Non ha tanti) Montagnana: 158 2

Consumando mi vo di piaggia in piaggia (3vv) Perissone Cambio: 221 14 Consumando mi vo di piaggia in piaggia (4p. of Non ha tanti) Raimondo: 183 10

Consumando mi vo di piaggia in piaggia (2vv) Scotto: 23 5; 111 3; 159 5; 224 5; 395 5

Consumando mi vo per pogg’e valli Ruffo: 53 8; 150 17; 184 17

Conto del’Orco chi ha dinar fa nave (vv) [no attribution]: 226 28; 266 28 Convien ch’ovunque sia sempre cortese (Svv) Rore: 330 21

Convien ch’ovunque sia sempre cortese Cataldo: 170 36

Coppia felice a cui fuoco gentile Festa, C. (Menon): 117 12 Coppia felice a cui fuoco gentile Menon (C. Festa): 79 22

Coppia leggiadr’e bella Melfio: 149 10 Copr’il pensier, & ha le membr’ignude (4p. of Non trem’alcun) Spontone: 160 |

Cor mio di gratia non mi far stentare (3vv) [no attribution]: 226 50; 266 50

Cor mio di grati’hormai facimo pace (3vv) Troiano: 332 19

Cor mio perche pur piangi a che ti struggi (2vv) Gero: 16 43; 50 45; 114 45; 210 45

Cor mio ritorna hormai (3vv) Primavera: 352 2

Cor mio tu sei beato (3vv) Policreto: 383 12 Core del pietto mio core mio bello Gvv) Pinello: 374 11 Core mio bello bello bello bello (3vv) Policreto: 383 2

Corette tutti quanti (3vv) Arpa: 360 12; 397 12 Corr’al bel fuoco mio (Svv) Bonagiunta: 277 2 Corre di nuov’in su l’estrema sabbia (17p. of Fra quanti amor) (6vv) —_—- Rossetto: 288 |

Corret’amanti a veder questa fiamma (5vv) Ferretti: 368 14 Corret’amanti a veder questa fiamma (3vv) Zappasorgo: 382 8

Corret’amanti sventurati e scuri Gvv) Vento: 267 18; 296 18 Correte fiumi a le vostre alte fonti (6vv) Monte: 326 7; 372 7

Correte oscuri amanti (3vv) Bianco: 386 2

Correte oscuri amanti (3vv) Primavera: 263 30; 272 30; 350 30

Correti tutt’amanti (3vv) Troiano: 309 4 Corri corri mamma d’oro (Svv) Converso: 388 5

Corro la fresch’e mattutina rosa Barré: 172 16 . Corrd la fresch’e mattutina rosa Ruffo: 53 11; 150 22; 184 22 Corré la fresch’e mattutina rosa Tudino: 133 3

Cors’a la morte il povero narciso Nola: 360 35; 397 35 Cortese donne che benigna udienza Cataldo: 170 38 Cortese donne e grate al vostro amante Cataldo: 170 22 Cortese donne hebbe |’antiqua etade Cataldo: 170 26 Cosa dinanz’a voi non puo fermarsi Pont: 157 25 Cosa non vada piu come solea (2p. of Correte fiumi) (6vv) Monte: 326 7; 372 7 Cosi anon men di lei (2p. of Come tal’hor se da desio) (Svv) Adriani: 335 13

Cosi aspettando da te ingrat’andai (2p. of Mentre fioriv’amor) (Svv) —_ Lasso: 167 23; 181 2: 212 2; 286 2

Cosi bram’adempire Volpe: 147 19 Cosi cantO6 Himeneo di ros’adorno (3p. of Dal tuo profondo) (5vv) Clerico: 207 8 Cosi con dolor tal anzi maggiore (2p. of Com/’al partir del caro) Nasco: 295 6 Cosi cor mio vogliate le dicea (2p. of Ella non sa se non invan) Volpe: 147 30

Cosi davanti ai colpi de la morte (2p. of Quand’ io son tutto) (Svv) Rore: 28 4; 46 15; 129 10; 168 10; 2139

Cosi detto disparve et le sue chiome Pont: 157 12 Cosi di ben amar porto tormento (Svv) Barré: 46 3

Cosi di ben amar porto tormento Monte: 327 9 Cosi di loco in loco in ogni canto Ragazzo: 252 18 1033

Index of First Lines Cosi di tuoi adunque divenuto (2p. of Amor la vaga luce) (3vv) Scotto: 353 | Cosi disse e di speme al tutto privo (4p. of Su la fiorita riva) (6vv) Ruffo: 131 12

Cosi fan questi giovani che tanto (2p. of Guardatevi da questi) Hoste da Reggio: 126 | Cosi fan questi giovani che tanto (2p. of Guardatevi da questi) Schiavetto: 238 19 Cosi gli afflitti et stanchi pensier miei (2p. of Far potess’io) (Svv) Rore: 28 16; 129 14; 213 13; 168 14

Cosi havess’to com’hanno i miei desiri (3vv) Barré: 221 10 Cosi havess’io com’hanno { miei desiri (Svv) Monte: 346 16

Cosi il mio tempo fin qui trapassato Gp. of Quel’antico mio) (Svv) Lagudio: 231 3

Cosi in un punto lampeggiand’a terra (Svv) Tortora: 355 10 Cosi l’altr’hier vid’io su’1 mezz’ Aprile (2p. of Come ne !a stagion nova Adriani: 335 11 si mostra) (Svv)

Cosi le chiome mie soavemente (2p. of Vestiva i colli ) (Svv) Palestrina: 277 6 Cosi lo spirto @hor in hor ven meno (2p. of Amor natura) (Svv) Monte: 346 15 Cosi lungo le vagh’e fresche sponde (2p. of O di chiara) (6vv) Portinaro: 236 20 —

Cosi mi guid’amore Arcadelt: 65 7; 107 6; 116 6; 163 6; 188 6; 293 6

Cosi mi scherni e cosi tien m’hai lasso Rufilo: 237 12

Cosi ’n lieto cantar’tl tristo pianto (Sp. of Quando la bell’aurora) Rossetto: 312 7 Cosi noiand’io vo le selv’ei boschi Gp. of Quando [a bell’ aurora) Rossetto: 312 7 Cosi passend’un’altra vita spinse (2p. of Amor mentre) (Svv) Zarlino: 219 2

Cosi pit: d’un error versa dal fonte (5vv) Adriani: 335 16

Cosi pit d’un error versa dal fonte Pont: 157 29

Cosi piangendo ahime og hora lasso (Sp. of L’altr’hier dalla mia villa Policreto: 383 21 ritornando) (3vv)

Cosi potess’io dire Duc: 341 5

Cosi privo di ben mi segg’all’ombra Rufilo: 237 6 Cosi restai senz’alm’& hor sospeso (2p. of Chiedend’un bascio ala mia _ _L’ intrico: 277 11 car’amica) (5vv)

Cosi scolpita a gl’occhi mei ti porto (3vv) Celano: 271 11

Cosi se ben un tempo al tempo guerra (2p. of Superbi colli) (Svv) Wert: 201 6; 202 6 Cosi si fugge il tempo e col fuggire (Sp. of Quando miro la terra) Dorati: 340 |!

Cosi soav’e ’! fuoco e dole’il laccio Caldarino: 164 27

Cosi sol d’una chiara fonte viva (2p. of Hor che ’I ciel) Chamatero: 320 3 . Cosi sol d’una chiara fonte viva (2p. of Hor che ’I ciel) (Svv) Rore: 28 2; 46 13; 129 2; 168 2; 213 2

Cosi sol per virtu di questo lume (Sp. of Hor che non s’odon) Ciera: 121 14

Cosi son’to nel piant’aspr’et amaro [no attribution]: 164 25 Cosi sovente in sogno mi consoli (Svv) Converso: 388 13

Cosi t’ingriffi come basalisco (3vv) Nola: 24 24

Cosi tronco dal suo materno stello (3p. of Mentre pasceva) (6vv) Ruffo: 131 1 Cosi tu ’| freno in man benigno prendi (6p. of Fuor fuori) (6vv) Baccusi: 385 |

Cosi va chi ha ventura (3vv) Londariti: 267 16; 296 16 Cosi vengo di voi pensando meco (2p. of Occhi se voi) (6vv) Monte: 347 13

Cosi vincet’in terra Willaert: 14 66; 54 36; 85 36; 115 36; 146 36; 241 6

Cosi voi vi trovate altrui cercando Pont: 157 46

Cosi volete voi donna crudele (2p. of La dolce vista) (Svv) Clerico: 208 11 Cosi vuol mia ventura over mio fallo (4p. of Per pianto) (3vv) Ghibel: 110 22 Cosi vuol mia ventura over mio fallo (4p. of Per pianto) (Svv) Ruffo: 204 3 Costei volgendo gli occh’il paradiso (2p. of Donna Reale) (Svv) Vinci: 199 7; 240 7; 2758

Credendomi di gir sicuro homai (6vv) Monte: 347 6

Credeva che la fiamma si stutasse (3vv) Arpa: 360 22; 363 33; 397 22 Credimi vita mia credim’un poco (3vv) Mazzone: 360 21; 397 21

Credimi vita mia credim’un poco vv) Scotto: 376 9 Credimi vita mia credimi questo Donato: 101 6; 109 11; 152 11 Credimi vita mia credimi questo (3vv) Essenga: 361 29 Credo ch’el paradiso al parer mio (3vv) Nola: 271 8 Creduto havria che fosse statua finta (Svv) Monte: 182 4; 345 4 Creschino a gara in sin al ciel le piante (2p. of Omi un piu bel smiraldo Monte: 347 11 la riviera) (6vv)

Cresci germe real cresci dicea (6vv) Striggto: 378 {5 Crespo dorato crin occhi Iucenti (Svv) Fiesco: 229 16

Crin leggiadro ch’un raggio Hoste da Reggio: 126 19

Crudel a che mi dai (3vv) Primavera: 352 19 1034

Italian Texts

Crudel acerba inesorabil Morte (Svv) Arcadelt: 15 20

Crudel acerba inesorabil Morte (5vv) Lasso: 167 12; 180 12: 211 12; 285 12

Crudel di che peccato a doler t’hai (3vv) Festa, C.: 221 1

Crudel di che peccato a doler thai (2p. of Miser’a chi) (3vv) Hoste da Reggio: 127 14

Crudel di che peccato a doler thai La Martoretta: 70 2 Crudel di che peccato a doler t’hai Mazzone: 324 17

Crudel lascia sto core Bonizzoni: 315 7

Crudel mia donna io sento ardersi il core Tudino: 133 15 Crudel se sai che per te mor’et ardo (3vv) Scotto: 376 20 Cuore mio bello cuor’ inzucarato (3vv) Pinello: 394 22 Cuore mio bello cuor’inzucarato (3vv) [no attribution]: 226 37; 266 37 Cura che di timor ti nutri e cresci (Svv) Wert: 162 13; 200 13 Cura che di timor ti nutri e cresci (Svv) Roussel: 205 6

Da bei raggi lucente (Svv) Merulo: 292 1; 356 | Da bei rami scendea (Svv) Portinaro: 236 2

Da bei rami scendea Arcadelt: 65 3; 107 26; 116 26; 163 26; 188 25; 293 25

Da bei rami scendea (4p. of Chiare fresch’e dolci acque) (Svv) Arcadelt: 204 1

Da bei rami scendea (4p. of Chiare fresch’e dolci acque) Mazzone: 324 [3 Da bei rami scendea (4p. of Chiare fresch’e dolci acque) Palestrina: 172 25

Da bei vostr’occhi piove (6vv) Dorati: 166 !7

Da che parti da Napole gentile (3vv) Troiano: 290 1; 310 1 Da che si part’il sole Gvv) Scotto: 375 12 Da che ti pres’amar donna crudele (3vv) Scotto: 376 8

Da duo bei lumi scorgo [1] Lupacchino: 32 1 Da duo bei lumi scorgo [2] Lupacchino: 32 6 Da gli occhi vostri piu che ’1 sol lucent Tudino: 133 11

Da hora inanzi ogni difesa é tarda (2p. of Lasso che mal) (6vv) Monte: 326 16; 372 16 Da hora inanzi ogni difesa é tarda (2p. of Lasso che mal) (Svv) Wert: 201 9; 202 9

Da humil verme tra |’herbe rimote Wert: 203 13 Da indi in qua sol l’alma pasce (2p. of Guidom’in part’il ciel ove Roussel: 358 9 splendea) (Svv)

Da le belle contrade d’oriente (Svv) Rore: 330 15

Da le gelate parti ove la Mossa (Svv) Hoste da Reggio: 125 12

Da l’estremo orizonte (Svv) Rore: 264 8; 330 8

Da l’horto se ne vien la vilanella Azzaiolo: 189 3; 250 4 Da poi ch’io venni in quest’ alpestra valle Rufilo: 237 3 Da poi che sott’il ciel cosa non vidi Melfio: 149 5

Da poi che sott’il ciel cosa non vidi (2vv) Scotto: 171 22

Da poi che su ‘| fiorire (Svv) Gabrieli: 277 9 Da poi che tu crudel mi desti morte vv) Arpa: 349 6

Da poi che tu crudel mi desti morte vv) Primavera: 263 10; 272 10; 350 10 Da quei begli occhi che penar mi fanno (Svv) Vicentino, N.: 59 11 Da quei bei cerchi eterni ov’hor’arrivi (2p. of Alma che da celest’ampi Striggio: 378 18 soggiorni) (6vv)

Da quei bei lumi ond’io sempre sospiro (Svv) Rore: 28 20; 129 8; 168 8; 215 1 Da quei come *I movesse un bel desire (3p. of Preso al primo) Monte: 327 15

Da quei dolc’occh’e da soavi accenti (Svv) Clerico: 207 13 Da quelle perle elette e da le rose (2p. of Tra di leggiadre) (5vv) Fiesco: 229 17

Da quest’altere soglie (6vv) Striggio: 378 19 Da questo petto m’hai fora schiantato (3vv) Gorzanis: 370 18

Da si felice sorte Scotto: 29 25

Da tue quadrell’Amor non trovo scampo Gero: 78 8

Dai dolci camp’ Elisi ove tra fiori Arcadelt: 2 29

Dai piu leggiadri fiori Menon: 79 7

Dal bel desio ch’amor ne !{’alma cria Chamateré: 320 5 Dal bel sguardo soave o par che fiocchi (2p. of Non mai si belle luciio —Perissone Cambio: 49 8 si bel sole) (Svv)

Dal desiderio nacque l’amor mio Nola: 349 26; 360 34; 397 34 Dal desiderio nacque l’amor mio (3vv) Scotto: 375 21 Dal di che conobb’io quanto sia bella Hoste da Reggio: 126 20

Dal di ch’io fei partita (3vv) Fiorino: 369 10 1035

Index of First Lines

Dal giorno ch’io mirai tua faccia bella Dattari: 303 21

Dal giorno ch’io mirai tua faccia bella Gvv) Tudino: 271 14 Dal giorno ch’io te viddi o mia regina (3vv) Troiano: 332 22 Dal laccio d’or non fia mai ch’io mi scioglia (6p. of Amor se vuoi) Dorati: 166 |

Dal laccio d’or non fia mai ch’io mi scioglia (3vv) Tiburtino: 84 21

Dal piu bass’et profondo Corteccia: 39 34

Dal terzo cielo fin qua giu splendea (6vv) Dorati: 166 15

Dal tuo profond’e solitario letto (Svv) Clerico: 207 8

Dalla piu bella mano (Svv) Primavera: 262 7

Dalle gelate braccia di Titone [La Caccia] Striggio: 289 2; 331 2 D’alta cagion da gran princip’havrai (6vv) Ruffo: 131 4

Dami no vaso cecc’e non foire vv) [no attribution]: 226 12; 266 12

Dammi pur affann’e pene (3vv) [no attribution]: 352 23 Dammi soccors’o dolce vita mia (Svv) Ferretti: 342 5; 390 5 Damon in su |’aprir de l’oriente (Svv) Vinci: 380 4

D’amor |’ardente face (3vv) Gero: 113 4

D’amor le generose et alte imprese Festa, C. (Verdelot): 14 47; 54 8; 85 8; 115 8; 1468

D’amor le generose et alte imprese (Svv) Ruffo: 132 [0

Danzava con maniere sopr’> humane Monte: 327 14

Dardi d’amor son donna s’occhi tuoi (3vv) [no attribution]: 226 71; 266 71 Daspuo ch’al mio dolor no ghe ceroto (3vv) Bonagiunta: 267 26; 296 26

Date la vel’al vento 6 pensier miei (3vv) Scotto: 376 2 Date la vel’al vento 0 pensier miei vv) [no attribution]: 361 23 Datemi mort’o cara donna mia (Svv) Ferretti: 342 2; 390 2

Datemi pace 6 duri miei pensieri Adriani: 298 12 Datemi pace 6 duri miei pensieri Festa, C.: 117 10 Datemi pace 6 duri miei pensieri Mazzone: 324 12 Datemi pace 6 duri miei pensieri Nola: 349 16 Datemi pace 6 duri miei pensieri (2vv) Scotto: 23 13; 111 13; 159 13; 224 13; 395 13 Datemi pace 6 duri miei pensieri Troiano: 325 27

De cocenti sospir l’aria accendea Ruffo: 53 5; 150 27; 184 27

De fin andamo tutti tre vestiti Gvv) Nola: 24 10 | De la belta che Dio larga possiede Spontone: 160 26 De I’acque scacia fuor tutt’il veleno Ciera: 121 20 De la tromba il bel suon s’udir a intorno (2p. of Se de signor) Tudino: 133 1

De l’ampia terra & quasi un picciol velo (Svv) Cottone: 389 8

De magnanimita d’alto splendore Ciera: {21 19

De passati miei danni piango e rido (6p. of Mai non vo ptu) vv) Grisonio: 297 6 Debbo fors’ire in Frisa ov’io potei (15p. of Fra quanti amor) (6vv) Rossetto: 288 1

Deggio sempre pennar’in questo inferno Ruffo: 94 9; 1189 Degno che dott’historie e colti carmi (2p. of O de la bella Etruria Striggio: 185 1; 186 1; 274 1 invitto duce) (Svv)

Degno sarei ch’el mio noioso pianto Perego: 143 13 Deh cess’hormai che doppo tanti affanni (2p. of Dolor che la mia [no attribution]: 117 29 vita)

Deh che fuss’io con lei in chiuse valli (Sp. of Non ha tante) (Svv) Lasso: 232 2; 287 2

Deh che poss’io se non con grave dolore (Svv) Aretino: 156 1

Deh che simil’a noi nacque mortali (2p. of Queste fur le tue) (Svv) Anville: 313 5

Deh come bella sete Ferro: 164 5 Deh come del mio mal presaga fui (7p. of La figliola d’ Amon) Volpe: 147 2

Deh come mai poss’io Spontone: 160 21

Deh come pur al fin lassa vegg’io Arcadelt: 17 9; 37 36; 56 36; 119 27; 151 27; 165 23; 191 23; 299 24; 337 24

Deh cosi come lieta mi legaste (3vv) Tiburtino: 84 15 Deh cosi fuss’io sol in amar voi (Svv) Essenga: 205 11

Deh cosi potess’io (Svv) Aretino: 156 6

Deh cosi potess’io Martinengo: 71 22 Deh cosi potess’io farvi veder la crudelta (Svv) Vicentino, N.: 59 17

Deh dimmi amor se I’alma di costei Arcadelt: 17 37; 37 17; 56 17; 119 12; 151 12; 165 10; 191 10; 299 11; 337 11

Deh diss’il sol perche sola costei (2p. of Mentre da g]’occhi suoi) Pratoneri: 276 6

Deh dolce pastorella Aretino or Ivo Barry: 65 11; 81 29 1036

Italian Texts Deh dov’e l’alma mia dov’é ’l mio sole (2p. of Dolor lagrim’a gl’occhi Monte: 3115 al cor sospiri) (Svv)

Deh dove’é |’amor mio dov’é ’| mio bene (3vv) Scotto: 375 15

Deh dove senza me dolce mia vita [1] La Martoretta: 70 1 Deh dove senza me dolce mia vita [2] La Martoretta: 70 20 Deh dove senza me dolce mia vita [3] La Martoretta: 70 23 Deh dove senza me dolce mia vita (5vv) Pratoneri: 308 3

Deh dove senza me dolce mia vita Ragazzo: 252 19 Deh ferm’Amor costui ch’e cosi sciolto 3p. of Dunque fia ver) Barré: 164 1 Deh fermatev’al suon di queste voci (3vv) Egidio: 325 24 . Deh Flerida gentil Flerida bella Primavera: 329 24 Deh foss’il ver che miei fosser quest’occhi (6vv) Striggio: 378 6

Deh fugg’il suon fuggi Volpe: 147 17 Deh fuggite o mortali [no attribution]: 294 21

Deh fuss’almen si not’il mio tormento (4p. of Dolor lagrime) (Svv) Monte: 311 5

Deh fuss’il ver che miei fusser quest’occhi (6vv) Barré: 204 6 Deh havess’amor cosi nei pensier miei (Svv) Fiesco: 229 21

Deh hor foss’to col vago della luna Lasso: 172 14

Deh hor foss’io col vago della luna (Svv) Rore: 215 18

Deh hor foss’io col vago della luna (6p. of Non ha tanti) (Svv) Chamaterd: 318 |

Deh hor foss’io col vago della luna (6p. of Non ha tanti) Montagnana: 158 2 Deh hor foss’io col vago della luna (6p. of Non ha tanti) Raimondo: 183 10

Deh l’altra sera ahi mene (3vv) Roy: 280 16

Deh lasci homai mio ben il tuo diletto 2p. of Dunque debbo) (Svv) Pratoneri: 308 11

Deh lascia |’ antr’ombroso Donato: 304 17

Deh lasciatemi star tanti pensieri (vv) [no attribution]: 272 5; 350 5; 263 5 Deh muso mio vogli cambiar costume Nasco: 154 7; 197 7; 260 7

Deh non mi far morir crudel signora Nasco: 154 1; 197 1; 260 1

Deh non mostrat’amore Perego: 143 21

Deh non ptu pen’hormai non piu tormenti (Svv) Ferretti: 342 1; 390 1

Deh non ponete fine (Svv) Ruffo: 169 23 Deh non rinovellar quel che n’ancide (2p. of Che fai che pensi) Adriani: 298 14

Deh non s’ammir’alcun se cosi spesso (3vv) Califano: 282 18

Deh per che vogl’ancho di me dolermi Ragazzo: 252 16 Deh perch’ abandonasti me crudel o donna Waelrant: 265 13

Deh perch’amor non fanno Ragazzoni: 45 28

Deh perche ciel non od’i miei lamenti [no attribution]: 164 19

Deh perche com’é il vostro al nome mio Perissone Cambio: 40 16; 49 1

Deh perche cosi presto Berchem: 139 11 Deh perche inanzi tempo ti consumi (2p. of Se lamentar) (Svv) Primavera: 262 3 Deh perche ’| ciel che si larg’e benigno (2p. of Se di tanto) (Svv) Clerico: 208 1

Deh perche ‘| ciel non od’i miei lamenti Ciera: 1219 Deh perche ’n me non e¢ tanta baldanza Veggio: 12 16

Deh perche non credete Dalla Viola, F.: 72 26

Deh perche non poss ’io dal tristo core (Svv) Hoste da Reggio: 125 5

Deh perche piu martero (3vv) Policreto: 383 10

Deh perche si veloce Verdelot: 14 26; 54 11; 85 11; 115 11; 146 11

Deh perche tanto dur’almo mio sole (Svv) Clerico: 208 17 Deh perche vogli’ancho di me dolermi Schiavetto: 238 16

Deh perch’in forme nove Fiesco: 229 5 Deh perch’ io tec’infra i tuoi semidei (2p. of Laura che giont’al sacro Schieti: 2199 fonte sei) (Svv)

Deh perch’oscura e trista (2p. of Occhi miei dolci) (Svv) Raimondo: 292 6; 356 6

Deh piaccia al cielo che com’in gli occhi vostri vv) Festa, C.: 66 6; 112 6; 1746

Deh poni hormai in oblio (Svv) Ruffo: 16917 |

Deh porg’aiut’amore Ragazzoni: 45 4 Deh porgimi sa mano biancoletta (Svv) Converso: 388 12 Deh pur che da color che vann’in corso (1 6p. of Fra quanti) (6vv) Rossetto: 288 | Deh pur questo mio inculto e basso’ingegno (2p. of Giusta vendetta Adriani: 335 12 d’impudico errore) (Svv)

Deh qual e la cagion che vi mostrate Menon: 79 33 Deh qual nova speranz’al desir mio Anville: 276 5

Deh qual pieta, qual angel fu si presto (3vv) Scotto: 22 55; 83 55 1037

Index of First Lines

Deh quante men de fai deh sti tra mese (3vv) Nola: 24 18

Deh quanto fu pietoso deili amanti Arcadelt: 2 26 Deh se lo sdegno altiero Arcadelt: 17 26; 37 4; 56 4; 119 44; 151 44; 165 32; 191 32; 299 29; 337 29 Deh se non vi é molesto Scotto: 29 2

Deh se ti strins’amore (Svv) Rore: 46 8; 223 2 Deh s’hai pieta di me che pur t’amai (2p. of Anima bella che gia Adriani: 298 4 fost’ honore)

Deh s’in alma gentil cortese é bella Scotto: 29 10 Deh s’io sentissi un di men caldi raggi (Sp. of Hai lasso io) (6vv) Baccusi: 385 2 Deh s’io sentissi un di men caldi raggi (Sp. of Hai lasso io) (Svv) Berchem: 204 4

Deh sciogl’homai cor mio I’aspre catene (Svv) Clerico: 208 3

Deh sol che gli occhi mei almo e sereno (2p. of Alma gentil) (Svv) Vicentino: 59 9

Deh sparg’o miser’alma (Svv) . Ruffo: 243 8

Deh torna a me mio sol torn’e rimena (Svv) Chamaterod: 318 2 Deh torna a me mio sol torn’e rimena (6p. of Son simil’all’avar) Lando: 155 12

Deh torna 4 me mio sol torn’e rimena (Svv) Ruffo: 169 5 Deh vita mia quanta dolcezz’io sento Nasco: 154 19; 197 19; 260 19 Del chiaro sangue di Filippo altero (11 p. of Questo si ch’é felic’e licto Martinengo: 357 6 giorno) (5vv)

Del crud’amor io sempre mi lamento (Svv) Ferretti: 321 10; 367 10 Del crud’amor io sempre mi lamento (3vv) {no attribution]: 271 19

Del freddo Rheno alla sinistra riva Lasso: 222 5

Del padre Giove e di memoria siamo Candido: 364 20 Del piu bell’il piu bel tolse natura [no attribution]: 312 8 Dei pit puro Jucente & chiaro manto (2p. of Hor ben giusto) (Svv) Adriani: 335 5 Del vostro nome se mie rime intese (2p. of O d’ardente) (Svv) Vinci: 199 15; 240 16; 275 14

Della tenera etad’a pena fuora (2p. of Donna non donna) (6vv) Rossetto: 288 3 Dentro pur fuoc’& fuor candida neve (6p. of Giovane Donna) Gabrielt: 312 1 Dentro pur fuoc’& fuor candida neve (6p. of Giovane Donna) Roussel: 222 18 Dentro pur fuoc’& fuor candida neve (6p. of Giovane Donna sott’un Tortora: 355 19 verde lauro) (Svv)

Depon Orsa crudel depon l’orgoglio Comis: 312 § . Desideroso di veder mia diva (Svv) Adriani: 336 16

Desio gentil che sopr’ogni desire (3vv) Gero: 173 21 D’esservt in gratia sol bram’e desio (2p. of Non havete) (Svv) Anville: 357 9 Destati dolce del mio cor signora (3vv) Ghibel: 110 17

Destra di quel amor ch’ogn/’altr’ amore (Svv) Courtois: 243 2 D’habit’honesto & con real sembiante [1] (Svv) Contino: 179 20 D’habit’honesto & con real sembiante [2] (Svv) Contino: 179 21 Di che l’anima avampa poi che degna (2p. of Quando muovo le lucia Monte: 347 8 mirar voi) (6vv)

Di ch’ella mossa in guiderdon di questa (2p. of Ahi chi mi) (Svv) Monte: 348 3 Di cio cor mio nessun timor vi tocchi (Sp. of Ella non sa se non) Volpe: 147 30

Di cocenti sospir l’aer’accendea (3vv) Troiano: 332 25 Di color mill’e variate piagge (6p. of Al dolce suon) (Svv) Giovanni Battista da Cremona: 333 | Di cosi bel desio 1’anima accende (23p. of Quando miro la terra) Dorati: 340 | Di di in di spero homai !’ultima sera (2p. of Non ha tanti) (Svv) Chamateré: 318 | Di di in di spero homai l’ultima sera (2p. of Non ha tanti) Montagnana: 158 2 Di di in di spero homai I’ultima sera (2p. of Non ha tanti) Raimondo: 183 10

Di di in di vo cangiando il viso e ’! pelo (Svv) Monte: 182 8; 345 8

Di donne non vorrei v’innamorasti (3vv) Mazzoni: 325 2 Di fila d’oro i crespi e longhi crini (3vv) Venturi: 379 45 Di foll’ardir & di timor son fatte (2p. of Ne I’aria in questi) (Svv) Adriani: 335 4

Di furto anchor oltr’ogni vitio rio La Martoretta: 70 3 Di gran valor una felice schiera (3vv) Dattar!: 303 1

Di ia dal fium’all’ombr’al verd’assisa (3vv) Zappasorgo: 382 25

Di latt’e sangu’e di vermiglie rose (3vv) Venturi: 379 17 Di Marte altero e generoso figlio (Svv) Cottone: 389 2

Di me due amant’accesi (Svv) Clerico: 207 9

Di nott’e’ giorno vivo in flamm’& foco vv) [no attribution]: 279 25

Di nott’in bracci’al mio thesor godea Duc: 341 7

Di pensier in pensier di mont’in monte Adriani: 298 3 ; 1038

Italian Texts

Di pensier in penster di mont’in monte Mazzone: 324 2 Di pensier in pensier di mont’in monte Nola: 51 23 Di pensier in pensier di mont’in monte (5vv) Portinaro: 236 1

Di person’era tanto ben formata La Martoretta: 70 26

Di pianto in pianto & d’una in altra doglia Gvv) Scotto: 22 12; 83 12; 2164 Di quai grandi del mondo pianser tutti (2p. of Giunto Adrian anime Benvenuti: 292 10; 356 10 beate) (Svv)

Di quante gemm’ha *! mondo ’1 cuor m’ha vinto Ragazzoni: 45 20

Di questa biond’& vaga (Svv) Striggio: 292 2; 354 6; 356 2; 377 6 Di rose d’amaranti & di viole (2p. of Vergine bella essempio) (Svv) = Contino: 179 2

Di te io mi lamento o vecchiarella (3vv) Gorzanis: 370 11 Di tempo in tempo mi si fa men dura Gero: 77 25 Di tempo in tempo mi si fa men dura (Svv) Monte: 373 15

Di tempo in tempo mi si fa men dura Rore: 130 14 , Di tre rare eccellenze adorn’et bella Doni: 40 12 Di vedove mi voglio inamorare (3vv) [no attribution]: 226 62; 266 62 Di verdi e nove spoglie (4p. of Ecco pur riede if sole) Rossetto: 295 8

Di voi sempre mi doglio e ’n quest’ Amore (5vv) Ruffo: 132 3 Dicea la giovenetta sospirando (2p. of La figliola d’ Amon) Volpe: 147 2

Dicesi che la morte (Svv) Lasso: 232 4; 287 4 Dichiara il viso adorno (3vv) Scotto: 22 8; 83 8

Dico ch’ad hora ad hora Nola: 51 26 Dico di voi e de l’altera pianta (26p. of Quando miro la terra) Dorati: 340 1 Dico fra me pensando quant’é breve (3p. of Quando miro la terra) Dorati: 340 1

Dietro a l’orme di voi dunque venendo (27p. of Quando miro la terra) Burlamacchi: 340 2 (6vv)

Dille la mia speranza ’| mio desio (2p. of Ben ho del caro) (Svv) Roussel: 205 7

Dimme madonna se voi ciambellare (3vv) Nola: 24 8

Dimmi che t’haggio fatto o vita mia (Svv) Ferretti: 342 8; 390 8

Dimmi che t’haggio fatto o vita mia vv) Pinello: 394 7

Dimmi che t’haggio fatto o vita mia (3vv) Troiano: 332 18 Dimmi donna crudel quest’é amore (5vv) Ferretti: 342 12; 390 12 Dionorea vien te priego alla fenestrea (3vv) Gabrieli: 359 7; 398 7

Dir non poss’io man cara (Svv) Perissone Cambio: 49 7 Dir si puo ben per voi non fors’a pieno (2p. of Ite caldi) (Svv) Chamaterd: 317 12 Dir si puo ben per voi non fors’a pieno (2p. of Ite caldi) vv) Nadal (Olivier): 95 20

Dir si puo ben per voi non fors’a pieno Gvv) Olivier (Nadal): 173 7; 281 19

Dir si suol felicita (Svv) Baccusi: 384 8

Dird con rime rotte un mio pensiero Raimondo: 183 11

Dirudi ridirido padrona mia vv) Primavera: 351 19

Discolorato hai morte il piu bel volto Romano, A.: 128 11!

Discolorato hai morte i! piu bel volto (2vv) Scotto: 23 38; 111 36; 159 36; 2257 Disse ’1 divin salmista (Sp. of Mio pan’anzi mia vita) (Svv) Nasco: 243 |

Disusata pieta ne vaghi lumi (vv) Scotto: 22 27; 83 27

Dite o mio caro sole (3vv) Primavera: 352 12 Dite signori miei (8vv) Duc: 341 11 Ditemi aure tranquille (Svv) Ruffo: 132 12

Ditemi che fard vivendo in pianto (Svv) Adriani: 335 8 Ditemi 0 diva mia (8vv) Dorati: 166 23 Ditemi o diva mia non sete voi (3vv) Troiano: 332 23; 363 25

Ditemi o donna mia ditem’un puoco (Svv) Striggio: 185 12; 186 20; 274 20

Divelt’el mio bel vivo, altiero faggio Festa, C.: 2 19

Divini occhi serent Verdelot: 13 14; 14 36; 54 27; 85 27; 115 27: 146 27

Diviso m’ha dal bel guardo divino (2p. of Poi che l’iniquo) (Svv) Lasso: 167 9; 180 9; 211 9; 2859

Divo Cosmo, io vorrei che quante volte (7vv) Aretino: 156 28 Doglia mia acerba & voi sospir’ardenti (3vv) Tiburtino: 84 22

Doglia mia acerba & voi sospir’ardenti [no attribution]: 172 6 Dogliomi & a ragione ho di dolermi (2p. of Per inhospiti) (3vv) Scotto: 22 46; 83 46

Doglios’*hoime piangend’e sospirando (3vv) Troiano: 332 1 D’ogni gratia et d’amor la madr’erante (6vv) Striggio: 378 |

Dolc’amorose e leggiadrette ninfe (3vv) Scotto: 375 19

Dolc’amorose e leggiadrette ninfe (3vv) [no attribution}: 263 11; 272 11, 350 11; 363 23 1039

Index of First Lines

Dolc’amoroso ardore Manara: 72 31 Dole’e felice sogno Wert: 203 20 Dolce animetta mia perche ti lagni Candido: 364 31

Dolce cantar s’udia (6vv) Primavera: 262 16

Doice cibo dolc’esca de mia vita Arcadelt: 1 4

Dolce contrade o chius’e cheti valli Pratoneri: 276 7

Dolc’e la pace mia (Svv) [no attribution]: 243 4

Dolce madonna mia Martinengo: 71 24 Dolce m’é per tuo’amor donna morire vv) Primavera: 351 10

Dolce mi saria uscir d’affann’e pene (Svv) Ferretti: 321 1; 367 1

Dolce mi seria uscir (3vv) Primavera: 351 7

Dolce mia donna si quel poco dolce Aretino: 81 28 Dolce mio ben affaciati no poco Gvv) Scotto: 376 II Dolce mio ben affaciati no poco (3vv) [no attribution]: 226 18; 266 18 Dolce mio ben amor mio caro (6vv) Striggio: 378 9 Dolce mio ben dolce colomba mia Donato: 304 5 Dolce mio ben, vi chieggio (6vv) Aretino: 156 23 Dolce mia vita poi che faccio da te (3vv) [no attribution]: 279 24

Dolce mio ben’e dolce mio corino (3vv) Troiano: 309 7 Dolce mio duol novo nel mond’é raro (2p. of Cara soave) (Svv) Monte: 348 4

Dolce mio foco e dolci mie ferite Volpe: 147 11

Dolce nimica mia (5vv) [no attribution]: 15 39

Dolce pegno d’amore Corteccia: 39 16

Dolce pensier che spesso mi rimembri (5vv) Naich: 223 21 Dolce ritorn’Amor cortese e pio (6vv) Striggio: 292 14; 356 14; 378 3

Dolce soave e via d’ogni altra lieta Melfio: 149 11

Dolce sospir che m’escano del core (5vv) Romano, A.: 371 5 Dolce vista leggiadra e d’amor piena (6vv) Monte: 347 2 Dolcemente s’adira la donna mia (2vv) Gero: 16 47; 50 38; 114 38; 219 38

Dolci basci soavi (Svv) Pratoneri: 308 6; 311 12

Dolci colli fioriti a me si cari Bonizzoni: 315 22

Dolci colli fioriti a me si cari (3vv) Laudis: 267 4; 296 4

Dolci diporti ov’ogni oltraggio ha gioia Aretino: 81 16 | Dolci furno d’amor gli aurati strali Wert: 203 16

Dolci ire dolci sdegni & dolci paci (Svv) Naich: 223 20 Dolci labr’ov’ Amore (Svv) Portinaro: 236 7 Dolci lagrime mie, dolci sospiri (Svv) Aretino: 156 12

Dolci parole da restar i fiumi Martinengo: 42 19 Dolci rime leggiadre Arcadelt: 294 19 Dolci rime leggiadre (3vv) Nasco: 173 6; 281 18 Dolci sospir che m’uscite dal petto (3vv) Califano: 282 7

Dolci sospir che m’uscite dal petto Tudino: 133 26

Dolci sospir che m’uscite dal petto Gvv) [no attribution]: 226 4; 266 4

Dolci spoglie felic’e care tanto Wert: 203 17

Dole’ire, dolci sdegn’e dolci paci Nola: 51 11

Doicissimo mio ben che mi ti toglie (Svv) Tortora: 355 4 Doletevi di mort’acerba e ria (2p. of Piangete o muse) (Svv) Lockenburg: 205 4

Dolor che fa mia vita [no attribution]: 117 29 Dolor c’hai fatto del mio pett’albergo Berchem: 139 26 Dolor c’hai fatto del mio pett’albergo (Svv) Rufilo: 198 14 Dolor lagrim’a gl’occhi al cor sospiri (Svv) Monte: 311 5

Dolor non fu ne fia (Svv) Palestrina: 358 13

Dolor perche non fu mi ne fia Ragazzo: 2523115 Dolor meni Gero: 117 Dolor perche mi meni Nola: 517 Dolor se ’| mio dolor altri non crede Donato: 304 2

Dolor se ’] mio dolor altri non crede Ruffo: 53 28; 150 26; 184 26 Dolor sempre mi dai e non m/aiti (vv) Gorzanis: 370 21

Dolor sta sempre meco (3vv) Festa, C.: 66 26; 112 30; 174 30

Dolorosi martir fieri tormenti Monte: 172 11

Donna beat’, e bella Arcadelt: 2 3 Donna bell’e gentil che ’1 nome havete (5vv) Palestrina: 186 30

Donna bell’e gentile Casulana: 301 14 1040

Italian Texts

Donna ben saprei io (3vv) Matelart: 221 15

Donna c’havete tutte le bellezze (3vv) Venturi: 379 14

Donna che quasi cigno a le sacr’onde (Svv) Flori: 277 15 Donna che sete tra le belle bella Verdelot: 13 9; 14 35; 54 20; 85 20; 115 20; 146 20

Donna chi vi cognosce (2vv) Gero: 16 33; 50 29; 114 29; 210 29

Donna ch’ornata sete Rore: 130 13 Donna crudel tu m’hai rubat’il core (Svv) Ferretti: 283 2; 305 2; 334 2; 366 2

Donna crudel tu m’hai rubat’il core (Svv) Romano, A.: 344 7; 391 7 Donna crudel tu m’hai rubat’i! core (3vv) [no attribution]: 226 11; 266 11 Donna, cui nulla é par bella ne saggia (Svv) Dorati: 166 10

Donna da bei vostr’occh’il lum’ ardente Monte: 294 23 Donna dal di che me rubast’il core 3vv) Mazzoni: 343 16

Donna felice & bella Animuccia: 172 4

Donna felice & bella (Svv) Striggio: 185 6; 186 13; 274 13 Donna fra l’altre belle (Svv) [no attribution]: 205 14

Donna fra piu bei volti honest’ & cari Corteccia: 39 24 Donna fra piu bei volti honest’ & cari Lupacchino: 32 19 Donna genti! che sopra’altre bella (3vv) Spontone: 297 2

Donna gentil 1 bei vostri occhi ardenti [no attribution]: 107 19; 116 19; 163 19; 188 18; 293 19

Donna gentil |’alma bellezza vostra Lockenburg: 222 13 Donna gentil per farvi piu perfetta Hoste da Reggio: 127 6 Donna gli e ben raggione (3vv) Primavera: 263 20; 272 20; 350 20 Donna I’altr’hier un tuo vicin mi disse Bonizzont: 315 8

Donna l’ardente fiamma (5vv) Monte: 346 6

Donna |’ardente fiamma Rosso, il: 172 9

| 146 52

Donna leggiadra dalla vostra luce Tudino: 133 9 Donna leggiadr’, e bella (Svv) Ruffo: 169 22 Donna leggiadr’, e bella Verdelot: 13 3; 14 33; 54 52; 85 52; 115 52;

Donna mia car’e bella Gero:155 77 824 Donna mille cagioni Lando: Donna non donna gia ma Dea mortale (Svv) Rossetto: 288 3

Donna non fu ne fia (Svv) Festa, C.: 15 24 Donna per acquetar vostro desire Veggio: 40 |

Donna per amarv’io piu che me stesso (5vv) Arcadelt: 15 33

Donna per Dio vi giuro Veggio: 12 6 Donna per qual cagion il tuo bel viso Mazzone: 324 6 Donna qual mi foss’io qual mi sentissi Duc: 341 1 Donna quand’il desire Perego: 143 17 Donna quando ti veggio a 1a finestra 3vv) Celano: 280 14 Donna quando vi guardo Veggio: 127 Donna Reale anzi dea vera e pura (Svv) Vinci: 199 7; 240 7; 275 8 Donna s’amor e’in voi summo desio Lockenburg: 222 8

Donna se fiera stella (2vv) Scotto: 171 3 Donna se fiera stella (Svv) Verdelot: 15 14 Donna se in voi se trova hoggi pietate (3vv) Ghibel: 110 15

Donna se ’| mio dolore (Svv) Monte: 373 12

Donna se ’| mio pensier vold tant’alto vv) Troiano: 309 25

Donna se *! mio servire Arcadelt: 2 44

Donna se ’! mio servire piu non ti piace Lupacchino: 32 23

Donna se ’| penar mio tanto vi piace Lando: 155 i1

Donna se l’aspra pena | Spontone: 160 15 Donna se mirar brami che sia spento vv) Bianco: 386 8 Donna se per amar il miser core Schaffen: 82 17 Donna se ti par tempo ch’io finir debba Corteccia: 39 32

Donna se voi vedeste (Svv) Hoste da Reggio: 125 20

Donna se voi volete io voglio anch’io Berchem: 139 16 : Donna senza cercar campagn’e boschi (3vv) Spontone: 297 3 Donna spietat’& dura Perego: 143 18 Donna statomi detto che ’] mio amore (3vv) [no attribution]: 226 67; 266 67

Donna tanto mi fai lo spanticato (vv) Celano: 280 12 1041

Index of First Lines

Donna tu m’hai lasciat’et io sperai (3vv) [no attribution]: 267 21; 296 21 Donna voi mi parete un angiolella (3vv) [no attribution]: 226 64; 266 64

Donna voi sete bella Gero: 77 4 Donna voi vi sdegnate ch’io vi ami (3vv) Ghibel: 110 26

Donna vorrei pur dirvi Ragazzo: 252 29 Donna vostra belta s’a dirlo lice Corteccia: 65 31

Donne che di bellezza & di valore (Svv) Pratoneri: 308 1

Donne che di saper tanto vi cale (3vv) Ghibel: 110 12 Donne devot’e tutte voi citelle (3vv) Califano: 282 15

Donne e voi che le donne havete in preggio Cataldo: 170 28 Donne gentil che ne begl’occh’havete (3vv) Dattari: 303 17 Donne gentili & voi cortesi amanti (3vv) Scotto: 22 4; 83 4; 216 21

Donne I’acerbo mio grave dolore (5vv) Pesciolini: 235 5

Donne leggiadre che seguit’ Amore (Svv) Converso: 388 17

Donne leggiadr’e voi vaghe donzelle Gvv) Primavera: 263 4; 272 4; 350 4 Donne mie bell’hor che bel temp’havete (3vv) [no attribution]: 226 7; 266 7 Donne se mai matern’Amor v’accese (7p. of Non trem’alcun) Spontone: 160 | Donne voi che miraste sua beltade (6p. of Che debb’io far) Montagnana: 158 3 Donne voi che miraste sua beltade (7p. of Che debb’io far) (6vv) Ruffo: {3114 Donne voi che miraste sua beltade (6p. of Che debb’io far) (Svv) Vinci: 199 10; 240 10; 275 I

Donne voi sete scioche a creder ch’un Aretino: 81 19 Dopo tante rovin’e tanti stracci (3vv) Zappasorgo: 382 18

Dopo tanti sospir ancor non veggio (Svv) Cottone: 389 6 Doppoi ch’io vidi quei bei lumi santi Arcadelt (Hoste da Reggio): 94 27 Doppoi ch’io vidi quei bei lumi santi {no attribution]: 118 27 Dopoi ch’io viddi la tua gran bellezza (3vv) Mazzone: 360 15; 397 15

Dormend’un giorn’a Baia a l’ombr’ amore (3vv) Arcadelt: 173 29; 281 7 Dormend’un giorn’a Baia a |’ombr’ amore Ferrabosco: 107 16; 116 16; 163 16; 188 15; 293 16

Dormend’un giorn’a Baia a |’ombr’amore Mazzone: 324 9

Dormend’un giorn’a Baia a !’ombr’amore (2vv) Scotto: 171 | Dormend’un giorn’a Baia a l’ombr’amore (Svv) Verdelot: 15 7

Dormendo mi sonniava (3vv) Arpa: 263 9; 272 9; 350.9

Dormendo mi sonniava (3vv) Pinello: 374 9 Dov’e donn’il mio sole Wert: 203 19

Dov’e la vera fede e 1 grand’amore (3vv) Mazzoni 325 15

Dove lasso n’andré (3vv) Troiano: 290 2; 310 2 Dove sei tu mio car’& mio gentile (Svv) Willaert: 73 8

Dove son fermo amar con salda fede Fiesco: 229 4 Dove speranza mia dov’hora sei La Martoretta: 70 22 Dov’ito son, chi m’ha tolt’a me stesso Arcadelt: 12 21 Dovrebbe il mondo quasi a fida stella Lupacchino: 32 16

Dua lumi anzi dua poli (3vv) Ghibel: 110 18

Due cos’al mondo sonno senza pare (3vv) [no attribution]: 267 20; 296 20 Due destrier biondi tirano quel carro Gvv) (no attribution]: 279 20 Due rose fresche & colte in paradiso (2vv) Scotto: 171 29 D’una si bella e chiara fiamma ardente (5vv) Fiesco: 229 12

Dunche chi non mi sfaccia Nola: 51 6

Dunque baciar si belle e dolci labbia (Svv) Cavatoni: 387 14

Dunque baciar si belle e dolce labbia Melfio: 149 [5 Dunque baciar si belle e dolci labbia Wert: 203 6 Dunque che giov’ingrat’e senza fede (6p. of La figliola d’Amon) Volpe: 147 2 Dunque chi cantera qual si convene (Sp. of Donna non donna giama__ Rossetto: 288 3 Dea mortale) (9vv)

Dunque credete ch’io Arcadelt: 17 39; 37 27; 56 27; 119 18; 151 18; 165 15; 191 15; 299 17; 337 17 Dunque credete ch’io Ghibel: 123 7

Dunque debb’io lontan da te mio bene (Svv) Pratoneri: 308 11 Dunque di mezzo il Mar nocchiero accorto (2p. of Giovane illustre Porta: 205 12 alteramente nato) (Svv)

Dungue fia ver dicea che mi convegna Barré: 164 | Dunque il giorno inchiniamo (6p. of Porgetemi la lira) (Svv) Chamatero: 319 |

1042

Italian Texts Dunque li strali in me raddoppi’amore (3p. of D’una si bellae chiara Fiesco: 229 12 fiamma ardente) (Svv)

Dunque morte crudel mort’empi’e dura (Svv) Pionnieri: 132 16

Dunque. N. mia potrai soffrire Volpe: 147 9 Dunque potra ’! piu fort’e stretto nodo Wert: 203 3

Dunque quanto piu voi con cruccio e sdegno (2p. of Se per farmi Monte: 347 9 lasciar la bella impresa) (6vv)

Dunque s’a veder voi tardo mi volsi (2p. of Io temo si de) (Svv) Monte: 373 8 Dunque s’ella per voi tanto si strugge (2p. of Altiera Donna) (Svv) Vinci: 380 5 Dunque seguendo il raggio del bel lume (6p. of Alla dolc’ombra) Romano, A.: 128 2

Dunque tu fuggi Aminta, o crud’Aminta Ciera: 121 18 Duolmi verac’amor (13p. of Mio pan’anzi mia vita) (6vv) Nasco: 243 1

Duolsi Giunon di non haver piu lume (10p. of Al dolce suon) (Svv) Meldaert: 333 1

Dura gente mortale (Svv) Dorati: 166 9

Dura lege d’amor poss’io ben dire Arcadelt: 1 8

Dura legge d’ Amor ma benche obliqua (Svv) Wert: 201 5; 202 5

Dura legge d’ Amore (5vv) Clerico: 208 4

Dur’e ’] partito dove m/’astringete Festa, C.: 14 48; 54 48; 85 48; 115 48: 146 48 Durezza di dispetto & di disdegno (2p. of Passa la nave) (5vv) Contino: 179 19

E a noi restara fra sdegni & ire (2p. of Volgi cor mio) (Svv) Baccusi: 384 3 E a noi restara fra sdegni & ire (2p. of Volgi cor mio) (Svv) Lasso: 167 28; 212 7; 286 7; 181 7 E a quel che provai breve spavento (2p. of O quant’esser mi) Duc: 341 8

E beato colui ch’a donna pia (2p. of Misero lui) Berchem: 172 7 E ben che voi per voi sola sublime (2p. of Donna che quasi) (Svv) Flori: 277 15 E ben ch’in sonn’acquet’i miei desiri (2p. of Senza’! mio sol) (5vv) Pesciolini: 235 3

E ben vero ch’el tormento mi tormenta (3vv) Policreto: 383 14 E che i pié miei non son fiaccati & lassi (2p. of lo son gia stanco di Monte: 326 4; 372 4 pensar si come) (6vv)

E che ne voglio fare ca si bella (3vv) [no attribution]: 226 52; 266 52 E chi vede ‘I gran fuoco (2p. of Ardendo ?’ grid’e moro) (Svv) Striggio: 185 20; 186 26; 274 26 E come a dir del viso, é de le chiome (2p. of lo son gia stanco di pensar Scotto: 22 56; 83 56 si come) (3vv)

E come al dipartir del sol s’oscura (3p. of Com’al partir del caro) Nasco: 295 6 E com’in terso & chiaro vetro mostri (2p. of Cibo dolce & soave) Dalla Viola, F.: 72 1 E con la faccia in giu stesa su | letto (JOp. of Fra quanti) (Svv) Rossetto: 288 1

E con la faccia in giu stesa su ’I letto Spontone: 160 18

E con l’andar e col soave sguardo (2p. of Come il candido) (5vv) Monte: 348 6; 373 9

E corr’al mar graffiandosi le gote (Sp. of Fra quanti amor) Rossetto: 288 | E cosi del martin vaga e la mente (2p. of D’una si bella) (Svv) Fiesco: 229 12 E cosi lieto vivo Qp. of L’alta speranza ov’io nodrisch’il core) Ruffo: 94 11; 118 11 E cosi senza mai stringere il seno (14p. of Quando miro la terra) Dorati: 340 |

E di quanto bene da sto mondo uscivi (3vv) [no attribution]: 263 19; 272 19; 350 19

E di qui alberga mecé il piu infelice (2p. of Valle d’ogni) (Svv) Chamaterd: 319 5 . E di voi non mi doglio (4p. of Voi mi ponest’in foco) Palestrina: 172 |

E dice il ferro tuo mutars’in oro (2p. of Mentre ’! rettor) (Svv) Contino: 179 3 E disse, acqua crudel che si nemica (2p. of Mentre solcand’il mar Rufilo: 198 15 audac’e solo) (Svv)

E disse d’ira et di dolor compunto (2p. of Per dar del suo) (Svv) Pratoneri: 308 7 E dove non potea la debil voce (8p. of Fra quanti amor) (Svv) Rossetto: 288 |

E dove non potea fa debil voce Spontone: 160 16

E d’una viduella do ch’innamorato Azzaiolo: 189 9; 250 11 E’ dunque ‘Il dolce nom’in voi fallace Martinengo: 42 3

E forse ’] mio ben questo (Svv) Zarlino: 220 |

E gionta l’hor’e mi convien partire (3vv) Primavera: 351 28

E gl’ingegn’e virtuti che per voi (2p. of Mentr’al vostr’apparir il Portinaro: 307 5 sen’altiero) (Svv)

E hor veggio fortun’in mez’ il porto (Sp. of Al dolce suon) (Svv) Guami, F.: 333 | E hor’il canto e ’! refrigerio e aura (6p. of Alla dolce ombra) (Svv) = Giovanni Battista da Cremona: 333 4

E hor’il canto e ‘{ refrigerio e l’aura (6p. of Alla dolce ombra) Rufilo: 237 10

E i naviganti in qualche chiusa valle (Svv) Chamateré: 318 $ E in sembiante riverente e humile (2p. of Euro gentil) (Svv) Lasso: 167 27; 181 6; 212 6; 286 6

E infra infra l’ April (2p. of Una legiadr’e bella) Werrecore: 103 4 1043

Index of First Lines E io che sempre desioso e intento (2p. of Laura celeste) (Svv) Ruffo: 169 8

E io che sempre desioso e intento (2p. of Laura celeste) [no attribution]: 164 26 E io da che comincia la bell’alba (2p. of A qualunque) (Svv) Adriani: 336 8 E io da che comincia ta bell’alba (2p. of A qualunque) Berchem: 139 21 E io da che comincia la bell’alba (2p. of A qualunque) (Svv) Chamatero: 317 | E io da che comincia la bell’ alba (2p. of A qualunque) Donato: 304 | E io da che comincia la bell’alba (2p. of A qualunque) Montagnana: 158 }! E io da che comincia la bell’alba (2p. of A qualunque) (Svv) Pesciolini: 235 1 E io da che comincia la bell’alba (2p. of A qualunque) (6vv) Vinci: 381 6; 326 14 E io ne prego lei e chi mi strinse (2p. of Se deste ala mia lingua tanta Monte: 372 14 fede) (6vv)

E io nel cor via piu freddo che ghiaccio (2p. of L’aere gravato) Chamatero: 320 |! E io nel cor via piu freddo che ghiaccio (2p. of L’aere gravato) Lando: 155 |

E io qual fui restai senza la voce (5p. of Del freddo Rheno) Lasso: 222 5 E °*| chiaro lume che sparir fa ’1 sole (2p. of Amor fra herbe una Vinci: 381 7 leggiadra rete) (6vv)

E 71 ciel vol pur ch’io viva a che perche io (2p. of Icar’incauto Ghibel: 313 7 sconsolat’e mesto) (Svv)

E Ja su gode di quell ’inftnita p. of Tutti piangon tua morte) Lando: 155 17

E la vostra bellezza quasi un orto Pont: 157 31

E la dolc’armonia (2p. of Qual dolcezza giamai) (5vv) Willaert: 15 1

E l’immagini lor son si cosparte (2p. of Non veggio ove) (Svv) Adriani: 335 1] E l’immagini lor son si cosparte (2p. of Non veggio ove) (Svv) Monte: 182 2; 345 2 E m/’accende nell’alma alto desio (2p. of Quest’a par dell’anticae casta Striggio: 354 11; 377 11 e bella) (Svv)

E me levai d’una bella mattina Azzaiolo: 189 8; 250 9; 251 6 E mentre pit: affliggea la ment’intenta (2p. of Sovra ’I bel) (Svv) Striggio: 354 13; 377 13 E mentre piu Ja terr’accend’il sole (2p. of Quant’ invidia) (Svv) Lasso: 232 9; 2879

E m’ho messo per certo in fantasia (3vv) Vinciguerra: 359 22; 398 22

E mi par d’hor in hora udir il messo Reulx: 35 12

E mi par d’hor in hora udir il messo (3vv) Scotto: 353 4

E morta la speranza Arcadelt (Festa, C.): 2 10 E ’ncomincio madonn’il manco piede (2p. of Quel’antico) (Svv) Lagudio: 231 3 : E nella face de begliocch’accende (2p. of Era il bel viso) Barré: 172 19

E o gratiosa bocca odorosa fronte vv) [no attribution]: 279 21 E oltra la natura (2p. of Signor il grido de l’altier tuo nome) Volpe: 147 1

E oltr’al mio destin’io ci fui spinta Schiavetto: 238 17 E parmi in van’andar mercé gridando (2p. of Presago del mio male anzi_ Monte: 346 12 che sia) (Svv)

E per amor di donna tutta notte Azzaiolo: 189 4; 250 5

E per bocca di lui chiaro vi dico Pont: 157 30

E per dir all’estrem’il gran servigio (17p. of Quel’antico) (Svv) Lagudio: 231 3 E per virtti de |’amorosa speme (2p. of Apollo s’ancor vive) (5vv) Lagudio: 231 2 E poi ch’a questo pur trovat’ho scudo (2p. of Hor ch’un grave dolor Striggio: 378 16 m’affligge tanto) (6vv)

desio) (Svv)

E poi che ’| ciel ci chiama (2p. of Nuova fiamm’e gradita) (Svv) Gonzaga: 208 10

E poi che ’I fren per forz’a se raccoglie (2p. of Si travagliat’el folle mio Rore: 73 18; 2149

E poi che nota limpieta vi fia Hoste da Reggio: 126 14

E poi cosi soletta (2p. of Nella stagion ch’ il ciel) (Svv) Chamaterod: 319 7

E prego che dinanz’al tuo diletto (2p. of Vergine santa immaculatae Grisostimo da Verona: 243 9 pia) (Svv)

E prima fia di stelle ignudo il cielo (6p. of Hor che non s’odon) Ciera: 121 14 E pur con tutto cid miseri e stolti (7p. of Quando miro la terra) Dorati: 340 1 E qual cervo ferito di saetta (2p. of I dolci colli ov’io lasciai) Adriani: 298 11 E qual cervo ferito di saetta (2p. of I dolci colli ov’io lasciai) (Svv) Chamaterd: 319 3 E qual cervo ferito di saetta (2p. of J dolci colli ov’io lasciai) (6vv) Striggio: 206 1; 273 1 E quel ch’tn questo m’e sommo piacere (3p. of Qual donna cantera se Scotto: 353 9 non cant’io) (3vv)

E quando ha fato |’ovo la mattina [La canzon della gallina] Fabrianese: 109 3; 152 3 E quando miro le vestite piante (2p. of Quando miro Ja terra) Dorati: 340 1

E questo di mia fede il giusto premio Scotto: 29 29

E questo ’] legno che del santo sangue (5vv) Zarlino: 219 6 1044

ltalian Texts E questo mio soave ardente fuoco (2p. of Mentr’io fuggiva) (Svv) Striggio: 354 3; 377 3 E s’al corso ai pensier tu solo affreni (2p. of Alti desirie voi sospir) | Melfio: 149 4 E salit’ov’é sol degno ricetto (2p. of Virta ch’in poch’il ciel) (Svv) Schieti: 313 3 E se in me "I vero per essempi espressi (2p. of Da quei begli occhi che Vicentino, N.: 59 !1 penar mi fanno) (Svv)

E se par ch’altro notte di non chiami (2p. of A pie d’un odorifero Contino: 179 | ginebro) (Svv)

E se poi non piangete io si ne pera (4p. of Vedet’occhi) (Svv) Schiavetto: 238 10

E se pur mi mantiene (Svv) Rore: 264 15; 330 16 E se pur fia che le mie insegne sante Pont: 157 6

E se qualche pieta vi par |’inspiri (2p. of Ite rime dolenti) (Svv) Rore: 215 10 E se queste contrade tenebrose (2p. of Non ti lagnar cor mio) (Svv) Isnardi: 357 7 E se talhor acquetto °! mio desire (2p. of S’io potesse fermar’al mio Perissone Cambio: 49 6 desio (Svv)

E se talhor da begli occhi soavi (2p. of O dolci sguardi) (Svv) Monte: 348 | E se talhor da begli occhi soavi (2p. of O dolce! sguardi) (vv) Rore: 46 5; 223 13 E si dolce idioma (14p. of Quel’antico mio dolce empio) (S5vv) Lagudio: 231 3 E s’io °l consento a gran torto mi doglio (2p. of S’amor non é che Animuccia: 232 8; 287 8 dunqu’e quel ch’io sento) (Svv)

E s’io ’] consento a gran torto mi doglio (2p. of Se amor none che Hoste da Reggio: 125 13 dunqu’e quel ch’io sento) (Svv)

E s’io ’! consento a gran torto mi doglio (2p. of Se amor non e che Monte: 373 6 dunqu’e quel ch’io sento) (Svv) E s‘io sperassi con dolenti note (Sp. of Quand’al grato spirar) (Svv) Monte: 373 17

E son hor questi ch’io v’addit’et mostro Pont: 157 14

E son tant’i tormenti che nel core Reulx: 35 2

E spesso a pié d’un olmo o ver d’un pino (18p. of Quando miro laterra Dorati: 340 | ornat’e bella)

E tu crudel’e ria (3p. of Su la fiorita riva) vv) Ruffo: 131 12 E tu faccta che nascesti a darmi pena Donato: 101 9; 1609 12; 152 12 E tu leggiadra e dolce primavera (Sp. of Rose novelle) (5vv) Romano, A.: 371 18

E tu ninfa gentile (Sp. of Ai pili soavi accenti) (Svv) Baccusi: 384 |

E vann’argumentando che si deve Pont: 157 9 E voi aure soavi Ragazzo: 252 25 E voi cari beati e dolci Jumi (2p. of Ecco la bella fronte) (Svv) Clerico: 207 15 E voi lagrime amare che versate (2p. of Lasso s’anchor) (Svv) Corfint: 358 19

E voio criar tanto con la bose (3vv) Donato: 359 1; 398 | E vorave saver colonna mia (3vv) Bonagiunta: 267 27; 296 27 E vorria sapere da te signora (3vv) [no attribution]: 278 13 Ecco ch’al bosco sian vicini homai (3p. of Dalle gelate braccia) (6vv) Striggio: 289 2; 331 2

Ecco che gl’é pur vero (2p. of Se non m’ingann’amore) (3vv) Merulo: 297 1

Ecco che pur doppo si lunghi affanni Arcadelt: 2 6

Ecco ch’ei giunge a noi (3p. of Hor che lucent’e chiara) (5vv) Striggio: 185 3; 186 7; 274 7

Ecco ch’io pur dopo |’ assenza amara (6vv) Baccusi: 385 8 Ecco ch’io pur dopo Vesilio seggio (6vv) Falcidio: 385 9 Ecco ch’io pur dopo |’esilio seggio (6vv) [no attribution]: 385 10

Ecco ch’un altra volta o piagge apriche (2vv) Scotto: 23 11; 111 37; 159 37; 225 2

Ecco Cupido io torno (Svv) Candido: 364 33

Ecco i lupi rapaci (3p. of Ai pit soavi accenti) (5vv) Baccusi: 384 1

Ecco il sol chiaro dianzi che s’asconde (5p. of Dalle gelate braccia) Striggio: 289 2; 331 2

(/vv)

Ecco ’I mio vivo sole (6vv) Pesciolini: 235 17

Ecco la beila front’e’l dolce nodo (S5vv) Clerico: 207 15

Ecco la nimpha ebraica chiamata (3vv) Nola: 24 29

Ecco !’aurora con |’ aurata fronte Schaffen: 82 28

Ecco I’eterna luce (3p. of Porgetemi la lira) (5vv) Chamatero: 319 | Ecco per !’alto mar !’onda rapace (2p. of Mentr’il pensier vivea) Ruffo: 118 10

Ecco pur riede il sole Rossetto: 295 8 Ecco qui Claudia a cui si chiud’in seno (Svv) Tortora: 355 11

Ecco scesa fra noi nuova angioletta (5vv) Striggio: 354 5; 377 5 Ecco s’en vien con la vittori’insteme (Svv) Contino: 179 10

Ecco sorge a noi I’alba (Svv) Contino: 179 4 Eccomi giunto nel tranquillo porto (Svv) Clerico: 207 17 1045

Index of First Lines

Eccoti il core o tu che ’! vai cercando (vv) [no attribution]: 278 11

Eccovi belle donn’un’insalata Candido: 364 34 Ei sa, che *1 grand’Atride, e l’alt’Achille (13p. of Quel’antico mio Lagudio: 231 3 dolce empio signore) (Svv)

El gran Duca Milanese (2p. of Signori & cavaglieri) Werrecore: 103 |

Ella non sa se non invan dolersi Volpe: 147 30

Entr’un gran nuvol d’or che quas’un sole (Svv) Striggio: 354 8; 377 8; 3112

Entro le dolci labra (Svv) Gonzaga: 208 14 Eolo crudel come turbasti l’onde (7p. of Al dolce suon) (S5vv) Gosswin: 333 |

Era a tanti minor merti l’alloro (2p. of Rosa eterna immortal) (6vv) Merulo: 273 18 Era a tanti minor merti l’alloro (2p. of Rosa eterna immortal) (6vv) Striggio: 206 18

Era il bel viso suo qual esser suole Barré: 172 19

Era il bel viso suo qual esser suole (5vv) Schiavetto: 220 9

Era il bel viso suo qual esser suole (Svv) Striggio: 185 28; 186 12; 274 12

Era il bel viso suo qual esser suole Wert: 203 15

Era il giorno ch’al sol si scoloraro (Svv) Chamatero: 318 12 Era il giorno ch’al sol si scoloraro (Svv) Schiavetto: 238 |

Era la mia virtu quasi smarrita Rufilo: 237 24

Era fa mia virtu quasi smarrita (Svv) Striggio: 185 24; 186 [1; 274 [1 Era nubil il ciel la terr’ ombrosa (Svv) Schieti: 292 16; 356 16

Eran Tet’e Giunon tranquill’e chiare Casulana: 301 16

Eran’i capei d’or’in rethe d’oro (5vv) Hoste da Reggio: 125 3 Erano gl’occhi stral’e ’I bel ciglio (2p. of Fugendo la prigion ov’Amor Tortora: 355 9 tolse) (Svv)

Eransi solo a far perpetua guerra (Svv) Striggio: 354 4; 377 4

Erasi al sole if mio bel sol assiso (7vv) Doratt: 166 19 Erasi al sole il mio bel sol assiso Hoste da Reggio: 126 16 Errai, madonna, et il mi’error fu poco Veggio: 12 32

Esca son fatto de la donna mta Reulx: 35 19

Esce da bei vostr’occhi Martinengo: 42 9 Esce dal petto mio pur tant’ardore (3vv) Tiburtino: 84 16

Essendo gionto alla cymerea valle Lupacchino: 32 7 Estrem’e tropo car’era ’| mio bene (2p. of Ben me ’| dovea) Ragazzo: 252 8 . Eterno Idio ch’ad ogni piagg’e valle Rufilo: 237 8

Etna non é si ardent’o’1il gran vulcano (3vv) Ascanio Bolognese: 361 13

Euro gentil se d’amoroso ardore (Svv) Lasso: 167 27; 181 6; 212 6; 286 6 Fa ch’io riveggia il bel guardo ch’un sole (3p. of Amor se vuoi Dorati: 166 1 ch’i’ torni al giogo antico) (Svv)

Fa dunque amor ch’! mio fidel servire Ciera: 1215

Fa lan fan fon fan (3vv) Troiano: 290 33; 310 33

Fa pur |’amor cor mio con quest’e quello (3vv) (no attribution]: 226 70; 266 70

Fabio non vid’ il sole donna (Svv) Pesciolini: 235 10 Faccia mia bella piu che ‘| sol splendente (3vv) Nola: 280 11

Facciami quanto vol fortuna ria (3vv) [no attribution]: 267 19; 296 19

Facemo donne !’arte del sapone (3vv) Candido: 364 14

Fammi pur guerr’amor quanto tu vuoi Arcadelt or Corteccia: 17 32; 37 19; 39 27; 56 19 119 14; 151 14; 165 12; 191 12

Fammi sentir di quell’aura gentile (4p. of Amor se vuoi) (Svv) Dorati: 166 1

Fammi sentir di quell’ aura gentile Porta: 163 39; 188 13; 294 14 Fammi sentir di quell’aura gentile Qvv) Scotto: 171 27

Fammi sicuro o mio dolce desire (3vv) [no attribution]: 226 60; 266 60

Fammi sola pietate (Svv) Dorati: 166 3

Far potess’io vendetta di colei (Svv) Ferretti: 321 6; 367 6 Far potess’io vendetta di colei (Svv) Rore: 28 16; 129 14; 168 14; 213 13 Far potess’io vendetta di colei (3vv) Troiano: 309 27 Far potess’io vendetta di colei (Svv) Wert: 201 4; 202 4 Fato m’ha conoscente de l’inganno (2p. of Lagrimando) (3vv) Scotto: 353 8 Febre importun’e dispietat’e ria (Svv) Vidue: 277 14 Fedel qual sempre fui tal esser voglio Danchert: 164 4 Fedel qual sempre fui tal esser voglio Menon: 79 1

Fedeli miei, che sotto |’eur’havete Pont: 157 5 1046

Italian Texts

Felice alta Colonna hoggi splendore (3vv) Venturi: 379 4

Felice chi dispensa Dalla Viola, F.: 72 14 Felice cor che preso (8p. of Mio pan’anzi mia vita) (Svv) Nasco: 243 | Felice giorno ch’io (3vv) Venturi: 379 47

Felice il Mincio che di Reggio il sole (2p. of Gratie del mio bel Nido Pratoneri: 308 15 ove n’andate) (Svv)

Felice |’alma che per voi sospira (Svv) Striggio: 185 23; 186 3; 2742

Felice ¢ la catena Candido: 364 30 Felice me se dei bei lum’un raggio Arcadelt: 17 40; 37 32; 56 32; 119 23; 151 23; 165 19; 191 19; 299 19; 337 19

Felice piume che cosi sovente Wert: 203 5 Felice puramente (9p. of Mio pan’anzi mia vita) Nasco: 243 1

Felice sasso ch’el bel viso serra Hoste da Reggio: 127 13

Felice sei Trevigi Rore: 264 2; 330 2 Fera genti] che con leggiadro modo (5vv) Rore: 264 6; 330 7 Ferma *] corso crudel (2p. of O dolce vita mia dolce mio bene) Volpe: 147 10

Fia mia cara d’oro veluo (3vv) Bellavere: 359 13; 398 13

Fiamma dal ciel su Je tue treccie piova (Svv) Wert: 162 11; 200 11 Fiamma gentil che da begli occhi muovi (5vv) Vicentino: 59 8

Fiamma gentil entr’a cui chiari lampi Arcadelt: 2 5

Fian pur le stelle pront’e gl’elementi. (Svv) Hoste da Reggio: 125 15

Fidel see Fedel

Fidel’e bel cagnuolo Verdelot: 54 42; 85 42; 115 42; 146 42 Fidele, & mansueto animaleto Ragazzo: 252 5 Fiera di me piu errant’e fugitiva Gero: 77 13

Fiera stella s’el ciel ha forza in noi (Svv) Lasso: 167 14; 180 14; 211 14; 285 14

Fiere silvestre che per lati campi Ruffo: 53 17; 150 6; 184 6 Figlia poi che dal ciel mi ved’& senti La Martoretta: 70 24

Fin che m’amasti amai arsi s’ardesti (Svv) Vicentino, N.: 59 7 Fin che signore in piu robusta etate (Svv) Vinci: 199 1; 240 1; 2753 Fine non pongo al mio ostinato affanno (2p. of E i naviganti) (5vv) Chamatero: 318 5

Finestra bella e patrona crudele Nasco: 154 3; 197 3; 260 3 Fior ch’all’intatta nev’a i bei ligustri Schiavetto: 238 11 Fiora che di belta sei rara’al mondo (3vv) Primavera: 351 22 Fiorenza fior del mond’unic’e sola (3vv) Venturi: 379 10

Fiorit’& verdi colli Roussel: 172 5 Fiorite vall’amene (3vv) Rodio: 360 25; 397 25 Fiume cui gia contanto lachrimando (2p. of Su la fiorita riva) (Svv) Ruffo: 131 12

Foco son di desio di tema ghiaccio (3vv) Barré: 221 8

Foco son di desio di tema ghiaccio (4p. of Hor che non s’odon) Ciera: 121 14

Foll’e chi crede la prudenti’o gli anni Arcadelt: 2 8

Fontana che dai acqua a dui valluni Gvv) Nola: 24 31

Fontana di dolore, albergo d’ira Ghibel: 123 16

Fora fora martell’e gellosia (3vv) Troiano: 290 14; 310 14

Forestier inamorao (3vv) Gabrieli: 359 8; 398 8 Forse fia questo aventuroso tempo (2p. of Hor che non s’odon) Ciera: 121 14 Forsi ch’ogn’huom che legge non s’intende (4p. of Mai non vo piu Greco: 297 6 cantar com’io solea) (3vv)

Fors’i devoti & gl’amorosi prieghi La Martoretta: 70 17

Fortuna alata il pie calva la testa (6vv) Striggio: 206 16; 273 16 Fortuna che si spesso indi mi svia (2p. of Mostromm’entro) (6vv) Monte: 326 10; 372 10

Forz’é lasso ch’io mora vv) Fiesco: 361 26

Foscarina gentil padrona mia (vv) Primavera: 351 16 Fosti amante com’io (2p. of Se ben di sette stell’ardente) (6vv) Striggio: 206 6; 273 6

Fra bei ginebr’e mirti Lerma: 1722 ° Fra le dur’alpe a piu gelate sponde (2p. of Hor che scesa) (Svv) Adriani: 336 4 Fra le stelle de poli (Svv) Rufilo: 198 20

Fra piu bei fiori che mai creasse ’| cielo Arcadelt: 17 30; 37 2; 56 2; 119 45; 151 45; 165 33; 191 33; 299 37; 337 37

Fra piu fioriti colli & verdi fronde (Svv) Londariti: 277 7 Fra quante faccie ho visto per lo mondo (vv) Arpa: 369 27 Fra quanti amor fra quante fedi al mondo Rossetto: 288 1 Fra quanti amor fra quanti fedi al mondo Cataldo: 170 10 1047

Index of First Lines Fra si contrarie tempr’aggira e volve (2p. of Hor che *! mio) (Svv) Monte: 373 5 Franc’e piu di servire Perego: 143 7 Franceschineta beula (3vv) Bellavere: 359 12; 398 12 Fred’e la donna mia Casulana: 301 13

Fresc’ombroso fiorito e verde colle (Svv) Chamatero: 319 6 Fronte serena ond’io primier’entrai 3vv) Candido: 364 11

Fronte seren’e d’or filato crine (Svv) Dattari: 303 29

Fu del dolc’ardor mio (Svv) Clerico: 207 4

Fu del fattor mirabil magistero (2p. of Che cosa al mondo) (Svv) Perissone Cambio: 49 4

Fu forse un tempo dolce cosa amore (5vv) Rore: 46 2; 223 16

Fu forse un tempo dolce cosa amore Schiavetto: 238 20 Fu il vincer sempre mai laudabil cosa Martinengo: 71 2 Fu il vincer sempre mai laudabil cosa Cataldo: 170 15

Fu pur fero destino acerbo & rio . Arcadelt (Schaffen): 94 21; 118 21 Fu quel che piacque un falso sogno, e questo Reulx: 35 22

Fu sempr’a l’opre di virtut’accenso (2p. of Mentre del mio) (Svv) Zarlino: 313 14

Fuggend’il mio dolor io m’era’assiso (3vv) Primavera: 351 9 Fuggend’il mio dolor io m’era assiso (3vv) Roy: 271 17

Fuggend’il mio dolor io m’era assiso (3vv) (no attribution]: 278 7

Fuggendo la prigion la dove amore (5vv) Cavatoni: 387 15 Fuggendo la prigion ove Amor m’*hebbe (2vv) Scotto: 171 18

Fuggendo la prigion ov’ Amor tolse (Svv) Tortora: 355 9

Fuggi cor mio la furia di Cupido vv) Gorzanis: 370 19 Fuggi costei cor mio non consentire La Martoretta: 70 12

Fuggi fuggi cor mio Lupacchino: 32 26 Fuggi fuggi cor mio Verdelot: 13 6; 14 25; 54 34; 85 34; 115 34; 146 34

Fuggi ’l sereno ¢ ’l verde (9p. of Che debb’to far) (8vv) Ruffo: 131 14

Fuggi °l sereno e ’l verde Rufilo: 237 14

Fuggi ’l sereno e ’! verde (8p. of Che debb’o far) (Svv) Vinci: 199 10; 240 10; 275 |

Fuggi pur o nuov’e cruda voglia (3vv) Perugino: 361 18 Fuggi se sai fuggir che fuggir tanto Donato: 304 14 Fuggimi pur cor mio quanto tu voi (3vv) Mazzoni: 325 25 : Fuggimi quanto voi faccia mia bella (3vv) Rodio: 360 14; 397 14 Fuggimi quanto voi faccia mia bella (3vv) Scotto: 37§ 7 Fuggimi quanto voi faccia mia d’oro (3vv) Bianco: 386 4 Fuggit’alme gentil de risguardare Gvv) [no attribution]: 279 22

Fuggit’amor 0 voi cortesi amanti (3vv) Troiano: 332 7

Fuggit’amore o voi che donne amate (3vv) Bianco: 386 18 Fuggit’amore o vol che donne amate (3vv) Nola: 349 15 Fuggite homai pensier noiosi e foschi (2p. of Madonna sua mercé) Chamatero: 320 13

Fuggite homai pensier noiosi e foschi (2vv) Scotto: 23 14; 111 14; 159 14; 224 14; 395 14

Fuggite l’infedel cieco fanciullo (Svv) Converso: 388 20

Fuggite scioch’il venerar cupido Hoste da Reggio: 127 17 Fui d’altr’un tempo hor non son piu soggetto Melfio: 149 8 Fuor del mio desiando altro ricetto (2p. of Miracoli d’ Amor) Duc: 341 3

Fuor fuori 6 Muse uscite a l’aria uscite (6vv) Baccusi: 385 |

Furor di pontio temerarie voci (2p. of Pensier indegni) La Martoretta: 70 28

Gaddo io men vo lontan dai patrii liti vv) Scotto: 22 1; 83 ! Garzon’e alato, & di color di fuoco (3p. of Non trem’alcun mortal) Spontone: 160 1 Gentil almo paese (Svv) Naich: 223 6

Gentil coppia eccellente (2p. of Amor da che tu voi) (Svv) Willaert: 73 7; 215 13

Gentil madonna del mio cor patrona Azzaiolo: 189 6; 250 2

Gentil madonna fui gia per lasciarti (3vv) Califano: 282 17 Gentil mia donna a cui natura e ’! cielo (Svv) Fiesco: 229 19

Gentil mia donna io veggio (Svv) Baccusi: 384 4 Gentil mia donna io veggio (Svv) Ruffo: 169 3 Gentil mia donna to veggio (2vv) Scotto: 23 10; 111 11; 159 11; 224 11; 395 11 Gentil mia donna io veggio (3vv) Scotto: 353 3

Gentil mia donna io veggio Reulx: 35 4

Gentil signor’affe ch’io mi moro per te (3vv) [no attribution]: 226 49; 266 49

Gentil soggetto dov’amor soggiorni Schaffen: 82 20 1048

Italian Texts

Gentil voi sete & gentil fiamma move (Svv) Vidue: 357 12 Gersera see Hiersera

Gettara prim’amor l’arc’e gli strali (vv) Perugino: 361 28

Gia cantai allegramente Azzaiolo: 189 11; 250 6 Gia con altre non puoi (2p. of Amor con quali altr’arme) (Svv) Chamaterd: 317 10

Gia fiammeggiava |’amorosa stella (Svv) Lagudio: 231 1

Gia la sincera mia si ferma fede (2p. of S’io piango & mi lamento Contino: 179 18 alta cagione) (Svv)

Gia la vaga sorella i freddi rai (Svv) Adriani: 311 11; 335 14

Gia mi credea passar mio tempo hormai (3vv) Primavera: 352 11 Gia mi fu co °1 desir si dole’i! pianto (5vv) Lasso: 167 4; 180 4; 211 4; 285 4

Gia mi fu col desir si dolce il pianto Scotto: 29 4 Gia mi godea felic’ogni mio bene Willaert: 14 58; 241 4 Gia mi trovai di maggio una mattina Martinengo: Gia mi trovai di maggio una mattina Mazzone: 324 16

71 16

Gia mi trovai di maggio una mattina (Svv) Pordenon: 236 19

Gia nel bel vostro volt’ avorio, & oro Martinengo: 42 6 Gia nel mio vivo sol io m’incontrai Martinengo: 71 18

Gia non mi duo! mentre sanar desio (3vv) Bonagiunta: 279 12 Gia queto riposand’ all’ ombra giace (Svv) Rufilo: 198 19 Gia senz’affann’in piu sicura vita (Sp. of Si com’al chiaro giorno) Lasso: 276 8 Gia sdegno non havra l’altero frate (2p. of Cresci germe real) (6vv) Striggio: 378 15

Gia stanco son & vinto Martinengo: 42 1

Gimo cercando tutti tre lo core (vv) Candido: 364 3

Gimo cercando un fanciullett’alato (3vv) Candido: 364 |

Gioia ch’avanzi tanto di bellezza Gvv) [no attribution]: 352 27; 363 9

Gioia m’abonda ’! cuor tant’& si pura Martinengo: 42 18 Gioia mia quanto sei bella (3vv) Venturi: 379 21 Gtoisce all’apparir del sol la terra (vv) Chamaterd: 317 6 Giomma anzi gemma e per l’orientale (3vv) Venturt: 379 25

Gionto m’ha amor fra bell’e cruda braccia (S5vv) Wert: 202 3

Giova nastro d’argento, o de fin oro Ghibel: 123 29

Giovan Francesco honor del secol nostro (Svv) Chamaterd: 317 4

Giovane donna i vaghi’e dolc’accenti [no attribution]: 222 3

Giovane donna sotto un verde lauro Berchem: 139 18 Giovane donna sotto un verde lauro Gabrieli: 312 1 Giovane donna sotto un verde lauro Ragazzoni: 45 12 Giovane donna sotto un verde lauro Roussel: 222 18

Giovane donna sotto un verde lauro Ruffo: 53 22; 150 23; 184 23 Giovane donna sotto un verde lauro (S5vv) Tortora: 355 19

Giovane donna valoros’et bella Spontone: 160 7 Giovane illustre alteramente nato (Svv) Porta: 205 12

Giovane illustre sopr’il Mincio nato (Svv) Striggio: 185 4; 186 6; 274 6

Giovenetta regal pur’ innocente Arcadelt: 17 41; 37 33; 56 33; 119 24; 151 24; 165 20; 191 20; 299 21; 337 21

Gira Ixion la rota & mest’il sasso (Svv) Aretino: 156 7

Girometta senza te non vivero Azzaiolo: 251 4 Gite felici fiori Spontone: 160 3 Gite rime dolenti Melfio: 149 | Giten’ bei fiori & honorat’il seno Corteccia: 39 1; 117 15 Gite ne gl’antr’e ne l’oscure selve (8p. of Questo si ch’é) (Svv) Wert: 357 6

Giulia a l’inferno quell’anime vanno (3vv) Mazzoni: 343 3 Giulia dove sei tu ch’gno’un concorre (3vv) Venturi: 379 31

Giulia quel prato un giorno (3vv) Mazzoni: 343 4

Giulio gentil in voi scherzan gl’amori (6vv) Aretino: 156 26 Giunto Adrian fra l’anime beate (Svv) Benvenuti: 292 10; 356 10 Giunto m’ha amor fra belle e crude braccia Corteccia: 39 10; 117 22 Giunto m’ha amor fra belle e crude braccia Parabosco: 40 9 Giunto m’ha amor fra belle e crude braccia Perissone Cambio: 40 23 Giunto m’ha amor fra belle e crude braccia Scotto: 29 20 Giunto m’ha amor fra belle e crude braccia (Svv) Wert: 201 3

Giusta vendetta d’impudico errore (Svv) Adriani: 335 12 Giva cogliendo fiori una mattina Gvv) Arpa: 360 13; 397 13 1049

Index of First Lines

Giva cogliendo fiori una mattina (3vv) Primavera: 352 8

Givi per acqua allo fiume Giordano (3vv) Roiccerandet: 280 22

Gl’alti e divin pensieri (3p. of Amor la bella face) Barré: 204 5

Gli animi ch’al tuo regno il ciel’inchina (9p. of Amor se vuoi) (6vv) —- Dorati: 166 |

Gli occhi che m’impiegar’il manco lato Hoste da Reggio: 127 3

Gli occhi ta bocca e la tua leggiadria Gvv) Primavera: 352 10; 363 20 Gli occhi lucent’e belli (2p. of Cinta di fior’un giorno) Casulana: 339 8

Gli sdegni le repulse, e finalmente Ghibel: 123 14

Gli sdegni Je repulse, e finalmente Hoste da Reggio: 126 4 GI’ infiniti sospir’e i grid’e i pianti Menon: 79 31 Gloriar mi poss’io donne Verdelot: 13 17; 14 16; 54 14; 85 14; 115 14; 146 14

Gloriati patria & vanne pur altiera [1] (2p. of D’habit’honesto) (Svv) Contino: 179 20 Gloriati patria & vanne pur altiera [2] (2p. of D’habit’honesto) (Svv) Contino: 179 21

Gloriosa felic’alma Vinegia Donato: 101 24; 109 29 Gloriosa felic’alma Vinegia [no attribution]: 152 28

Glorioso pastore Berchem: 139 9 Godi citta felice (Svv) Chamatero: 318 14

Godi sposa novell’e suon’e canti Adriani: 298 7 Gola che or’et perle voi portate Primavera: 329 26 Gran dolor di mia vita Verdelot: 14 15; 54 25; 85 25; 115 25; 146 25

Gran miracol d’amore Casulana: 339 15 Gran pena sente !’huomo innamorato (3vv) Arpa: 271 |

Gran temp’é stare c’ho desiderato Nola: 349 28 Grand’e ’] mio duol, e grand’e vostr’altezza Palazzo: 14 63 Grat’e benigna donna Willaert: 14 42; 54 46; 85 46; 115 46; 146 46; 241 13 Gratia e bellezza furon |’esca e gli hami (2p. of Volsi hor non) (Svv) = Monte: 373 13

Gratia virti: bellezza e leggiadria (3vv) Pinello: 374 7

Gratia virtu bellezz’in voi se vede Schaffen: 82 2

Gratie del ciel via piu ch’altri non crede (2p. of Donna cui nulla) Dorati: 166 10 (5vv)

Gratie del mio bel Nido ove n’andate (Svv) Pratoneri: 308 15 .

Grato e benigno cielo Fiesco: 229 9 Gravi pene in amor si provan molte (3vv) Arcadelt: 173 26; 281 4

Gravi pene in amor si provan molte (Svv) Cavatont: 387 10 Gravi pene in amor si provan molte (Svv) Guami, G.: 220 13

Gravi pene in amor si provan molte Hoste da Reggio: 126 12 Gravi pene in amor si provan molte (6vv) Ruffo: 131 6 Gravi pene in amor st provan molte Cataldo: 170 16 Gravi sospiri miei lagrim’ amare (Svv) Clerico: 208 6 Gridando vogli’andar piangendo forte (3vv) Troiano: 309 | Guarda de chi me ivi annamorare (3vv) Nola: 24 40 Guarda ’! mio stat’a le vaghezze nuove (5vv) Lasso: 167 2; 180 2; 211 2; 285 2 Guarda sciagura ch’aggio con l’amore Donato: 101 13; 152 14 Guarda sciagura ch’aggio con l’amore [no attribution]: 109 15 Gravi pene in amor si provan molte (3vv) Rore: 95 15; 173 2; 281 2

Guardatevi da questi che sul fiore Hoste da Reggio: 126 | Guardatevi da questi che sul fiore Schiavetto: 238 19 Guerr’é ’| mio stato d’ira e di duol piena (2p. of Hor ch’il ciel) Adriani: 298 10

Guidom’ in part’il ciel ove splendea (5vv) Roussel: 358 9

Ha che voi piu cruciarm’ Amor fallace (3vv) Gero: 113 18 Ha Lucia ha bona cos’ io dic’a tia Gvv) [no attribution]: 226 76; 266 76

Habbi pieta fia belleade (3vv) Bellavere: 359 18; 398 18 Haggio fatto le spese nove mesi (3vv) Gorzanis: 370 4

Haggio fin qui patito gran tormento (3vv) Romano, M.: 361 19 Haggio n’auciello che si chiama cricho Gvv) Califano: 282 10 Hanno raggion’affe queste citelle vv) Primavera: 263 28; 272 28; 350 28

Hai chi mi da consiglio Anville: 276 14 Hai lasso io mi credea fuggend’il sole (6vv) Baccusi: 385 2 Hai lasso io mi credea fuggend’il sole (Svv) Berchem: 204 4 Haime non viddi mai tanta durezza (3vv) Mazzoni: 343 6 1050

Italian Texts

Herbosi prati e liete valli amene (Svv) Striggio: 354 1; 377 1 Hiersera andai da la mia manza bella (3vv) Bonardo: 267 2; 296 2 Hiersera andai da la mia manza bella (Svv) Ferretti: 368 4

Hiersera andai da la mia manza bella (3vv) Primavera: 351 12

Hippolita s’amor in quel bel viso Veggio: 12 40

Ho inteso dir che la virtu si trova (3vv) Bonardo: 267 6; 296 6

Ho na doglia nel core che m/atterra Donato: 101 15; 152 10 Ho na doglia nel core che m/’atterra [no attribution]: 109 10 Ho udito che la fante (3p. of Nella vaga stagion) (7vv) Striggio: 289 1; 331 1

Ho visto l’altro giorn’a no giardino (3vv) Troiano: 309 15 Hoggi la speme, deg!’ elett’ingegni (2p. of Cedi fortun’homai) (Svv) = Nasco: 219 17 Hoggi trionfa amor lieto e giocondo (3vv) Venturi: 379 ! Hor ben dovrebbe al par de gl’aurei gigli (2p. of Le strane voci Vinci: 380 11 dolorosi accenti) (Svv)

Hor ben giusto il furor de la superba (Svv) Adriani: 335 5

Hor che con lieti e con soavi accenti Chamaterd: 320 17

Hor che di lei son privo Ragazzo: 252 24 Hor che ’1 ciel ¢ la terra e ’1 vento tace Adriani: 298 10 Hor che ’I ciel e la terra e *1 vento tace Arcadelt: 2 40 Hor che ’! ciel e la terra e ’1 vento tace Chamaterd: 320 3

Hor che ’I ciel e la terra e °1 vento tace (Svv) Rore: 28 2; 46 13; 129 2; 168 2; 213 2

Hor che ’| mio vivo sole altrove splende (Svv) Monte: 373 5

Hor che la nobil lingua fredda giace (2p. of II car’é morto) (Svv) Palestrina: 313 12

Hor che I’ aria et la terra per natura destino (Svv) Rore: 28 19; 129 20; 168 20; 215 2

Hor che lucent’e chiara (Svv) Striggio: 185 3; 186 7; 2747

Hor che ’n si dolce servitu mi truovo Martinengo: 42 25 Hor che ne |’occean’il sol s’asconde Hoste da Reggio: 127 8 Hor che non s’odon per le fronde i venti Ciera: 121 14 Hor che ritorn’il Sol con suoi bei rai (Svv) Monte: 311 4; 373 16 Hor che ritorna a star col taur’il sole Schaffen: 82 22 Hor che sara di noi (12p. of Mio pan’anzi mia vita) (6vv) Nasco: 243 | Hor che scesa nei cor celeste voce (Svv) Adriani: 336 4 Hor che sera de la mia vit’ amore Ferro (Schaffen): 94 24; 118 24 Hor che son rott’i lace’e spent’il foco Primavera: 329 29 Hor che spogli’ha di te l’invido sole (Svv) Adriani: 313 6

Hor chi fia che vendetta (Svv) Striggio: 354 23; 377 23

Hor ch’i sublimi gradi (Svv) Contino: 179 7 Hor chi t’ha fatta figlia quacquaruta (3vv) Candido: 364 5 Hor chi vuol si rallegr’a le mie notti (Svv) Rufilo: 198 18

Hor ch’un grave dolor m’affligge tanto [4 vv] (6vv) Striggio: 378 16 Hor date fuor de grossi e ’| gross’istesso (2p. of Al vago) (Svv) Striggio: 331 3 Hor dico che di me si come il sole (3p. of Hor che non s’odon) Ciera: 121 14 Hor e mutato il corso alla mia vita (2p. of I piu soavi e riposati) Scotto: 29 24 Hor ecco’alme superb’il prd ch’il vostro (10p. of Questo si ch’é Porta: 357 6 felic’e lieto giorno) (5vv)

Hor hai fatto l’estremo di tua possa 3vv) Scotto: 22 30; 83 30 Hor lasso & di me privo & de l’aspetto (2p. of In voi mi trasformai) § Duc: 341 2

Hor mentr’il bel pianeta (4p. of Hor che lucent’e chiara) (Svv) Striggio: 185 3; 186 7; 274 7 Hor m’ha post’in oblio con quella donna (20p. of Quel’ antico mio Lagudio: 231 3 dolce empio signore) (Svv)

Hor non so com’all’amoros’impaccio (2p. of Spent’era gia) (Svv) Zarlino: 219 3

Hor pensat’al mio mal qual esser deve (3vv) Gero: 113 35 Hor pensat’al mio mal qual esser deve (2p. of Per pianto) (3vv) Ghibel: 110 22 Hor pensat’al mio mal qual esser deve (2p. of Per pianto) (Svv) Ruffo: 204 3

Hor per ciascun paese (6p. of Ecco pur riede il sole) Rossetto: 295 8 Hor qui son lasso e voglio esser altrove (Svv) Lasso: 167 6; 180 6; 211 6; 285 6

Hor se mi mostra fa mia carta il vero Cataldo: 170 46

Hor se mi mostra la mia carta il vero (6vv) Striggio: 378 24

Hor s’io lo scaccio & non trova in voi (2p. of Mille fiate o dolce mia — Primavera: 262 10 guerrera) (Svv)

Hor su di questi fiori & di quest’erbe (6vv) Dorati: 166 14 Hor su la nuda terra hora su herbe (6p. of Del freddo Rheno) Lasso: 222 5

Hor tregu’havran’i miei caldi sospiri Arcadelt: 294 20 1051

Index of First Lines Hor tu ch’hai posto te stesso in oblio (2p. of Mira quel colle) (Svv) Primavera: 262 4

Hor va canzona mia liet’e sicura (S5vv) Ferretti: 342 13; 390 13

Hor va canzona mia liet’e sicura (3vv) Troiano: 332 26

Hor va canzona mia non dubitare (Svv) Ferretti: 283 1; 305 1; 334 1; 366 | Hor va canzona mia non dubitare Gvv) (no attribution]: 226 10; 266 10

Hor ved’amor che giovenetta donna Arcadelt: 12 28

Hor vedete madonna Arcadelt (Ihan): 1 | Hor vedi amor che giovinetta donna Berchem: 139 12

Hor vedi amor che giovinetta donna Ghibel: 123 1

Hor vedi amor che giovinetta donna (5vv) Tortora: 355 12 Hor vedi amor quant’e |’amor mio grande Ciera: 121 16 Hor vedi amor quant’e l’amor mio grande Veggio: 12 2

Hor via di buona voglia (4p. of Una legiadr’e bella) Werrecorre: 103 4

Hor vinto da pietate, & da cordoglio Ragazzo: 252 6

Hor volge signor mio l’undecim’anno (2p. of Padre del ciel) (Svv) Padovano: 219 12 Hor voige signor mio l’undecim’ anno (2p. of Padre del ciel) (6vv) Primavera: 262 13 Hor volge signor mio l’undecim’anno (2p. of Padre del ciel) (Svv) Rore: 46 1; 223 15 Hor volge signor mio Pundecim’ anno (2p. of Padre del ciel) (2vv) Scotto: 23 20; 111 21; 159 21; 224 21; 395 21

Hora ch’t fiumi altieri (Svv) Dorati: 166 7

Hora per far le mie dolcezze amare (2p. of Io son si stanco) (5vv) Lasso: 167 29; 181 12; 212 12; 286 12 Hora per far le mie dolcezze amare (2p. of Io son si stanco) (6vv) Monte: 326 3; 372 3

Human stile non pud spiegar in carte 2p. of Margarita la cui Micheli: 357 8 belta’immortale) (Svv)

Huomini e dei solea vincer per forza Ragazzo: 252 10 Huomini e dei solea vincer per forza (4p. of La ver |’aurora) Vicentino, D.: 158 5 Huomo non veggio qui, non ci veggi’ opra (1 1p. of Fra quanti amor Rossetto: 288 | fra quante fed’al mondo) (5vv)

Huomo non veggio qui, non ci veggi’opra Spontone: 160 19 I’ see Io

1] begl’occhi ond’io ful percosso’in guisa (6vv) Monte: 326 2; 372 2

I cari bac’ond’io sol vita prendo (Svv) Clerico: 208 18

I corall’ & le perle Arcadelt or Corteccia: 39 12; 117 23 I dolci colli ov’io lasciai me stesso Adriani: 298 11

I dolci colli ov’io lasciai me stesso (Svv) Chamatero: 319 3 I dolci colli ov’io lasciai me stesso (6vv) Striggio: 206 1; 273 1

I dolci sguardi toi alta signora Waelrant: 265 7

I giuramenti e le promesse vanno (2p. of E poi che nota limpieta) Hoste da Reggio: 126 14

I giuramenti e le promesse vanno Schiavetto: 238 18 I lieti campi i verdi ameni colli Chamaterd: 320 16

I pensier son saette e ’! viso un sole (2p. of Amor m’ha posto) (Svv) — Perissone Cambio: 73 4 I pensier son saette e ’I viso un sole (2p. of Amor m’ha posto) (Svv) —- Vinci: 199 3; 240 3; 275 4

I piu soavi e riposati giorni (Svv) Chamaterd: 317 7

I piu soavi e riposati giorni Scotto: 29 24

I preghi miei tutti ne porta il vento (2p. of Amor s’io posso) (2vv) Scotto: 171 1!

I sguardi dolci tuoi cara signora (3vv) Mazzoni: 343 9 J sospir! amorosi che *] mio core (5vv) Barré: 15 3 II vaghi soventi martiri (Svv) Naich: 223 10 fiori & P amorose fronde Arcadelt: 94 22; 118 22

I vaghi fiori & l’amorose fronde Martinengo: 71 28 I vostri acuti dardi Verdelot: 14 8; 54 37; 85 37; 115 37; 146 37 Icar’incauto sconsolat’e mesto (Svv) Ghibel: 313 7 {caro cadd’e misero nel mare Montagnana: 158 7 Iddio gli angelli e ’! cielo (Svv) Hoste da Reggio: 125 | [gno soave ov’il mio foco alento Verdelot: 13 7; 14 34; 54 22; 85 22; 115 22; 146 22

Il bel ch’in voi risplende (4p. of S’io non v’amo & adoro) Gvv) Rossetto: 297 7 It bel fiume vicin le nimphe (2p. of II sol ch’il ciel qui intorno) (Svv) Chamaterd: 318 13

Il bel lume ch’uscia da quel bel viso Raimondo: 183 3 Il bel vis’e i begl’occhi e il bel parlare Gvv) Gorzanis: 370 20

Il bianco e dolce cigno Arcadelt: 17 1;37 15; 56 15; 119 1; 151 1; 165 1; 191 1; 299 1; 337 1 Il bianco gigli’e la vermiglia rosa Perego: 143 4 1052

Italian Texts

Hi capo d’Hidra in me diping’ amore Naich: 65 5; 107 23; 116 23; 163 23; 188 22 il car’é morto & pur lasso non sento (Svv) Palestrina: 313 12 Ii ciel amor & io tutt’in un punto (3vv) [no attribution}: 278 20 Il ciel che rado virth tanta mostra Arcadelt: 17 50; 37 38; 56 38; 119 29; 151 29; 165 28; 191 28; 299 31; 337 31

Il crudo et aspro gelo (2p. of Grato e benigno cielo) Fiesco: 229 9

Ii cuor m’avampa si ch’a pass’a passo Martinengo: 42 20 I] desiderio’e la speranz’ amore Rore: 276 | Il di ne port’il mese il mese l’anno Gvv) Fiolo: 280 6 Il di s’appressa e non puot’esser lunge (1|p. of Vergine bellache di § Portinaro: 307 7 sol vestita) (6vv)

Il di s’appressa & non puote esser lunge (1 1p. of Vergine bella che Romano, A.: 128 | di sol vestita)

Il di s’appressa & non puote esser lunge (11p. of Vergine bella che Rore: 99 5; 214 1 di sol vestita) (Svv)

Ii dolc’aspetto del celeste viso (Svv) Merulo: 220 16 It dolce & desiato frutt’ho colto (2p. of Leggiadre ninfe) (6vv) Monte: 347 16 Il dolce son ch’el vostro cor sovente Perego: 143 10

Il dolce sonno in cut sepulto giace (Svv) Palestrina: 358 6

I! dolce sonno mi promise pace Lupacchino: 164 15

I] dolce sonno mi promise pace Wert: 203 8 Il dolce vostro sguardo Ferro (Arcadelt): 94 23: 118 23 Ii dolor che m/’afflige o vita mia (Svv) Ferretti: 321 13; 367 13

Il dolor che m/’afflige o vita mia (3vv) Troiano: 309 20 J] fiero passo ove m’aggions’ Amore Manara: 72 20 Il giusto Iddio quando i peccati nostri (3vv) Ghibel: 110 16 Il giusto Iddio quando i peccati nostri Cataldo: 170 17 Il fals’amante che’i pensat’inganni (2p. of Fra quanti amor) Rossetto: 288 |]

Ii mal mi preme, & mi spaventa i] peggio (5vv) Rore: 28 10; 46 24; 129 11; 168 11; 213 10 Ii mio aversario con agre rampogne (1 1p. of Quel’antico mio) (Svv) —- Lagudio: 231 3

ji mio nuovo gran male si soave (6vv) Pesciolini: 235 22

Il non poter veder il divin volto (3vv) Gero: 113 3

Ii nostro gran dolore (3vv) Ruffo: 173 10; 281 16 Hi pianto é tal ch’ogn’altro piant’ avanza La Martoretta: 70 29

Hi piu forte di Roma (6vv) Monte: 347 10

Ii pregio d’honestate amat’& colto Pont: 157 35 Ii qual errand’in quest’e ’n quella parte Pont: 157 37 Il sol ch’il ciel qui intorno (Svv) Chamatero: 318 13 Il sonn’e veramente qual huom dice (2p. of Passer mai solitar’in Wert: 162 18; 200 18 alcun tetto) (Svv)

Il suo nome, e de suoi detti conserve (16p. of Quel’antico) (Svv) Lagudio: 231 3 Il suo Titon la ruggiados’aurora (2p. of La rabbia che non pur) (S5vv) = Ghibel: 3113

{I trist’essempio dell’ altrui tormento Perego: 143 23

Il tuo leggiadro volto vv) Bianco: 386 19 Il vag’e dolce sguardo Arcadelt (Layolla): 13 [l vag’e liet’aspetto (Svv) Spontone: 311 | Il vostro dipartir donna mi diede Casulana: 339 14

Il vostro dofce sguardo ond’io son foco (3vv) Tudino: 271 15 Il vostro dolce sguardo ond’io son foco (vv) Zappasorgo: 382 26

Illustre Alma gentile (5vv) Striggio: 185 10; 186 21; 274 21 Imaginata guida la conduce (2p. of S’amor novo consiglio) (Svv) Vinci: 199 2; 240 2; 27§ 15 Impio maligno inexorabil crudo Melfio: 149 23 Importuni pensier se longo tempo Veggio: 12 11 In atto & in parole la ringratio (2p. of Quand’ il soave mio fido) Adriani: 298 15 In atto & in parole la ringratio (2p. of Quand’ il soave mio fido) Montagnana: 158 4 In atto & in parole la ringratio (2p. of Quand’ il soave mio fido) Zarlino: 295 13

In biancho [etto al’apparir def giorno Ciera: 1212 In bosco non e fiera, o augell’in piaggia (Svv) Aretino: 156 18 In cui splend’e riluce a parte a parte Fiesco: 229 2

In dolce fuoc’ardendo Menon: 79 3

In dubbio di mio stato hor piango, hor canto (Svv) Animuccia: 181 10; 212 10; 2869

In dubbio di mio stato hor piango, hor canto Nola: §1 28

In dubbio di mio stato hor piango, hor canto (Svv) Rufilo: 198 7 1053

Index of First Lines

In dubbio di mio stato hor piango, hor canto (3vv) Scotto: 22 21; 83 21; 216 12 In ferma alta colonna (2p. of Colonna di smeraldo) (Svv) Monte: 182 3; 3453 -

In fin allhor che mi s’incominciaro Martinengo: 42 13 In me cresce |’ardor cresce la doglia (2p. of Con lagrime ch’ogn’hor Monte: 346 5 da gli occhi versi) (Svv)

In me cresce 1’ardor in voi l’orgoglio Arcadelt: 1 23

In me tanto l’ardore (6vv) Monte: 347 1

In picciol tempo passa ogni gran pioggia (3p. of L’aere gravato) Chamatero: 320 1

In picciol tempo passa ogni gran pioggia Dalla Viola, F.: 72 13 In picciol tempo passa ogni gran pioggia (3p. of L’aere gravato) Lando: 155 |

In picciol tempo passa ogni gran pioggia Ruffo: 53 13; 150 19; 184 19 In qual dur’alpe in qual soling’e strano (Svv) Pesciolini: 235 2

In qual dur’alpe in qual soling’e strano Ragazzoni: 45 21 In qual parte del ciel, in qual idea Adriani: 298 2 In qual parte del ciel, in qual idea (5vv) Chamatero: 319 2

In qual parte del ciel, in qual tdea Gero: 78 14

In qual parte del ciel, in qual idea (Svv) Lasso: 167 31; 181 11; 212 11; 286 11

In qual parte del ciel, in qual idea (Svv) Monte: 373 | In qual parte del ciel, in qual idea Perego: 143 2 In qual parte del ciel, in qual idea (Svv) Rufilo: 198 9 In qual parte del ciel, in qual idea (Svv) Vinci: 380 10

In quel ben nato aventuroso giorno (5vv) Vicentino, N.: 59 3

In questa allegra e cara (Sp. of Ecco pur riede il sole) Rossetto: 295 8

In questo di giocondo (5p. of Sovra una verde riva) (3vv) [no attribution]: 222 17

In questo di si bello (4p. of Porgetemi la lira) (Svv) Chamaterd: 319 |!

In questo mondo piu non voglio stare (3vv) Policreto: 383 4

In questo passa il tempo e ne lo specchio (2p. of Amor mi manda Monte: 182 13; 345 13 quel dolce pensiero) (Svv)

In silentio parol’ accorte e sagge (Sp. of Mai non vo piu) (3vv) Mira: 297 6 In somm’amor suprem’un don ti chieggio (6p. of Destra di quel amor Courtois: 243 2 ch’ogn’altr’amore) (6vv) In sonn’eterno spero chiuder gl’occhi (2p. of Non ha tante serene Lasso: 287 2; 232 2

stell’i) cielo) (Svv) .

In tal sembianza veddi La Martoretta: 70 9

In te i secreti suoi messagg’amore (2p. of Datemi pace) Adriani: 298 12 In te Marte in te Apolio (2p. of Mentr’al bel lett’ove dormia) (Svv) Willaert: 73 {2

In Toledo’una donzella vagh’e bella (3vv) [no attribution]: 278 5

In tutto voi ch’io mor’o traditora Waelrant: 265 23 In un bel prato di fiorett’adorno Gvv) Gero: 113 !

In un bel prato di fiorett’adorno (3vv) Festa, C. (La Martoretta): 66 31; 216 23

In un boschetto ameno Martinengo: 71 4 In un boschetto novo i rami santi Gp. of Standomi un giorno) (Svv) —_— Lasso: 181 1; 212 1; 286 1

In un boschetto novo i rami santi (3vv) Rampollini: 221 16

In van rete sei tesa Martinengo: 42 10 In voi mi trasformai di voi mi vissi Duc: 341 2

Inaudita pieta mirabil pegno (Svv) Vicentino, N.: 59 19 Ind’a poco i pie miei fersi radici (2p. of Lauro gentil i] di) (Svv) Zarlino: 73 13 Indi per alto mar vid’una nave (2p. of Standomi un giorno) (Svv) Lasso: 181 1; 212 1; 286 | Indi tanta baldanza appo voi prese (2p. of Preso al primo apparir) Monte: 327 15

Infermi frutti gite al divin Pero (3vv) Bianco: 386 1

hfinita bellezz’e poca fede (2p. of Lasso ch’io ardo) (Svv) Pesciolini: 235 7

Ingiustissimo Amor perche si raro (3vv) Arcadelt: 173 27; 281 5 Ingiustissimo Amor perche si raro (3vv) Festa, C.: 66 3; 112 3; 1743

Ingiustissimo Amor perche si raro Lando: 155 19

Ingiustissimo Amor perche si raro (5vv) Merulo: 220 15 Ingiustissimo Amor perche si raro Ruffo: 53 10; 150 2; 184 2

Ingiustissimo Amor perche si raro Cataldo: 170 2

Ingiustissimo Amor perche si raro (3vv) Scotto: 22 16; 83 16; 216 14

Ingrat’Amor a tanta servitude (3vv) Merulo: 359 2; 398 2

Intorno al bianco tuo petto scherzando (3vv) Bianco: 386 6 Invidioso Amor del mio bel stato (Svv) Striggio: 185 27; 186 2; 205 8; 274 3

Io amai sempre et amo forte ancora Volpe: 147 3

Io ard’e ’! foc’e tale Hoste da Reggio: 126 2 1054

Italian Texts

Io arsi per voi donna e per voi ardo (Svv) Rufilo: 198 4 Io benedic’il loco el temp’& l’hora (2p. of Quando fra l’altre) (Svv) Rore: 73 5; 215 11

Io canterei d’amor si novamente Rore: 130 3

Io canterei d’amor si novamente (2vv) Scotto: 171 31

Io canteréd di quell’almo splendore (Svv) Converso: 388 16 Io che con mille frodi m’ho diffeso (Svv) Roussel: 132 [8 Io che conosco come tu m’informe (2p. of Si tosto come il di) vv) |= Chamaterd: 319 9 Io che di viver sciolto havea pensato (Svv) Arcadelt: 15 21 Io che di viver sciolto havea pensato (Svv) Ruffo: 132 6 Io che forma celest’in terra scorsi (2p. of Su l’ampia fronte) (Svv) Cavatoni: 387 12 Io che morrei contento Schaffen: 82 11

Io che tropp’alt’amor volsi seguire (Svv) Ferretti: 283 7; 305 7; 334 7; 366 7

Io che tropp’alt’amor voisi seguire vv) [no attribution]: 226 69; 266 69 Io ch’el suo ragionar intend’all’hora (2p. of L’aspetto sacro) (Svv) Roussel: 205 2

Io credea che ’1 morire (3vv) Ferro: 221 13

Io credea che ’| morire Rore: 130 10

Jo credo che bastar tu debbi sola (7p. of S’io non v’amo) (3vv) Rossetto: 297 7

Io di ch’e sturno et tu dici ch’ paporo (3vv) Nola: 24 16

lo dicea fra mio cor, perche paventi? (2p. of Perseguendomi amor al _—Rore: 28 13; 46 12; 129 18; 168 18; 215 7 luogo usato) (Svv)

Io dico che fra voi potenti dei Arcadelt: 17 38; 37 18; 56 18; 119 13; 151 13; 165 11; 191 11; 299 14; 337 14 lo dico & dissi & dird fin ch’io viva (Svv) Clerico: 207 7

lo dico & dissi & dird fin ch’io viva (2p. of Grave pen’in amor) Rore: 95 17; 173 2; 281 2 provan molte) (3vv) lo die in guardia a San Pietro hor non piu no (2p. of Mai non vo piu —- Gabrieli: 297 6 cantar com’io solea) (3vv)

Io die in guardia a San Pietro intendami chi Melfio: 149 18

lo d’odorate frond’e de bei fiori Casulana: 339 3

Io felice pastore (4p. of Cinta di fior’un giorno) Casulana: 339 8 Io gridai sempre e grido-forte anchora (Svv) Hoste da Reggio: 125 10

Jo ho nel cor un gielo . Arcadelt (Layolle): 17 12; 37 26; 56 26; 119 17;

15117 Io io donna son preso € si vuo dire (3p. of Danzava con maniere) Monte: 327 14

Io me n’andava al cielo (Svv) Cottone: 389 5

Io me ne volo a voi con l’almae ’! core (Svv) Converso: 388 28 Io mi credea scemare Gero: 117 11 fo mi daria la morte (3vv) Policreto: 383 9

Io mi pensai che spento foss’el foco Arcadelt: 17 47; 37 47; 56 47; 119 38; 151 38; 165 29; 191 29; 299 30; 337 30

Io mi riscuot’e trovomi si nudo (2p. of Quand’io mi volgo) (Svv) Wert: 201 11; 202 11

Io mi rivolgo in dreto a ciascun passo Gero: 77 10 Io mi sento per voi nel gran martire Berchem: 139 4

Io mi son giovinetta e volentieri Ferrabosco: 107 31; 116 31; 163 31; 18830; 294 4

lo mi son giovinetta e volentieri (2vv) Scotto: 1719

Io mi vivea com’ Aquila mirando (3vv) Lando: 271 27 Io mi vivea di mia sorte contento (Svv) Monte: 182 10; 345 10 Io mi vivea di mia sorte contento (Svv) Rore: 46 4; 223 14 Io moro crudelaccia e tu nol vedi (3vv) Pinello: 394 20 Io moro e mi distrugo per tuo amore (5vv) Romano, A.: 371 4

Io moro et altr’hor’crede Ruffo: 94 3; 118 3 Io moro il suo bel viso (Svv) Ruffo: 132 5 lo navigai un tempo per un mare (3vv) Arpa: 349 2 Io navigai un tempo per un mare (3vv) Lando: 280 |

Io nol dissi giamai (Svv) Dorati: 166 8

Io nol dissi giamai (5vv) [no attribution]: 15 37 Io nol dissi giamai ne dir poria (6p. of Se io ’1 dissi mai ch’i venga Ruffo: 131 13 in odio a quella) (6vv)

Io non chieggio da voi gentil mia donna Candido: 364 15 Io non hebbi giamai tranquilla notte (3p. of Non ha tanti) (Svv) - Chamaterd: 318 1

Io non hebbi giamai tranquilla notte (3p. of Non ha tanti) Montagnana: 158 2 Jo non hebbi giamai tranquilla notte (3p. of Non ha tanti) Raimondo: 183 10 1055

Index of First Lines

Io non porria giamai Reulx: 35 23 Io non posso lasciarti anima mia (Svv) Ferretti: 368 19

Io non posso [asciarti o vita mia (3vv) Giovan Antonio: 271 25

Jo non saprei mai dir di che mi doglio Berchem: 139 2

Io non so dir parole Ferrabosco: 65 33; 107 34; 116 34; 163 34; 188 33; 2947

Io non so se le parti sarian pari (2p. of Vago augelletto) (Svv) Cavatoni: 387 11

Io non so se le parti sarian pari (2p. of Vago augelletto) Mazzone: 324 !4

Jo non trovo me stesso Donato: 101 23; 109 26; 1§2 25

Io non trovo me stesso (Svv) Ruffo: 169 1

Io non vo che si dica Aretino: 81 14

Io non voglio lodar la maraviglia (Svv) Schiavetto: 238 7 Io penso & nel pensar pensieri penso (3vv) Gero: 113 20

Io persi lo mio cor ad un’impresa (3vv) Arpa: 271 2

Io persi lo mio cor ad un’impresa Mazzone: 360 36; 397 36

Io piango ch’el dolore Ruffo: 94 7; 118 7

Io piango e poi sospir’a poco a poco (Svv) Romano, A.: 344 12; 391 12 Io piango ei mi rispose lo mio bene (3p. of L’altr’hier dalla mia villa Policreto: 383 21

ritorando) (3vv)

Io piango et ella il volto vv) Ferro: 221 5 Io piango et ella il volto (7p. of Quand’ il soave mio fido conforto) Montagnana: 158 4

Jo piango et ella il volto (vv) Vidue: 232 15; 287 15

Io piango io ardo e amo (3vv) Pinello: 394 10 Io piansi hor canto che ’| celeste lume (Svv) Monte: 348 10

Jo piansi hor canto che ’1 celeste lume (5vv) Perissone Cambio: 49 16

Io potrei forsi dire Arcadelt: 2 32

Io potro dir’o de la propria vita (2p. of Quand’ amor fia) (5vv) Hoste da Reggio: 125 2!

Io procaccio martir per poter poi Nola: 172 17

lo pur fugo sperando Lando: 155 2 Io qui non miro pit quel che solea vv) Pinello: 394 6 Io qui non miro pit: quel che solea (2p. of Tra piu beati) (Svv) Rore: 264 9; 330 10

Io sarod sempr’avinto a tutte hore (6vv) Vinci: 381 5

Jo segu’a chi mi fugg’e mi s’asconde Waelrant: 265 16 : Io seguo Amor, et tra li suoi guerrieri Ghibel: 123 4 Io son d’amor ferito e quasi morto (3vv) Pinello: 394 15

Io son de l’aspettar homai si vinto (2vv) Scotto: 23 34; 111 32; 159 32; 225 5

Io son donna disposto di morire Veggio: 12 37 Io son farfalla & voi sete la luce (3vv) Nola: 280 2

Io son farfalla & voi sete la luce (3vv) Zappasorgo: 382 6

Io son ferito ahi lasso & chi mi diede (Svv) Nola: 277 10 Io son ferito ahi lasso & chi mi diede (Svv) Palestrina: 358 8

fo son ferito ahi lasso (3vv) Pinello: 394 9

Io son ferito e fugg’ ogni conforto (Svv) Ferretti: 368 13 Jo son ferito e fugg’ogni conforto Bvv) Fiorino: 369 19

Io son gia morto perch’ho perso il core (Svv) Romano, A.: 344 24; 391 24

Jo son gia stanco di pensar si come (6vv) Monte: 326 4; 372 4 Io son gia stanco di pensar si come (3vv) Scotto: 22 56; 83 56

Jo son madonna mia per voi gia morto (Svv) Romano, A.: 344 13; 391 13

Jo son qual sempre fui tal esser voglio Ruffo: 53 19; 150 29; 184 29 Io son Si stanco sotto il grave peso (Svv) Lasso: 167 29; 181 12; 212 12; 286 12 Io son si stanco sotto il grave peso (6vv) Monte: 326 3; 372 3

Io son si stanco sotto il grave peso Raimondo: 183 13 [o son si stanco sotto ’1 fascio antico Nola: 51 4 Io son si vagha de 1a mia bellezza (2vv) Scotto: 171 10 Io son si vago de li miei sospiri Caldarino: 189 22; 250 21

Io son tal volta donna per morire Festa, C.: 14 46

Jo son tal volta donna per morire (2vv) Scotto: 23 6; 111 6; 159 6; 224 6; 395 6

Io son tal volta donna per morire Verdelot: 54 53; 85 53; 115 53; 146 53

Io son un d’amor legato (3vv) Pinello: 394 17 Io son un spirto che d’amor legato (3vv) Flori: 279 10

Io son venuto per guida d’Amore (3vv) [no attribution]: 226 8; 266 8

Io son’una giovinetta et volentieri Ferrabosco: 65 26 Io sto in sospetto e gia di veder parmi (12p. of Fra quanti amor) (6vv) Rossetto: 288 |

1056

Italian Texts lo temo di cangiar pria volt’e chiome (Sp. of Giovane donna sotto) Gabrieli: 312 1 Io temo di cangiar pria volt’e chiome (Sp. of Giovane donna sotto) Roussel: 222 18 Io temo di cangiar pria voit’e chiome (Sp. of Giovane donna sotto) Tortora: 355 19

Io temo si de begl’occhi I’assalto (Svv) Monte: 373 8

lo t haggio amata & ameraggio ancora (3vv) Trojano: 290 7; 310 7

Jo t’ho portato donna grand’ amore Waelrant: 265 29 Jo t’ho veduto in que’ begl’occhi Amore (3p. of La dolce vista e ’1 Gero: 78 16

bel guardo soave) . bel guardo soave) (3vv)

fo tho veduto in que’ beg!l’occhi Amore (3p. of La dolce vista e ’[ Monte: 312 6; 327 |

io v’am’e taccio o dolce vita mia (Svv) Ferretti: 368 9

lo v’amo anci v’adoro (3vv) Gero: 113 25 lo veggi’ apertamente Perego: 143 19 Io veggio a gl’occhi toi un non so che (3vv) [no attribution]: 278 6

Io veggio tante gratie in quel bel viso Hoste da Reggio: 126 17

lo veggio tante gratie in quel bel viso Lando: 155 3 Io vi chieggio crude! ant’al partire Corteccia: 39 6 lo vidi Amor ch’i begl’occhi volgea (2p. of Ne cosi belli sol) Chamaterd: 320 2 Io vidi in terra angelici costumi (Svv) Gabrieli: 220 5 Io vidi in terra angelici costumi (Svv) Monte: 182 14; 345 14 lo vidi in terra angelici costumi (2vv) Scotto: 171 26

Io vid’un gran miracolo l’altr’hieri (3vv) Dattari: 303 13 Io vo cercando e mai posso trovare (3vv) Mazzone: 360 20; 397 20 Io vO cercando e mai posso trovare (3vv) Scotto: 376 10 lo vo cercando o belle donn’il core (3vv) Scotto: 376 7

Io vo cercando o belle donn’il core (3vv) [no attribution]: 278 10; 352 26; 363 12

lo vo fuggend’in questa part’e in quella (Svv) Vinci: 380 8

Io vo fuggendo per deserte piagge Lasso: 172 12 Io vo gridando come spiritato (Svv) Converso: 388 1 Io vo la notte al lume della luna Donato: 304 15 Io vo morir non sia alcun che di vita (3vv) Fiorino: 369 18 Io vO pensando pur com’el sia vero Arcadelt: 1 13

lo vo fuggendo per deserte piaggie (4p. of Non ha tante serene) Lasso: 232 2; 287 2

Io vd piangendo i miei passati tempi (Svv) Chamaterod: 318 8 Io vo piangendo i miei passati tempi (Svv) Gabrieli: 220 4

Io vd piangendo i miei passati tempi Nola: 94 15; 118 15 Io vd piangendo 1 miei passati tempi (6vv) Primavera: 262 11 lo vo piangendo i mici passati tempi (Svv) Ruffo: 243 12 Io vO piangendo i miei passati tempi (3vv) Scotto: 353 7

lo vo piangendo i miei passati tempi Scotto: 29 3

Io vO piangendo i miei passati tempi (Svv) Vidue: 277 13 lo vo piangendo i miei passati tempi (6vv) Vinci: 381 11 Io vO piangendo i miei passati tempi (Svv) Wert: 201 8; 202 8 Io vo piangendo i miei passati tempi (Svv) Zarlino: 219 4 Io volea dimandar Rispondi’io alVhora (Sp. of Quand’ il soave mio) Montagnana: 158 4

Io vorrei Dio d’amore (3vv) Festa, C. (Fogliano): 66 27; 112 31

Io vorrei pur fuggir crudel’amore Corteccia (Arcadelt): 17 5; 37 23; 39 26; 56 23; 119 9; 151 9; 165 8; 191 8; 299 9; 337 9

Io vorrei pur fuggir crudel’amore (2vv) Scotto: L118; 159 8; 224 8. 395 8 lo vorria diventar quando potessi (3vv) [no attribution]: 226 74; 266 74 Irato a sdegno un giorno scrisse amore (3vv) Ghibel: 110 4; 173 17

Isabella gentil leggiadra e bella Melfio: 149 6

Isabellin dolc’animetta mia Schaffen: 82 7 Isabellin dolc’animetta mia Veggio: 12 39 .

Issa in bona fe quanto sei bella Nasco: 154 2; 197 2; 260 2

Italia mia, ben che ’I parlar si’indarno (6vv) Ruffo: 131 3 Italia mia, ben che ‘1 parlar si’indarno (2vv) Scotto: 171 6 Italia mia, ben che ’I parlar si’indarno (Svv) Verdelot: 15 6

Ite caldi sospiri al freddo core (Svv) Berchem: 15 28

Ite caldi sospiri al freddo core (Svv) Chamaterod: 317 12 Ite caldi sospiri al freddo core Gero: 78 11 Ite caldi sospiri al freddo core vv) Nadal (Olivier): 95 20; 281 19

Ite felici fior in man di quella Ragazzoni: 45 26 1057

Index of First Lines

Ite pensier miei vaghi ai dolci rami (Svv) Monte: 346 13

Ite rime dolenti al duro sasso Gero: 77 31

Ite rime dolenti al duro sasso (5vv) Monte: 346 9 Ite rime dolenti al duro sasso Romano, A.: 128 10 Ite rime dolenti al duro sasso (Svv) Rufilo: 198 21

Ite rime dolenti ite sospiri (Svv) Rore: 215 10 Ite rozze parolle Schaffen: 82 16 Itene a l’ombra de gli ameni faggi (3vv) Scotto: 22 50; 83 50; 216 10 Itte tristi sospiri alle chiar’onde Arcadelt (C. Festa): 1 6

Ivi é la spenta e fral terrena spoglia (2p. of Voi ch’in vista) (Svv) Padovano: 292 4; 356 4 Ivi ’t parlar che nullo stil’aguagtia (2p. of Qual donn’attende) Hoste da Reggio: 127 21 Ivi ’1 parlar che nullo stil’aguaglia (2p. of Qual donn’attende) (Svv) Rore: 73 10; 214 8

Ivi senza riposo i giorni mena (2p. of Cura che di timor) (Svv) Roussel: 205 6 Ivi senza riposo i giorni mena (2p. of Cura che di timor) (Svv) Wert: 162 13; 200 13

La bella Bradamante che se stessa La Martoretta: 70 18 La bella donna a cut donasti ’! core Verdelot: 14 14; 54 24; 85 24; 115 24; 146 24 La bella man mi porse Verdelot: 14 11; 54 16; 85 16; 115 16; 146 16 La bella nett’ignuda & bianca mano Rore: 72 4; 130 5

La belta rara dell’amato viso Duc: 341 6

La belta rara dell’amato viso Hoste da Reggio: 127 1 La cart’o Togna dello sposamento (3vv) Dattart: 303 7

La dea che nel mar nacque (3p. of Cinta di fior’un giorno) Casulana: 339 8

La dolce bell’ & cara bocca dove Perego: 143 22

La dolce etade lasso e ’! lieto tempo Chamaterod: 320 10 La dolce vista a me si dolcemente (6vv) Monte: 347 17 La dolce vista de vostr’occh’ardenti (Svv) Clerico: 208 11

La dolce vista e ’] bel guardo soave Gero: 78 16 La dolce vista e ’| bel guardo soave Monte: 312 6; 327 |! La donna che solea col guardo solo Gero: 77 18 La doppia sua bellezza (2p. of Non v’accorget’amantt) (2vv) Scotto: 23 2; 111 2; 159 2; 224 2; 395 2

La dove fanno ¢ sacri studi e |’armi (5vv) Chamaterd: 317 5

La dove il sol piu tardi a noi s’adombra [no attribution]: 107 7; 116 7; 163 7; 188 7; 293 7

La fabrica del mondo un spirto interno (Svv) Adriani: 335 7

La fiamm’ove tutt’ardo ¢ giunt’al core Animuccia: 172 13

La fiamm’ove tutt’ardo é giunt’al core (6vv) Pesciolini: 235 21

La figliola d’ Amon che piange ogn’hora Volpe: 147 2

La giustitia immortale Rore: 72 5; 130 6

La gran beltad’e I’humil alterezza Martinengo: 42 22 La grata vista & |’angelico riso Aretino: 81 22; 117 32 La guancia che fu gia piangendo stanca (Svv) Adriani: 336 2 La manza mia si chiama saporita Azzaiolo: 189 10; 250 10 La mia Chirazza tando mi contenda (Svv) Vento: 277 16 La mia leggiadra e candida angioletta Monte: 327 7 La mort’e fin d’una prigion oscura (5vv) Schiavetto: 238 9 La notte che segui l’horribil caso (Svv) Adriani: 336 17

La notte che segui l’horribil caso (Svv) Lasso: 358 17 La pastorella con la verg’in mano (Svv) Striggio: 292 3; 354 12; 356 3; 377 12 La pastorella di dormir gia stanca (3vv) Borghese: 297 5

La pastorella di dormir gia stanca (3vv) Scotto: 353 5 | La pastorella mia (6vv) Baccusi: 385 3 La pastorella mia (3vv) Mazzoni: 325 22 La pastorella mia 3vv) [no attribution]: 226 22; 266 22

La pastorella mia che m’inamora (5vv) Vicentino, N.: 59 1 La pena del mio core Primavera: 329 18

La persona che va (3vv) Arpa: 360 7; 397 7 La persona che va (3vv) Primavera: 352 6 La prima volta ch’io ti risguardai (3vv) Primavera: 352 5 La qual hor cinta di silentio eterno Pont: 157 23 La qual in somm’é questa ch’ogn’un viva Pont: 157 3

La rabbia che non pur spavent’e horrore (Svv) Ghibel: 311 3

La rondinella garrul’e leggiera Ruffo: 53 3; 150 25; 184 25 1058

Ttalian Texts

La rondinella garrul’e leggiera (Svv) Tortora: 355 § La sera desiar, odiar l’aurora (Svv) Chamatero: 319 10 La sera desiar, odiar |’aurora (Svv) Primavera: 262 5 La sera desiar, odiar l|’aurora (Svv) Schieti: 219 10 La Signoria ha fatt’un gran consiglio 3vv) Primavera: 351 11

La sorte traditora m’assassina Dattari: 303 22

La state prim’havra pruine e ghiaccio Gvv) Perugino: 36f 20 La terra di novelli & vaghi fiori (2p. of Cantiamo lieti) (Svv) Rore: 223 1

La ver l’aurora che si dolce Il’aura (6vv) Striggio: 206 9; 273 10

La ver |’aurora che si dolce |’aura Vicentino, D.: 158 5 La verginella é simile alla rosa (Svv) Chamatero: 318 10 La verginella é simile alla rosa Dalla Viola, F.: 72 29

La verginella é¢ simile alla rosa Donato: 304 19 La verginella é simile alla rosa Ghibel: La verginella é simile alla rosa Hoste da Reggio: 126 6 La verginella é simile alla rosa Raimondo: 183 6 La verginella é simile alla rosa (Svv) Ruffo: 169 2 La verginella ¢ simile alla rosa Spontone: 160 6

123 18

La verginella é simile alla rosa (Svv) Wert: 162 19; 200 19 La villanella quand’ all’acqua va Gvv) Primavera: 351 4 La virti dico che volando al cielo (22p. of Quando miro la terra) Dorati: 340 1 La vita fugge & non s’arresta un’hora Adriani: 298 13

La vita fugge & non s’arresta un’hora (Svv) Lasso: 232 11; 287 11

La vita fugge & non s’arresta un’hora Nola: 51 13

La vita fugge & non s’arresta un’hora (Svv) Rore: 28 8; 46 19; 129 5; 168 5; 213 5 La vita fugge & non s’arresta un’hora (2vv) Scotto: 23 25; 111 25; 159 25; 224 25

La vita nostra e com’un bel thesoro (3vv) Gero: 113 22

La voce del mio cor per l’aria sento (2p. of Poi che spiegat’ho) (6vv) Striggio: 206 13; 273 13

Lacci cathene e ceppi Wert: 203 18 Ladra traitora turca renegata (S5vv) Romano, A.: 371 15

L’aere gravato e l’importuna nebbia Arcadelt: 164 2 L’aere gravato e |’importuna nebbia Chamatero: 320 1 L’aere gravato e l’importuna nebbia Lando: 155 | L,’affanno di Ruggier ben veramente Cataldo: 170 39 Lagrimando dimostro (2vv) Scotto: 23 37; 111 35; 159 35; 225 6

Lagrimando dimostro Scotto: 29 22 Lagrimando dimostro (3vv) Scotto: 353 8

Lagrime mesti & voi sospir dolenti Willaert: 241 3 L’alma belta de luminosi rai (Svv) Clerico: 207 5

L’alba risona d’ogni intorno e sento (3vv) Primavera: 263 31

L’alma che gia soffrisce tal tormento Primavera: 329 14

L’alma ch’errando va vv) Fiorino: 369 23

L’alma cui morte dal suo albergo caccta (2p. of Far potess’io) (Svv) Wert: 201 4; 202 4

L’alma luce divina Perego: 143 8 L’alma mia fiamma oltra le belle bella (6vv) Merulo: 206 19; 273 19 L’alma pensosa el corpo afflitto & stanco Aretino: 819

L’alma vostra bellezza Martinengo: 42 2

L’Alta chiarezza mi solleva ’! core (2p. of Questa luce d’Amar)(S5vv) _Portinaro: 236 18; 94 11

L’alta speranza ov’io nodrisch’ il core Ruffo: 118 11 L’altiero gall’el fier empio serpente La Martoretta: 70 7 L’alto signor dinanz’a cui non vale (Svv) Lasso: 232 1; 287 |

L’ alto splendor ch’in voi sovent’infonde (Svv) Ruffo: 169 16 L’alto splendor ch’in noi sovent’infonde (5vv) Hoste da Reggio: 125 14

L’alto valor del vostro ingegno altero Scotto: 29 12

L’altr’hier andand’a spass’alla fontana (Svv) Ferretti: 283 13; 305 13; 334 13; 366 13

L’altr’hier dalla mia villa ritornando vv) Dattari: 303 4

L’altr’hier dalla mia villa ritornando (3vv) Policreto: 383 21 L’altr’hier sul mezzo giorno (5vv) Lasso: 167 21; 180 21; 211 21; 285 21 L’altr’hier vidi una vecchia affacendata (3vv) Zappasorgo: 382 23

L’altra mattin’assai piu de l’usato Rosso, il: 172 8

L’altri teri intis! dicere a Galluccio (3vv) Nola: 24 36 L’altro giorno mi disse donna stana (3vv) Gorzanis: 370 14 L’amor m’e dolce et util’e "1 mio danno Rufilo: 237 9 1059

Index of First Lines

L’Amore non si trova a comprare (3vv) Bonagiunta: 279 4

Lampeggio non fu dianzi Ghibel: 123 17 L’andar accort’el movimento grave Perego: 143 14

~ Languir non mi fa amore Arcadelt (Corteccia): 2 43 Languir non mi fa amore Corteccia (Arcadelt): 39 2 L’ardente fiamma e I|’amoroso lacio Lando: 155 13 L’aria s’oscura e di minute stelle Duc: 341 10 L’aria s’oscura e di minute stelle (Svv) Striggio: 206 17; 273 17 L’arme tue furon gli occhi onde I’accese (8p. of Amor se vuoi) (Svv) Dorati: 166 1

Lascia deh Tirsi mio lascia i bei fiori (Svv) Striggio: 354 2; 377 2

Lascia dolente cor la dur’impresa La Martoretta: 70 13

Lascia ninfa gentil, le spond’ herbose Spontone: 160 23 Lasciando il piu bel vel ch’unqua natura (Svv) Fiesco: 229 13

Lasciar’il velo o per sol’o per ombra Arcadelt: 17 22; 37 37; 56 37

Lasciar’il velo o per sol’o per ombra Gero: 78 3

Lasciar’il velo o per sol’o per ombra Layolle: 119 28; 151 28; 165 27; 191 27; 299 12; 337 12

Lasciar’il velo o per sol’o per ombra (S5vv) Tortora: 355 13

Lasciastimi piangendo (3vv) Candido: 364 24 Lasciatemi morir donna crudele (2vv) Scotto: 171 $

Lasciatemi morire Riccio: 40 3

Lasciatemi morire (6vv) Vinci: 381 3

Lasciato hai morte senza sole il mondo (3vv) Scotto: 22 43; 83 43 Lasciato hai morte senza sole il mondo (6vv) Striggio: 206 4; 273 4

L’aspetto sacro della terra vostra (Svv) Roussel: 205 2 Lassa che gia contenta di mia sorte (Svv) Monte: 348 9

Lasso, Amor mi trasporta, ov’io non voglio (S5vv) Chamatero: 318 3

Lasso, Amor mi trasporta, ov’io non voglio Nola: 51 19

Lasso, Amor mi trasport’ov’io non voglio (Svv) Schieti: 219 7 Lasso ben m’haveggio hor con mio gran danno Volpe: 147 22

Lasso ben sapev’io Monte: 327 2 Lasso ben so che dolorose prede (Svv) Monte: 346 2 Lasso ch’a quell’é che ristora’i danni (2p. of Arbor vittorioso) (Svv) = Gabrieli: 313 2 , Lasso che come vegg!’aprir al’alba (2p. of Quando la bell’ aurora) Rossetto: 312 7

Lasso che deggio far sel patrio nido Schaffen: 82 §

Lasso che destando (Svv) Ruffo: 169 15

Lasso che desiando vo in alcun modo (Svv) Berchem: 223 7 Lasso che mal accorto fui da prima (6vv) Monte: 326 16; 372 16

Lasso che mal accorto fui da prima (vv) Rore: 73 2; 2144 Lasso che mal accorto fui da prima (Svv) Wert: 201 9; 202 9 Lasso che pur da l’uno a l’altro sole (2p. of Tutto il di piango) Adriani: 298 §

Lasso che pur da l’uno a l’altro sole (2p. of Tutto il di piango) (Svv) = Dalla Viola, F.: 219 13 Lasso che pur da l’uno a l’altro sole (2p. of Tutto il di piango) (6vv) |= Monte: 326 13; 372 13 Lasso che pur da /’uno a!’altro sole (2p. of Tutto il di piango) (3vv) —-Rore: 95 19; 173 3; 281 3

Lasso che pur hormai Arcadelt: 2 34 Lasso che se creduto Verdelot: 14 40; 54 18; 85 18; 115 18; 146 18

Lasso ch’il crederia Lasso: 295 |

Lasso ch’io ard’e voi non Io credete (3vv) Bianco: 386 5

Lasso ch’io ardo & altri non me ‘I crede Gvv) Gero: 113 31 Lasso ch’io ardo & altri non me °I crede (Svv) Monte: 182 6; 345 6 Lasso ch’io ardo & altri non me I crede (5vv) Pesciolini: 235 7

Lasso ch’io ardo & altri non me ’! crede Romano, A.: 128 9

Lasso ch’io ardo & altri non me ’I crede (2vv) Scotto: 23 12; 111 12; 159 12; 224 12; 395 12

Lasso ch’io moro e lagrimando spesso Reulx: 35 16

Lasso ch’io non so ben [’hora ne ’! giorno Aretino: 81 27

Lasso ch’io non so ben !’hora ne ’I giorno Ruffo: 94 4; 118 4; 163 41; 188 12; 294 13 Lasso ch’io piango e *! mio gran duol non move Monte: 327 6

Lasso ch’io pur piango (3vv) Scotto: 22 29; 83 29 Lasso come potro donna gia mai (Svv) Aretino: 156 9

Lasso fia mai che doppo tante pene (5vv) Pesciolini: 235 9 Lasso gia quante volte Perego: 143 15 Lasso lasso ch’io fuggo Aretino: 81 26 Lasso me ch’ad un temp’e tacci’e grido (5vv) Adriani: 336 5 1060

Italian Texts

Lasso mi trova Amore Manara: 72 2 Lasso prima ch’io spiri Ruffo: 94 8; 118 8 Lasso quand’io credea Wert: 203 12 Lasso quand’io gli och’alz’al vostr’altiero stato Arcadelt: 1 24; 29 Lasso, nol so: ma si conosc’io bene (2p. of Se col cieco desir) (Svv) Schieti: 219 11

Lasso quando fia mai ch’amor ralenti Veggio: 12 36 Lasso quante fiate amor m’assale (5vv) Monte: 346 11 Lasso s’anchor la mia penosa vita (Svv) Corfini: 358 19 Lasso s’in un sol ponto (3vv) Gero: 113 33 Lasso s’io tremo & v6 co ’| cor gelato Dalla Viola, A.: 72 10

Latte latt’allo latt’o donne belle Candido: 364 18

L’atto d’ogni gentil pietate adorno (2p. of Quel sempre acerbo) (Svv) Rore: 28 15; 46 7; 129 15; 168 15; 215 3

L’augel sacro di Giove a quel valore (Svv) Rore: 214 5 L” aura amorosa il bel tempo rimena (8vv) Aretino: 156 30

Laura celeste che si dolcemente (Svv) Ruffo: 169 8 Laura celeste che si dolcemente [no attribution]: 164 26 L’aura che da vermiglie labbre spira Ragazzoni: 45 8 Laura che giont’al sacro fonte sei (Svv) Schieti: 219 9

L’aura che ’! verde lauro e |’aureo crine (Svv) Chamatero: 318 6 L’aura che ‘I verde Jauro e I’aureo crine (Svv) Vinci: 199 11; 240 11; 2759

Laura gentil al cor tengo mai sempre Melfio: 149 7

L’ aura gentil che novamente spira (Svv) Chamatero: 317 14 L’ aura gentil che rasseren’i poggi (Svv) Vinci: 199 6; 240 6; 275 11 Laura gentil che rasseren’il cielo vv) Tudino: 325 10 Lauro gentil il di che |’ aurea cetra (Svv) Zarlino: 73 13

Laura mia bella ben felice sei (3vv) Pinello: 374 S

L’aura serena che fra verdi fronde (3vv) Scotto: 22 41; 83 41 L’aura serena che fra verdi fronde (Svv) Vinci: 199 12; 240 12; 275 10

Laura si dolce spira Lupacchino: 32 25 L’ aura soave a cul governo e vela (2p. of Chi @ fermato) (Svv) Vinci: 380 9 L’aura soave che dal chiaro viso (2p. of Lasso quante fiate) (Svv) Monte: 346 11 Laura suave vita de mia vita Ciera: 121 11 Lavandera credil’a me (3vv) Pinello: 394 18 L’aver |’aurora che si dolce l’aura Casulana: 301 19 Lavinia se non sete (Svv) Striggio: 186 32

Le bionde treccie sopra ’! collo sciolte (2p. of Se mai candide) (Svv) —- Vicentino, N.: 59 6

Le citta son nemiche amici i boschi (Sp. of Non ha tanti) (Svv) Chamatero: 318 1

Le cittaé son nemiche amici 1 boschi (Sp. of Non ha tanti) Montagnana: 158 2 Le citta son nemiche amici i boschi (Sp. of Non ha tanti) Raimondo: 183 10

Le dolci rime Amore che per tua mercede (3vv) Scotto: 22 32; 83 32

Le donne a Roma portano le perle 3vv) Arpa: 271 6 Le donne antique hanno mirabil cose Cataldo: 170 20 Le donne i cavalier l’arme gl’amori Hoste da Reggio: 127 16 Le donne i cavalier \’arme gl’amori Cataldo: 170 1 Le fave ch’o chiantate al mio iardino (3vv) Nola: 24 37 Le gioie dell’amanti sono sospir’e pianti Nola: 349 20 Le lagrime l’angoscia & gli sospiri Romano, A.: 128 4 Le mie lagrime sol pianta gentile (5vv) Contino: 179 9

L’e na mala cosa il farse pregar (3vv) Vinciguerra: 359 20; 398 20

Le piramid’ & Memphi poi lasciate Pont: 157 13 L’e pur forza che i viseti (3vv) Bellavere: 359 19; 398 19 Le quali ella spargea si dolcemente (2p. of L’aura serena) (5vv) Vinci: 199 12; 240 12; 275 10 Le rose insieme i gigli & le viole Naich: 294 18 Le stelle e ’I ciel e gl’elementi a prova Gero: 77 23 Le strane voci i dolorosi accenti (Svv) Vinci: 380 11

Le treccie d’or che devrien far’il sole (3vv) Gero: 173 22; 281 24

Le tributarie genti (3vv) Candido: 364 22 Le vecchie per invidia sono pazze Willaert: 74 14

Leggiadra donna tra le degne degna Martinengo: 42 8

Leggiadra giovinett anima mia (Svv) Ferretti: 283 9; 305 9; 334 9; 3669 Leggiadra Ninfa in rosso mant’involta (Svv) Cottone: 389 3

Leggiadra pastorella Casulana: 301 3 Leggiadra pastorella in treccie d’oro Duc: 341 4 1061

Index of First Lines

Leggiadra pastorella in treccie d’oro (Svv) Gonzaga: 208 9 Leggiadr’amanti in cui gia come sole (3vv) Gero: 173 24

Leggiadr’animaletto La Martoretta: 70 27

Leggiadre ninfe e pargoletti amori (6vv) Monte: 347 16

Leggiadre rime, & voi parol’ accorte Verdelot: 14 67; 54 49; 85 49; 115 49; 146 49

Leggiadro fonte che con le chiar’onde (4p. of Rose novelle) (Svv) Romano, A.: 371 18 Lei ch’ai sembianti a gl’occhi & alle chiome (2p. of Poi che pianti) Raimondo: 183 12

Lei tutt’intenta al lume divo e santo (2p. of Tu piangi) (Svv) Rore: 28 9; 46 20; 129 7; 168 7; 213 7

L’Hidra tien sette teste di veleno (3vv) Venturi: 379 43 Li nostri preti han questa bona usanza Perissone Cambio: 109 2 Li Saracini adorano lo sole (3vv) Bonagiunta: 279 6 Li sfrenati desiri & voglie ardenti Gvv) Ghibel: 110 7 Liber’e sciolto’andand’un giorn’a spasso (3vv) Troiano: 290 15; 310 15

Liberta dolce & desiato bene Gero: 77 27

Liberta liberta al miser core (Svv) Ferretti: 321 9; 367 9 Liberta liberta crudele (3vv) [no attribution]: 226 66; 266 66

Liet’e madonna et 1o pur come soglio Verdelot: 14 3; 54 33; 85 33; 115 33; 146 33

Liet’e seren’in vista Arcadelt: 2 24

Liete e pensose accompagnate & sole (6vv) Pesciolini: 235 20 Liete e pensose accompagnate & sole (Svv) Pratoneri: 308 17 Liete e pensose accompagnate & sole Schaffen (C. Festa): 94 17; 118 17

Liet’et beati spirti che i celesti Corteccia: 39 11

Liet’et tranquilla pace Martinengo: 42 23

Liete festose & honorate donne (3vv) Mazzoni: 325 21 Liete piante verd’herbe limpid’ acque Schiavetto: 238 22 Liete sian per memoria di quel soie (2p. of Liet’e pensose) (6vv) Pesciolini: 235 20

Lieti felici spirti (3vv) Ruffo: 173 9; 281 17

Lieti fior verde fronde che solete Arcadelt (C. Festa): 19 Lieti fior’e felic’e ben nat’herbe (Svv) Merulo: 220 18 Lieti fiori arvi del pianto mio sempre Gero: 77 3

Lieto non hebbi mai (3vv) Festa, C.: 66 9; 112 9; 1749

L’immens’e alte virtude (3vv) Gero: 113 27

L’imperatore prepara gran guerra (3vv) Primavera: 351 1; 72 30

L’inconstantia che seco’han le mortali Rore: 130 12

L’infinita belta ch’in voi risplende Veggio: 12 44 Lingua che l’aria e ’] ciel ’acqu’e la terra (3vv) Nasco: 221 3

L’istro di tanta gioia ha l’Arno piena (2p. of Porta si lieti) (Svv) Monte: 346 10

Lo mar i fiumi ¢€ tutti i boschi insieme (3vv) Policreto: 383 20 Lo splendor vostr’e *! vostro alto valore Gvv) Venturi: 379 42

Lo strale che talhor tl cor mi punge Melfio: 149 24 Lo strale che talhor il cor mi punge Veggio: 12 43 Lodar voi donn’ ingrate Arcadelt: 17 42; 37 34; 56 34; 119 25; 151 25; 165 22; 191 22; 299 23; 337 23

L’odor ch’e sparso in ben notrita e bella Cataldo: 170 41 Lontan dal vostro santo almo splendore Volpe: 147 18

Lontano son da voi N. mia Volpe: 147 25

Luce creat’in terra per dar luce Arcadelt: 2 31 Luce de gli occhi miei spirto del core (3vv) Ghibel: 110 6

Luce suav’& bella Ciera: 121 21

Luci sante e beate in cui si vede Volpe: 147 6

Lucretia gentil Lucretia bella (3vv) Arpa: 263 22; 272 22; 350 22

Lucretia in voi si vede [1] Lupacchino: 32 10 Lucretia in voi si vede [2] Lupacchino: 32 {1 Lucretia io ’| vo pur dire (3vv) Venturi: 379 20 Lucretia mia dovunque voi volgete Lando: 155 5

L’un mi raccend’al cor l’alto desio (2p. of Eransi solo a far) (Svv) Striggio: 354 4; 377 4

L’un’ha ’| govern’in man de le contrade Pont: 157 8

Lunge e Madonna ond’ io lasso pur sempre (6vv) Monte: 326 15; 372 15

Lungi da voi mia vita (Svv) Striggio: 354 9; 377 9 Lungi dal mio tranquill’e fido porto (11p. of Al dolce suon) (Svv) Troiano: 333 | Lungo sarebbe se i diversi casi Cataldo: 170 40 1062

Ttalian Texts Ma ben veggi’hor si com’al popol tutto (2p. of Voi ch’ascolitat’in Adriani: 336 10 rime spars’il suono) (Svv)

Ma ben veggi’hor si com’al popol tutto (2p. of Voi ch’ascoltat’in Wert: 201 2; 202 2 rime spars’ il suono) (Svv)

Ma che mi giovan lasso ne spesse ombre (6p. of Quand’al grato Monte: 373 17 spirar de le dolci aure) (Svv) Ma che morta dico io s’*hor bianca imperla (2p. of Spent’¢ d’amorla —_ Lasso: 333 2 glori’e spent’insieme) (Svv)

Ma che non giova haver fedel’amanti Pont: 157 44 Ma che non giova haver fedel’amanti (2p. of Che giova posseder) Wert: 203 |

Ma che tu Dio tu creator 2p. of De l’ampia terra) (Svv) Cottone: 389 8 Ma chi penso veder mai tutt’insieme (2p. of Io amai sempre) Volpe: 147 3 Ma chi puo far difes’ai strai d’amore (2p. of Misera spoglia) (Svv) Contino: 179 14 Ma chi va per vedere il bel raggio (2p. of Chi si tien lieto) (Svv) Tortora: 355 8

Ma ci volo che volse (6p. of Amor la bella face) (Svv) Barré: 204 5 Ma da gual altro cor di valor cinto (9p. of Questo si ch’é felice)(Svv) Gabrieli: 357 6 Ma de chi debbo lamentarmi ahi lassa (4p. of Dunque fia ver dicea) Barré: 164 1

Ma de chi debbo lamentarmi ahi lassa Raimondo: 183 8

Ma de chi debbo lamentarmi ahi lassa Ruffo: 40 2; 53 9; 150 18; 184 18

Ma de chi debbo lamentarmi ahi lassa Wert: 203 9 Ma diss’ Amor sia lieto e dolc’inganno (2p. of Di nott’in braccio) Duc: 3417

Ma folle io spargo le mie rime al vento (Svv) Cottone: 389 11 Ma gli spiriti miei s’agghiaccian poi (2p. of Piovommi amare) (Svv) Ruffo: 169 18

Mai venti che portavano le vele (9p. of Fra quanti amor) (S5vv) Rossetto: 288 1

Ma in queste parti liete (4p. of Fuor fuori 6 Muse) (6vv) Baccusi: 385 | Ma io che debbo altro che pianger sempre (4p. of Quand’ il soave) Montagnana: 158 4 Ma io che poss’ altro che col desio (6p. of Donna non donna) (JO0vv) —- Rossetto: 288 3

Ma io lasso che solo (2p. of Solinga Tortorella) (Svv) Raimondo: 292 5; 356 5 Ma ’I bel pensier che suo mal grad’ogn’hora (2p. of Scarco di doglia Rore: 215 16 e pien di gioia in vista) (Svv)

Ma ’| temp’e brev’e nostra vogli’e longa (Svv) Schiavetto: 238 8 Ma la sua voce anchor qua git ribomba (Svv) Adriani: 335 17 Ma lagrimosa pioggia e fieri venti (2p. of Lasso Amor mi) (5vv) Chamaterod: 318 3 Ma lagrimosa pioggia e fieri venti (2p. of Lasso Amor mi) (Svv) Schieti: 219 7

Ma lasso a me non vat fiorir de valli (4p. of L’aere gravato) Chamaterd: 320 | Ma lasso a me non val fiorir de valli (4p. of L’aere gravato) Lando: 155 1 Ma lasso diro ben che m’ha converso (2p. of Io non voglio) (5vv) Schiavetto: 238 7 Ma lasso in un momento (4p. of Un tempo amor con dolce e felice) Cottone: 389 9 Ma lasso vedro mai venir quell’alba (2p. of Non fur le stelle) (Svv) Pesciolini: 235 11

Ma I’infernal nemico (6p. of Mio pan’anzi mia vita) (6vv) Nasco: 243 | Ma mentre ne la riv’altier’e bella (2p. of Fuggendo la pregion) (S5vv) | Cavatoni: 387 15

Ma mia fortuna a me sempre nemica (2p. of Cercato ho sempre Cavatoni: 387 5 solitaria vita) (Svv)

Ma non apparira il lume si tosto (2p. of Son simil’all’avar ch’ha ’] Lando: 155 12 cor si intento)

Ma non giov’al mio mal, ne mutar loco (2p. of Pensai lasso) (5vv) Striggio: 185 19; 186 9; 2749

Ma non si sgomento gia mai (6p. of Un tempo amor) (6vv) Cottone: 389 9 Ma non si tosto dal materno stelo (2p. of La verginella e simile) Hoste da Reggio: 126 6 Ma non si tosto dal materno stelo (2p. of La verginella e simile)(5vv) Wert: 162 19; 200 19

Ma per me lasso tornano i piu gravi (2p. of Zefiro torna) (Svv) Monte: 182 1; 345 1 Ma perche cruda sete (2p. of Qual prova donna vi puo far) (Svv) Clerico: 208 12 Ma perche vola il tempo e fuggon gli anni (3p. of Giovane donna) Gabrieli: 312 |

Ma perche vola il tempo e fuggon gli anni (3vv) Portinaro: 173 18; 281 12 Ma perche vola il tempo e fuggon gli anni (3p. of Giovane donna) Roussel: 222 18

Ma perche vola il tempo e fuggon gli anni Ruffo: 53 23; 150 21; 184 21 Ma perche vola il tempo e fuggon gli anni (3p. of Giovane donna Tortora: 355 19 sott’un verde lauro) (Svv)

Ma perch’ogn’hor m’attempo (2p. of Tal guida fummi ’1 giovinil) Manara: 72 34 Ma percid ch’io m’aveggio ch’altre donne (2p. of S’amor venisse Scotto: 353 11 senza gelosia) (3vv)

Ma piu tosto vorrei fra questi boschi (4p. of Hai lasso io mi) (6vv) Baccust: 385 2

Ma pit! tosto vorrei fra questi boschi (4p. of Hai lasso io mi) Berchem: 204 4 Ma poi ch’al gran desio de gl’occhi miei (2p. of Fu del dolce) (Svv) —- Clerico: 207 4

1063

Index of First Lines

Ma poi che con diletto (2p. of Quel limpido ruscello) Candido: 364 29 Ma poi che ’I mio destino iniquo e duro (3p. of Ella non sa se non) Volpe: 147 30 Ma poi che morte e stata si superba (7p. of Amor se vuoi) (3vv) Dorati: 166 1 Ma poi che nuov’amor ti scalda ’l core (2p. of Fin che m’amasti Vicentino, N.: 59 7 amai arsi s’ardesti) (Svv)

Ma prego et parlo a chi non ode e’! giorno (6p. of O ne miei) (6vv) Baccusi: 384 2 Ma presupong’ancor cor ora arrivi (13p. of Fra quanti amor) (6vv) Rossetto: 288 1

Ma pur in te sperar perfetta aita (2p. of Qual hor rivolgo) (Svv) Rore: 330 19

Ma quai fieno le lodi (6p. of Ai pitt soavi accenti) (Svv) Falcidio: 384 | Ma quei girando gl’occhi al foll’ardire (2p. of Poi ch’el cor) (Svv) Tortora: 355 16

Ma quel che piu mi desta (2p. of Non e lasso dannoso) Spontone: 160 2 Ma saro spent’inanzi che quest’onde (6p. of Non ha tante) (6vv) Lasso: 232 2; 287 2 Ma se con l’opr’ond’io mai non mi satio (2p. of Bella guerrieramia | Lasso: 232 10; 287 10 perche si spesso) (Svv)

Ma se consentimento é di destino (2p. of Rott’é |’alta colonna) (Svv) Mazzone: 323 10

Ma se del mio tormento non ti cale (2p. of Piu d’alto pin) (Svv) Ferrabosco: 223 19 Ma se fu amor ch’il freddo cor t’aperse (3p. of O ne miei danni ch’el Baccusi: 384 2 giorno chiara) (Svv)

Ma Se i raggi veder vogliam del sole (2p. of Dird con rime rotte) Raimondo: 183 11 Ma se potrd veder giamai quel giorno (4p. of Com’al partir del caro) Nasco: 295 6

Ma se tempo giamai verra che sciolta (2p. of Alma guidott’amar Converso: 388 2 colei ch’ogn’hora) (Svv) Ma senza altri pensier stavan contenti (17p. of Quando miro laterra) Dorati: 340 1

Ma si com’e pur vero (2p. of S’io non v’amo & adoro) (3vv) Rossetto: 297 7 Ma sia chi vol siami contraro °| cielo (6p. of Dolor lagrime) (Svv) Monte: 311 5 Ma s’io no ’! dissi che si dolc’apria (Sp. of Se io ’] dissi mai ch’t venga Ruffo: 131 13 in odio a quella) (Svv) Ma s’io nol dissi quell’ardente face (2p. of S’io ’| dissi mai fortun’a Rore: 46 26; 129 16; 168 16; 215 4 me superba) (Svv)

Ma s’io non posso pill fuggir il fuoco (3p. of Hai lasso io) (6vv) Baccusi: 385 2 Ma s’io non posso piu fuggir il fuoco (3p. of Hai lasso io) (Svv) Berchem: 204 4 Ma tu come di lor te stess’& lei (2p. of Hor che spogli’ha) (Svv) Adriani: 313 6

Ma tu la cui virtti battendo I’ale (2p. of Poi che son le due) (Svv) Grisonio: 313 13 | Ma tu per darm’al cor maggior tormento (2p. of L’aria s’oscura) Duc: 341 10 Ma tu per darm’al cor maggior tormento (2p. of L’aria s’oscura)(Svv) Striggio: 206 17; 273 17 Ma tu prendi a diletto i dolor miei (2p. of Fiera stella s’el ciel) (Svv) | Lasso: 167 14; 180 14; 211 14; 285 14 Ma tua belta infinita tanta gioia (2p. of S’io dissi mai che Vhonorata) Rufilo: 237 18

Ma venti, che portavano le vele Spontone: 160 17

Ma voi strade amorose (2p. of L’ aura gentil che novamente) (5vv) Chamaterd: 317 14

Madonna a dirv’il ver io pur vorria (vv) Dattari: 303 6

Madonna a gl’occhi miei sei tanto bella (Svv) Romano, A.: 344 6; 391 6 Madonna al mio Ianguir venne una notte (6p. of Quando la Rossetto: 312 7 bell’aurora inanz’al sole)

Madonna al volto mio pallid’et smorto Arcadelt (C. Festa): 2 27

Madonna al volto mio pallid’et smorto (3vv) Festa, C.: 66 8; 112 8; 174 8

Madonna alla mia fede (2vv) Gero: 16 41; 50 49; 114 49 Madonna che per voi sempr’ardo in foco (Svv) Vicentino, N.: 59 14

Madonna ciaula mia de campanaro (vv) Nola: 24 34 Madonna con chiss’occhi m’hai ucciso Tudino: 133 18 Madonna con chiss’occhi m’hai ucciso Waelrant: 265 24 Madonna con due lettre m’occidete 3vv) Gero: 113 23

Madonna con ques’occhi toi lucenti (Svv) Romano, A.: 371 3

Madonna e morta & ha seco il mio cuore (2p. of Che debb’io far) Ruffo: 131 14

Madonna habbi pieta del mio martire Waelrant: 265 27 Madonna haimé ch’io moro Gero: 77 7

Madonna hor che direte (8vv) Veggio: 40 28

Madonna hor che direte (8vv) [no attribution]: 204 7

Madonna hor voi vedete Scotto: 29 16

Madonna i vostri sdegni e le vostre ire Scotto: 29 17 Madonna il diro pur benche sia tardo (2vv) Gero: 16 45; 50 42; 114 42; 210 42 Madonna 1! diro pur benche sia tardo Scotto: 29 14 Madonna i] mio dolor ¢ tant’e tale [1] Veggio: 40 13 Madonna il mio dolor e tanto é tale [2] Veggio: 40 25 1064

Italian Texts

Madonna il mio dolore Scotto: 29 23 Madonna il tempo pass’e se ne fugge (3vv) Dattari: 303 9 Madonna il tuo bel viso (2vv) Scotto: 171 13 Madonna il tuo bel viso Verdelot: 13 13

Madonna, il vostro petto e tutto ghiaccio (Svv) Striggio: 185 25; 186 14; 274 14

Madonna il vostr’orgoglio (3vv) Festa, C.: 66 2; 112 2; 1742

Madonna intender’volse (2p. of Mentr’in scura preggione) Ruffo: 94 2; 118 2

Madonna io ben m’aveggio esser indegno Aretino: 81 25

Madonna io ben vorrei (3vv) Zappasorgo: 382 3

Madonna io mi consum’ appoc’appoco Primavera: 329 23 Madonna io mi consumo [1} Gvv) Festa, C.: 66 20; 112 17; 174 17 Madonna io mi consumo [2] (3vv) Festa, C.: 66 29; 112 24; 174 24

Madonna io mi consumo (3vv) Gero: 113 32

Madonna io mi vorrei innamorare (3vv) [no attribution]: 226 14; 266 14

Madonna io non Jo so perche lo fai (3vv) Nola: 24 13 Madonna io non lo so perche lo fai Willaert: 48 1; 74 3; 241 21 Madonna io non so far sto gius’e suso Gvv) Nola: 24 28

Madonna io piang’e grid’e mi lamento (5vv) Romano, A.: 344 18; 391 18

Madonna io prend’ardire (3vv) Festa, C.: 66 23; 112 25; 174 25

Madonna io sol vorrei Verdelot (De Silva): 13 21; 14 24; 54 7; 85 7; 115 7; 1467

Madonna io son costrett’a far partenza Donato: 101 20; 109 18; 152 17

Madonna io son un medico perfetto (3vv) Festa, C. (Ghibel): 66 1; 110 11; 112 1; 1741

Madonna io son un medico perfetto Naich: 107 11; 116 11; 163 11; 188 9; 293 11

Madonna io ti voria tutt’i] mio bene Waelrant: 265 5 Madonna io trov’ ogni bellezza in voi (5vv) Vicentino, N.: 59 5 Madonna io v’am’e taccio (3vv) Festa, C.: 66 10; 112 10; 174 10

Madonna io v’am’e taccio (3vv) Gero: 113 21 Madonna io v’am’e taccio (Svv) Verdelot: 15 11

Madonna io ved’espresso (2vv) Gero: 16 31; 50 36; 114 36; 210 36

Madonna io vi confesso © Gero: 117 26

Madonna io vi vo dir il sdegno e tale (3vv) Ghibel: 110 25

Madonna ’| bel desire Willaert (Verdelot ): 14 41; 241 14

Madonna ’I tuo bel viso Verdelot: 14 39; 54 56; 85 56; 115 56; 146 56 Madonna mia famme bon’offerta Willaert: 48 3; 74 6; 241 23

Madonna mia gentile Arcadelt: 17 49; 37 49; 56 49; 119 40; 151 40 Madonna mia gentile Willaert: 241 15 Madonna mia per te son quasi morto Waelrant: 265 15

Madonna nel partir che fo da voi Lando: 15§ 21

Madonna no giardin’haggio chiantato (3vv) [no attribution]: 226 3; 266 3

Madonna non so dir tante parole (Svv) Verdelot: 15 12

Madonna nui sapimo ben iocare (3vv) Nola: 24 32

Madonna ohime per qual cagion m’havete Arcadelt: 17 45; 37 31; 56 31 Madonna ohime per qual cagion m’havete Festa, C. (Willaert): 119 22; 151 22; 241 20

Madonna oltra ’humano altera & bella Aretino: 81 17 |

Madonna per voi ardo (3vv) Scotto: 22 6; 83 6; 216 15 Madonna per voi ardo Verdelot: 13 22; 14 2; 545: 85 5; 115 5; 1465 Madonna per voi port’un gran dolore Gero: 77 11 Madonna perche causa m’hai lassato Waelrant: 265 9

Madonna pitt che mai voi sete cruda (Svv) Romano, A.: 371 17

Madonna poi ch’uccider mi volete (6vv) Baccusi: 385 7

Madonna poi ch’uccider mi volete (Svv) Berchem: 232 6; 287 6

Madonna poi ch’uccider mi volete Gero: 77 14

Madonna poi ch’uccider mi volete (Svv) Portinaro: 236 13

Madonna poi ch’uccider mi volete (Svv) Romano, A.: 344 20; 391 20 Madonna pot ch’uccider mi volete (6vv) Striggio: 206 5; 273 5

Madonna poi ch’uccider mi volete Wert: 203 22 Madonna prego’! ciel che mi confonda (3vv) Gero: 113 19 Madonna qual certezza Verdelot: 13 4; 14 22; 54 2; 85 2; 115 2; 146 2 Madonna quand’io penso (S5vv) Nasco: 358 12 Madonna quanto piu strazij mi fai Nasco: 154 8; 197 8: 260 8

Madonna quel bel sguardo Wert: 203 7

Madonna se non sete (5vv) Striggio: 186 28 1065

Index of First Lines

Madonna si m’aggrada vostr’altezza Melfio: 149 14 Madonna s’i sospiri che per voi (6vv) Ruffo: 131 7 Madonna s’io credessi Arcadelt (Corteccia): 2 22; 39 28 Madonna s’io credessi (2vv) Gero: 16 11; 50 7; 114 7; 2107

Madonna s’io potesse (3vv) Ghibel: 110 2 Madonna s’io sospiro (Svv) Fiesco: 229 20 Madonna s’io v’amai fu con pensiero (Svv) Willaert: 205 1

Madonna sua mercé pur una sera Chamatero: 320 13

Madonna sua mercé pur una sera (3vv) Gero: 113 36 Madonna sua mercé pur una sera (Svv) Mazzone: 323 4 Madonna tu me fai la scorocciata Gvv) Mazzoni: 325 19 Madonna tu me pare na bella pica (vv) Nola: 24 14 Madonna tu mi fingi dell’amico (3vv) Fiorino: 369 20 Madonna tu te bechi Io cerviello Gvv) Bonardo: 267 7; 296 7 Madonna udite un poco Scotto: 29 15 Madonna voi me fare una camisa (3vv) Nola: 24 9 Magnanima Pieta Massimo Doria (5vv) Pratoneri: 308 5

Magnanimo signor ogni vostro atto Cataldo: 170 18 Mai amo post’in mare tird pesce | Primavera: 329 27 Mai non si vide piu seren’il cielo (2p. of Al dolce suon) (Svv) Guami, G.: 333 |

Mai non vo piu cantar com’io solea (3vv) Merulo: 297 6

Mat piu me fid’a femine trafane (3vv) Nola: 24 11 Mai piu non vo cantar com’io solea Melfio: 149 19 Mai pomi un tempo al lui serbati’e cari (2p. of Porta’il bon) (Svv) Primavera: 262 6

Mai rete pres’uccello che volasse Nola: 349 19 Mai vide donna tanto saporita (Svv) Ferretti: 368 8 Maldetta sia mia sventurata (3vv) Nola: 24 15

Male per me tanta belta mirai (Svv) Ferretti: 342 11; 390 11 Male per me tanta belta mirai (3vv) Primavera: 352 15 Male per me tanta belta mirai (3vv) Zappasorgo: 382 7

Maledetto sia Amor e quel che disse Palazzo: 40 10

Mamma mia cara mamma dolc’e bella 3vv) Scotto: 376 14

Mamma mia cara mamma dolc’e bella (3vv) [no attribution]: 226 48; 266 48

Mandato sono per ambasciatore (3vv) Troiano: 290 12; 310 12

Maraviglia non é se tu ti trovi Gvv) Venturi: 379 13 Maraviglia non e s’io fui ferito (3vv) Primavera: 263 27; 272 27; 350 27 Margarita la cui belta immortale (Svv) Micheli: 357 8 Marta gentil che *] mio cor m’ha morto (3vv) Gorzanis: 370 6

Marte superbo io veggio (6vv) Monte: 326 6; 372 6

Martir e gelosia (3vv) Policreto: 383 13 M’e nemico lo cielo (3vv) Perugino: 361 9

Me bisogna see Mi bisogna

Me stato posto foco allo mio core vv) Mattee: 280 29

Medici nui siamo donne belle (3vv) Nola: 24 35

Meglio for’in virtute (2p. of Ogni cosa al fin vola) Martinengo: 71 19

Men densa pioggia e men rabbiosi venti (Svv) Wert: 162 9; 200 9 Menando gli anni a pie d’un verde felce Gvv) Tudino: 271 18

Menar vo sempre mai mia vit’in pianto Nola: 349 27 Menava gl’anni miei gioioso e quieto Schaffen: 82 26

Mentr’al bel lett?ove dormia Phetonte (Svv) Willaert: 73 12 Mentr’al vostr’apparir il sen’altiero (Svv) Portinaro: 307 5 Mentr’ameran’ignudi pesci l’onde (Svv) Aretino: 156 14 Mentre ch’al mar discenderanno i fiumi (5p. of L’aere gravato) Chamaterd: 320 | Mentre ch’al mar discenderanno i fiumi (5p. of L’aere gravato) Lando: 155 1

Mentre che ’l cor da gl’amorosi vermi (5vv) Cavatoni: 387 9

Mentre che ’! cor da g]’amorosi vermi (5vv) Lasso: 167 8; 180 8; 211 8; 285 8

Mentre che ’[ cor dagli amorosi vermi (6vv) Nasco: 205 16 Mentre che ’! cor da gl’amorosi vermi (Svv) Pratoneri: 308 4 Mentre che ’| cor dagli amorosi vermi (5vv) Severino: 199 13

Mentre che ’! cor dagli amorosi vermi (Svv) Vinci (Severino): 240 13; 275 6

Mentre che !’alma si lament’& plora Schaffen: 82 27 Mentre che la mia donna (2vv) Gero: 16 3; 50 3; 114 3; 2103 1066

Italian Texts Mentre ch’ella le piaghe va sciugando (4p. of A casa un giorno mi Bonagiunta: 267 5; 296 5 guido la scorta) (3vv)

Mentre ch’ella le piaghe va sciugando (4p. of A caso’un giorno) Casulana: 301 15 Mentre ch’ella le piaghe va sciugando (4p. of A caso’un giorno mi Ferretti: 321 19; 367 19 guidd fa sorte) (Svv)

Mentre ch’1l cielo di lucenti stelle Chamaterd: 320 14 Mentre ch’io guardo fiso in quei begli occhi (Svv) Vicentino, N.: §9 15

Mentre ch’io mir’ahime quel tuo bel viso (Svv) Dattari: 303 28

Mentre cingo con I’un, e I’altro braccio (2p. of I cari baci) (Svv) Clerico: 208 18

Mentre con suoi begli occhi Caldarino: 172 24 Mentre da gl’occhi suoi chiar’e lucenti Pratoneri: 276 6 Mentre del mio buon car’il fin ripenso (Svv) Zarlino: 313 14

Mentre fioriv’amor |’alta mia speme (Svv) Lasso: 167 23; 181 2; 212 2; 286 2

Mentre gli ardenti rai Arcadelt: 12 29 Mentre ’! rettor de 1’Arno (Svv) Contino: 179 3 Mentre !a donna, anzi la vita mia (vv) Barré: 221 21

Mentre la donna, anzi Ja vita mia (5vv) Striggio: 185 7; 186 4; 274 4

Mentre la donna mia (5vv) Portinaro: 236 8

Mentre la nave pit non si confida (Svv) Adriani: 335 2 Mentre mi stai lontano (3vv) Mazzoni: 325 17 Mentre mi stavo desios’all’ombra (5vv) Tortora: 355 14

Mentre mira verun novella Ninfa (Svv) Hoste da Reggio: 125 19 Mentre pasceva i! gregg’al Ren’intorno (6vv) Ruffo: 131 11

Mentre per questi monti (6p. of Sovra una verde riva) [no attribution]: 222 17

Mentre solcand’il mar audac’e solo (5vv) Rufilo: 198 15

Mentr’il mio cor cercasti Menon: 79 23 Mentr’il pensier vivea Ruffo: 94 10; 118 10

Mentr’in scura preggione Ruffo: 94 2; 118 2

Mentr’io fuggiva l’amoroso fuoco (Svv) Striggio: 354 3; 377 3 Mentr’io portava i bei pensier celesti (2p. of Lassare il velo) (Svv) Tortora: 35§ 13

Mentr’io tengo pur gl’occh’el cor rivolto (Svv) Contino: 219 16

Mercurio al fabbro poi la ret’invola (Svv) Adriani: 336 14

Meschino me ch’ormai son fatto satio (3vv) Mazzoni: 343 23

Mesta correa fuggendo Martinengo: 42 27 Meste e pensose donne che dolenti (8vv) Grisonio: 313 15

Mi bisogna servir questa crudele (Svv) Ferretti: 368 2

Mi bisogna servir questa crudele Waelrant: 265 3 Mi bisogna servir questa crudele (3vv) [no attribution]: 267 11; 296 11 Mi fai morire quando (3vv) [no attribution]: 278 21 Mi part’ahi lasso da la propria vita (3vv) Candido: 364 10

Mi parto alma gentil col corp’altrove Schaffen: 82 15

Mi porg’un tant’ardor vostro bel lume (3vv) Primavera: 352 9

Mi sono innamorato in questo terra (3vv) Policreto: 383 3 Mi vins’il sonno & fo mio spirt’in tanto (2p. of Quando |’alma) Perego: 143 12

Mi voglio far hormai lo fatto mio (Svv) Ferretti: 283 17; 305 17; 334 17; 366 17

Mia benigna Fortuna e ’| viver lieto Hoste da Reggio: 127 18 Mia buona sorte un giorno veder fecemi Bonizzoni: 315 9

Mia benigna Fortuna e ’l viver lieto (Svv) Lasso: 167 10; 180 10; 211 10; 285 10

Mia vagha pastorella (3vv) Califano: 282 8

Miglior Ruberto d’ogn’altro signore (6vv) Striggio: 378 22 Mill’anni sono ch’io non t’aggio vista Donato: 101 16; 109 22: 152 21

Mill’ anni sono ch’io non t’aggio vista Waelrant: 265 1 Mille fiat’ Amore mi promesse Primavera: 329 7 Mille fiate 6 dolce mia guerriera (Svv) Primavera: 262 10 Mille fiate 6 dolce mia guerriera Reulx: 35 29 Mille fiate 6 dolce mia guerriera vv) Scotto: 22 9; 83 9; 216 5

Mille gentil salute Azzaiolo: 251 3 Mille lacciuoli havean le belle fronde (3p. of Alla dolc’ombra) Rufilo: 237 10 Mille lacciuoli havean le belle fronde (3p. of Alla dolc’ombra) (Svv) = Vento: 333 4

Mille pene d’amor mille tormenti (Svv) Romano, A.: 344 4; 391 4

Mille sospir dall’alma tu mi trai (3vv) Bianco: 386 3

Mille sospir la nott’e mille *I giorno [no attribution]: 164 21

Mille volte dicia (3vv) Primavera: 263 8; 272 8; 350 8 1067

Index of First Lines

Mio pan’anzi mia vita (Svv) Nasco: 243 ! Mira Ia villanella vv) Primavera: 351 18 Mira quel colle, o stanco mio cor vago (Svv) Primavera: 262 4

Mirabil art’et peregrin’ingegno (Svv) Comis: 313 4

Miracoli d’Amor in due mi scissi Duc: 341 3 Miracol’in natura voglio dire Primavera: 329 10 Miracolo non é se voi legati (3vv) Primavera: 263 17

Miracolo non é se voi legati (3vv), [no attribution]: 272 17; 350 17; 352 24 Mirand’il sol de begli occhi sereno (2vv) Scotto: 171 32

Mirando vostr’ angelica bellezza Dalla Viola, F.; 72 33

Mirate a quei Cingiali (4p. of Dalle gelate braccia di Titone) (6vv) Striggio: 289 2; 331 2

Mirate altrove vita mia che offende (Svv) Naich: 223 11 Mirate che mi fa crudel amore (Svv) Ferretti: 283 8; 305 8; 334 8; 366 8 Mirate quando Pheb’a noi ritorna Pont: 157 40 Mirat’in quante form’amor mi muta 3vv) Nola: 349 12

Miser a chi mai piu creder debb’io Hoste da Reggio: 127 14 Miser chi mal oprando si confida (3vv) Ghibel: 110 19 Miser chi mal oprando si confida Cataldo: 170 6 Miser in van mi doglio e mi lamento Raimondo: 183 5 Miser in van mi doglio e mi lamento Ruffo: 53 7; 150 8; 1848 Miser in van mi doglio e mi Jamento Tostolo: 164 10 Miser oime chi potra piu allegrarmi (Svv) Guami, G.: 333 5

Miser oime chi potra piu allegrarmi (Svv) Striggio: 185 15; 186 16; 274 16

Misera spoglia che quest’alma serra (Svv) Contino: 179 14

Misero, a che quel chiaro in ogn’altiero (6p. of Quel’ antico) (Svv) Lagudio: 231 3 Misero, che sperava esser in via (2p. of Cantai un tempo) (6vv) Monte: 326 1; 372 1

Misero chi m’ha tolto (2p. of Chi mi fura il ben mio) Wert: 203 14

Misero cigno che vicin’a morte (3vv) Scotto: 375 20

Misero lui sopra tutt’altr’ amanti Berchem: 172 7

Misero me ch’alle mie spes’imparo (Svv) Anville: 264 17 Misero me ch’alle mie spes’tmparo Volpe: 147 5 Misero me che mi convien hor pascere Bonizzoni: 315 18 Misero me che parlo & chi m’ascolta (2p. of Tu tu Caro) (Svv) Bertoldo: 313 10 |

Misero me che per amar altrui (2vv) Gero: 16 27; 50 41; 114 41; 210 41 Misero me dolente che lontano (Svv) Ferretti: 321 11; 367 11

Misero misero a che piu spero (S5vv) Borghese: 311 10

Misero piu d’ogn’huom miser’e lasso (Svv) Striggio: 185 16; 186 17; 274 17

Mo me ne vogl’andar lasso con dio (3vv) Troiano: 309 28

Molti consigli de le donne sono Cataldo: 170 27 Molti esempi potrei venir contando (25p. of Quando miro la terra Dorati: 340 1 ornat’e bella)

Monaldo sol ve ne sia chiaro segno (2p. of Come ogni altro animal Tortora: 355 21 cervo fugace) (6vv)

Monti montagne colli boschi e selve (3vv) Califano: 282 6 Monti montagne colli boschi e selve Gvv) Policreto: 383 11 Monti montagne colli boschi e selve (3vv) Roy: 386 14 Monti montagne colli boschi e selve (3vv) Zappasorgo: 382 11

Monti rupi ruin’e rocch’oscure (3vv) Pinello: 374 13 Monti selve fontane piagg’e sassi Casulana: 339 9 Monti selve fontane piagg’e sassi Ruffo: 53 18; 150 7; 184 7 Morir non posso e viver non vorei Lando: 155 22

Morir non puo il mio core Casulana: 276 4; 301 8 Moro sol per amarvi ahi cruda sorte (no attribution]: 172 10

Morte aspettata vieni Monte: 327 5 Morte che voi te chiamo eccom’appresso Casulana: 339 6

Morte disciols’il laccio (Svv) [no attribution): 277 12 Morte m’ha morto et sola puo far morte (3vv) Scotto: 22 34; 83 34 Morte m’ha sciolto amor d’ogni tua legge (10p. of Amor se vuoi Dorati: 166 1 ch’i’ torni al giogo antico) (7vv)

Morte non m’ode amor mi sprezz’e sdegna (2p. of Misero misero) Borghese: 311 10

Morte quanto dolor m’apporti ogn’hora [no attribution]: 276 11

Morte su prego che da tanti affanni Arcadelt: 1 17

Mostran le braccia sua misura giusta (4p. of Sotto duoi negri) La Martoretta: 70 8 1068

Italian Texts

Mostromm’entro alo spazio d’un bel volto (6vv) Monte: 326 10; 372 10

Movendo a par a paro (5vv) Striggio: 262 9; 354 10; 377 10 Movi Ja lingua ov’eran’a tutt’hore (5p. of Amor se vuoi ch’i’ torni al Dorati: 166 |

Musica dulci sono Rore: 264 5 Musillo d’oro e labbr’inzucarate (3vv) [no attribution]: 226 13; 266 13 giogo antico) (Svv)

Muto convien che resti chi si crede (3vv) Venturi: 379 49

Na bella villanella d’Aquilea Primavera: 329 4

Na gatta e na cornachia (3vv) Troiano: 290 31; 310 31 .

Na vecchia tramaiola |’altro giorno Primavera: 329 8 Na vecchiarella al campo di San Polo (3vv) Primavera: 351 6 Na volta me gabasti o villanella Gvv) Mazzoni: 343 5 Na volta m’hai gabbato ladroncella (3vv) Fiorino: 369 14 Na volta mi gabbasti o losinghera (3vv) Nola: 24 22 Nacque nell’alma intant’un fier ardore (2p. of lo che di viver) (Svv) = Ruffo: 132 6

Nasca in me dunqu’ogn’hor nuovo desio (2p. of Quanto piu Barré: 181 5; 212 5; 286 5 v’am’ogn’hor piu bella sete) (Svv)

Nascan herbette & fiori (4p. of Sovra una verde riva) [no attribution]: 222 17

Nasce bella sovent’in ciascun loco Ivo Barry: 65 17; 107 15; 116 15; 163 15; 293 15 Nasce da g!’occhi vostr’un movimento (5vv) Vergelli: 220 12

Nasce dal pensier mio tanta dolcezza Berchem: 139 6

Nasce fra l"herb’un fiore Festa, C.: 107 9; 116 9; 163 9; 293 9

Nasce la doglia mia (Svv) Converso: 388 3 Nasce la gioia mia Hoste da Reggio: 126 8 Nasce la gioia mia (6vv) Primavera: 262 15 Nasce la pena mia Hoste da Reggio: 126 7 Nasce la pena mia (6vv) Striggio: 206 2; 273 3

Nasce la pena mia perche non vole (Svv) Romano, A.: 344 8; 391 8

Nasce questo destin sol da voi donna Lando: 155 18

Ne assidua servitu ne leggiadria Ghibel: 123 22 Ne cosi bell’il sol gia mai levarsi Chamatero: 320 2 Ne cos? bell’il sol gia mai levarsi [no attribution]: 164 13 Ne costui ne quell’altra mia nemica (8p. of Quel’antico) (5vv) Lagudio: 231 3

Ne fior si ved’o frondi (3vv) D’ Angelo: 349 29

Ne forza d’acqua ne forza di fuoco (3vv) Califano: 282 9 ° Ne forza d’acqua ne forza di fuoco (3vv) Troiano: 309 23

Ne forza d’acqua ne forza di fuoco (3vv) [no attribution]: 226 63; 266 63

Ne fune intorno credero che stringa Cataldo: 170 21 Ne la dolce stagion di primavera (Svv) Vinci: 380 2

Ne l’amare & fredd’onde (Svv) Willaert: 73 17 Ne l’aria in questi di fatt’ho un si forte (Svv) Adriani: 335 4

Ne [aria in questi di fatt’ho un si forte Rore: 312 3

Ne le amar’et fredd’onde onde si bagna (Svv) Willaert: 215 17

Ne l’odorat’& lucid’ oriente Pont: 157 1

Ne lor porgeva la speranza ardire (16p. of Quando miro la terra) Dorati: 340 1

Ne mai girar intorno (3vv) Scotto: 22 35; 83 35 Ne mi lec’ascoltar, chi non ragiona (2p. of Ahi bella liberta) Ragazzo: 252 2

Ne par, che si vergogne (12p. of Quel’antico) (5vv) Lagudio: 231 3 Ne pero che con atti acerbi e rei (2p. of O invidia nemica) (Svv) Lasso: 167 11 Ne perd che con atti acerbi e rei (2p. of O invidia nemica) (Svv) Perissone Cambio: 49 12

Ne per gratia giamai, ne per orgoglio Verdelot: 14 18; 54 31; 85 31; 115 31; 146 31

Ne per martir ne per greve dolore (3vv) Troiano: 309 30

Ne per scampar da cosi accese fiamme (4p. of Quand’al grato) (Svv) | Monte: 373 17

Ne perch’il mio desio s’acquet’in parte (6vv) Striggio: 378 12

Ne pero che con att’acerb’e rei (2p. of O invidia nemica) (Svv) Lasso: 180 11; 211 11; 285 11

Ne piu cocenti lagrime giamai Corteccia: 39 4

Ne piu riveggio per erbosi scogli (9p. of Al dolce suon) (Svv) Romano, G. B.: 333 |

Ne pur i! mio secreto e "| mio riposo (2p. of O cameretta) Wert: 203 21

Ne si dolce com’hor ne si cortese Monte: 327 11

Ne si lucente stella [no attribution]: 117 14

Ne si vagh’o sereno ’| ciel anchora (6vv) Portinaro: 236 21 Ne spero altro che morte a tal dolore (2p. of Amor benigno) (Svv) Monte: 373 4

1069

Index of First Lines Ne spero i doici di tornino indietro (2p. of Amor fortuna) (Svv) Pratoneri: 308 9 Ne spero i dolci di tornino indietro (2p. of Amor fortuna) (Svv) Primavera: 262 2 Ne s’udivan cantar dolci concenti (4p. of Quando miro Ia terra) Dorati: 340 1 Ne tante volte ti vedro giamai (2p. of Aventuroso piu d’altro) (Svv) Severino: 199 14; 275 7 Ne tante volte ti vedro giamai (2p. of Aventuroso piu d’altro) (Svv) Vinci (Severino): 240 14

Ne tempesta giamai @’horrido cielo (3vv) Fiorino: 369 31 Ne tempo mat ne loco Nola: 349 18 Nei molti assalti & nei crudel conflitti Cataldo: 170 14

Nel bel regno d’amore (3vv) Ghibel: 110 1 Nel cui leggiadro seno Amor fa nido (2p. of L’alto splendor) (Svv) Ruffo: 169 16

Nel gratioso temp’onde natura Martinengo: 71 25 Nel mezzo del camin di nostra vita Gvv) Montanaro: 221 19

Nel piu fiorit’e dilettoso maggio (Svv) Converso: 388 15

Nel qual provo dolcezza tant’e tale (2p. of L’aura gentil) (Svy) Vinci: 199 6; 240 6; 275 11

Nel tempo che rinova i miet sospiri (7vv) Wert: 201 13; 202 13 Nella stagion ch’il ciel rapido inchina (Svv) Chamaterd: 319 7

Nella stagion del verdeggiante Aprile Tudino: 133 17

Nella stagion novella (3vv) Ghibel: 110 10 Nella vaga stagion che premer suole [Cicalamento delle donne] Striggio: 289 1; 331 1 N’esser potra per forz’o per timore (2p. of Se per mostrarv’ogn’hor Perego: 143 9 piu crud’& ria)

Nessun visse giamai piu di me lieto Hoste da Reggio: 127 22

Nessun visse giamai pit: di me lieto Parabosco: 40 17 Nessun visse giamai pill di me lieto Scotto: 29 19 Nessuno ti cognosce se non 10 (3vv) Gorzanis: 370 3 Nessuno trov’a se la man ritira (4p. of Fra quanti amor) Rossetto: 288 1

Ninfa non hebbe mai si aurato crine (3vv) Mazzoni: 325 6

Ninfa vaghett’e snella (3vv) Mazzoni: 343 10

Niuna sconsolata (2vv) Scotto: 171 12 No pulice m’entrat’intro Phorechia Donato: 101 10; 109 6; 152 6

Noi donne tutti tre sapemo fare (3vv) Candido: 364 26 Noi quattro sventurat’in compagnia Primavera: 329 | Noi siamo pellegrini e da |’Egitto Candido: 364 17 | Noi tre madonna stamo al pendino Gvv) Nola: 24 26 Noi v’habbiam donne miile nuov’a dire [no attribution]: 40 6 Non al suo amante piu Diana piacque Lupacchino: 32 3 Non al suo amante piu Diana piacque (Svv) Rossetto: 288 2 Non arse cosi il ciel quando Fetonte (3vv) Fiorimo: 369 16

Non ch’io non voglio mai altro pensiero Arcadelt: 17 4; 37 16; 56 16; 119 10; 151 10; 165 9; 191 9; 299 10; 337 10

Non credo che pascesse mai per selva (4p. of A qualunque animal Adriani: 336 8 alberga in terra) (Svv)

Non credo che pascesse mai per selva Aretino: 81 2 Non credo che pascesse mai per selva (4p. of A qualunque animal) Berchem: 139 21 Non credo che pascesse mai per selva (4p. of A qualunque animal Chamatero: 317 1 alberga in terra) (Svv)

Non credo che pascesse mai per selva (4p. of A qualunque animal) Donato: 304 1 Non credo che pascesse mai per selva (4p. of A qualunque animal) Montagnana: 158 | Non credo che pascesse mai per selva (4p. of A qualunque animal) Pesciolini: 235 1

Non credo che pascesse mai per selva Rufilo: 237 4 Non credo che pascesse mai per selva (4p. of A qualunque animal Vinci: 381 6 alberga in terra) (6vv)

Non é cusi gran fuogo (3vv) Bellavere: 359 16; 398 16

Non dispregiate donna (2vv) Gero: 16 1; 50 20; 114 20; 210 20 Non dubitar ben mio sta pur sicuro (5vv) Converso: 388 9 Non dubitar ch’io t’abbandoni mai (5vv) Ferretti: 321 8; 367 8 Non dubitar cor mio ch’io mai ti lasci (3vv) Troiano: 332 2

Non dubitar cor mio che nel tuo amore (3vv) Mazzoni: 343 18

Non é Amor che mi trapass’il core vv) Gorzanis: 370 26 Non é Amor che mi trapass’il core (vv) Tudino: 280 5 Non é che’! mio non sia mortal martire (Svv) Cavatoni: 387 8 Non é ch’il duo! mi scem’o il fuoc’alenti Rore: 130 4

Non é cosa ch’io miri Gvv) Gorzanis: 370 24 1070

Italian Texts

Non é cosa ch’io miri (3vv) Lando: 360 17; 397 17 Non é cosa ch’io miri Gvv) Primavera: 352 3 Non é cosa ch’io miri (3vv) [no attribution]: 361 3

Non é crudel martire (Svv) Chamaterd: 319 8

Non é giacio *] mio giaccio (2p. of Quanto piu m’arde) (Svv) Willaert: 15 2

Non é gran maraviglia s’un’o due Pont: 157 39 Non é lasso dannoso Spontone: 160 2 Non é lasso martire (5vv) Rore: 330 20

Non é maggior dolor del mio dolore Ruffo: 53 4; 150 14; 184 14

Non é, non ft ne mai sara possibile Bonizzoni: 315 6 Non ¢ pena maggior cortesi amanti Barré: 164 7 Non é pena maggior cortesi amanti (6vv) Striggio: 378 17 Non é piu ’I tronco di speranza verde Perego: 143 29

Non é si chiaro il sol ne si lucente (Svv) Perissone Cambio: 49 11 Non fia ch’io tema mai piu di morire (2vv) Gero: 16 5; 501; 114 1; 2101 Non fia giamai in quest’o in altra etade (3vv) Gero: 113 12

Non fiammeggiav’ anchor nel’oriente (Svv) Striggio: 185 22; 186 25; 274 25 Non fu ad Hettor si grave il don d’Aiace (Svv) Fiesco: 229 18 Non fur giamai veduti si begli occhi (4p. of Giovane donna) Gabrieli: 312 1 Non fur giamai veduti si begli occhi (4p. of Giovane donna) Roussel: 222 18 Non fur giamai veduti si begli occhi (4p. of Giovane donna) (5vv) Tortora: 355 19

Non fur le stelle mai si chiare in cielo (Svv) Pesciolini: 235 11

Non furon mai trovate Corteccia: 39 21 Non gemme non fin oro Rore: 130 16 Non giuns’all"hora estrema questa vita (Svv) Monte: 348 8

Non ha tante serene stell’il cielo (Svv) Lasso: 232 2; 287 2

Non ha tanti animali i! mar fra onde (S5vv) Chamaterod: 318 |

Non ha tanti animali il mar fra l’onde Montagnana: 158 2 Non ha tanti animali il mar fra l’onde Raimondo: 183 10 Non havete a temer che *} mio pensiero (Svv) Anville: 357 9

Non havete a temer che nuov’ardore (2p. of Se a mille segni) (Svv) Hoste da Reggio: 125 7

Non havete a temer, ch’in forma nuova Gero: 77 12 Non havete 4 temer, ch’in forma nuova Ragazzo: 252 7

Non ho signor et di continuo servo Reulx: 35 11

Non human’o celest’anzi divina Gero: 77 24 Non m’incresce madonna (3vv) Lerma: 221 6 Non mai donna piu bella (Svv) Verdelot: 15 13 Non mai piu bella luc’o piu bel sole (Svv) Portinaro: 236 11 Non mai sempre fortuna (Svv) Arcadelt: 15 19 Non mai si belle luci o si bel sole (Svv) Perissone Cambio: 49 8 Non mai si bionda treccia (Svv) Adriani: 335 6 Non me venire a me coss’ intramese (3vv) Nola: 24 27

Non men leggiadr’o bella ne men casta Menon: 79 17

Non mi date tormento ne piu doglia (Svv) Ferretti: 321 4; 367 4 Non mi date tormento ne piu doglia Gvv) [no attribution]: 279 16

Non mi duol il morire donna per voi Arcadelt: 1 12

Non mi duol il morire donna per voi (3vv) Scotto: 22 15; 83 15; 216 8

Non mi lasciar morir ti prego donna (3vv) Policreto: 383 16

Non mi par che sia vero vv) Festa, C.: 66 19; 112 18; 174 18 Non mi parto da voi dolce mia vita (Svv) Schieti: 292 11; 356 11

Non mi pensava mai 0 faccia bella (3vv) Celano: 280 10 Non mi toglia il ben mio chi non arde Rore (Ingegneri): 264 4: 330 4 Non muto qualita s’io muto stanza Berchem: 139 15 Non perch’io sia secur’anchor del fine Menon: 79 21 Non perch’io sia secur’anchor del fine (Sp. of Chi ¢ fermato) (Svv) Vinci: 380 9

Non piu amore non piu strali non piu Jacci (3vv) Pinello: 374 21 Non piu battut’afflitt’e vil’ancella (2p. of Godi sposa novella) Adriani: 298 7

Non piu ciance madonna Arcadelt: 17 16; 37 40; 56 40; 119 31; 151 31

Non piu ciance madonna Willaert: 241 19

Non piu s’allegri la superba Roma Melfio: 149 13

Non piu vita mia bella (3vv) Troiano: 332 8

Non poria giamai Ghibel: 123 11 Non poss’amarte con mio sdegn’e noia Volpe: 147 14 107)

Index of First Lines

Non posso far cor mio che pur non pianga Waelrant: 265 28

Non posso far cor mio ch’io non sospira (3vv) Mazzont: 343 22

Non posso pitt durare (3vv) Bianco: 386 25

Non posso pit: durare (3vv) Troiano: 290 6; 310 6

Non potria farmi peggio la mia sorte Waelrant: 265 8

Non puo far mort’il dolce vis’amaro (2vv) Scotto: 171 20 Non puo far mort’il dolce vis’amaro Willaert (Verdelot): 14 29; 54 54; 85 54; 115 54; 146 54

Non puo ingegno mortale (2p. of IIlustre Alma gentile) (Svv) Striggio: 185 10; 186 21; 274 21

Non puo saver come leggiadra voglia Spontone: 160 25

Non pur benigno il cielo (5vv) Fiesco: 229 15 Non ress’al colp’il core (Svv) Nolet: 15 29

Non restard gia mai di sospirare (3vv) Nola: 360 6; 397 6 Non restard gia mai di sospirare (3vv) Scotto: 375 6 Non rumor di tamburi 0 son di trombe (6vv) Striggio: 378 14 Non sciolse mai a bel viaggio (3p. of Un tempo amor) (S5vv) Cottone: 389 9

Non sdegnat’accettar il picciol dono (5vv) Tortora: 355 | Non s’é certo veduto ai tempi nostri vv) Venturi: 379 24 Non senza gran ragion ninfe e pastor Fiesco: 229 7 Non si curi del ciel ch’in terra vive Ruffo: 53 2; 150 15; 184 15 Non si nega signore (2p. of Signor quella pieta che ti costrinse) Melfio: 149 21

Non si po piu durar tanto tormento (3vv) Bonagiunta: 279 3

Non si tosto madonna Lando: 155 9

Non si vedra giamai stanca ne satia (2vv) Gero: 16 37; 50 35; 114 35; 210 35 Non si vedra giamat stanca ne satia (Svv) Perissone Cambio: 49 14 Non si vedra giamai stanca ne satia Gvv) Scotto: 22 17; 83 17; 2169

Non sia chi pens’al mio cocent’ardore Arcadelt: 2 16

Non sia nessun che campa con speranza (3vv) Troiano: 332 21

Non siate pero timid’e fastose (Svv) Nolet: 15 41

Non siate pero timid’e fastose Schiavetto: 238 15 Non s’incolp’il desire (S5vv) Lasso: 232 14; 287 14

Non s’incolpa la voglia (Svv) Festa, C.: 15 40

Non so che m’haggio fatto alla fortuna (Svv) Romano, A.:371 10 Non so per qual cagion I’alma mia donna Corteccia (Arcadelt): 39 13

Non so s’habbia speranza Schaffen: 82 1

Non son fra I’alte stelle (Svv) Candido: 364 32

Non son nei vaghi prati tanti fiori vv) Bartolomeo da Ravenna: 361 12 Non son non son io quel che paio in viso Mazzone: 324 1

Non son pit quel ch’io era vv) Scotto: 23 8; 111 9; 159 9; 224 9; 395 9 Non spero del mio affanno haver mai posa (2p. of Di di in di) (Svv) Monte: 182 8; 345 8

Non spero mai ch’altri ch’acerba morte (Svv) Aretino: 156 17

Non t’ho possuto mai donna mostrare Donato: 101 14; 109 9; 1529

Non t’ho possuto mai donna mostrare Waelrant: 265 4

Non tardar piu ch’omai questa mia vita (2p. of Vener se per Adon Dalla Viola, A.: 220 10 fiamma d’ Amore) (Svv)

Non te ricordi quand’eri figliola Waelrant: 265 26

Non ti doler d’amore ma de la sorte vv) Mazzoni: 325 §

Non ti lagnar cor mio (Svv) Isnardi: 357 7

Non ti ricorda quando (4p. of Nella vaga stagion) (7vv) Striggio: 289 1; 331 1

Non ti ricordi lo tempo passato (3vv) Mazzoni: 343 14 Non ti soven di quell’ultima sera (2p. of Solea lontana) (Svv) Rore: 28 5; 46 16; 129 9; 168 9; 213 8 Non trem’alcun mortal di maraviglia Spontone: 160 1 Non trovo pace ne tregua ne guerra (Svv) Ferretti: 368 17

Non trovo pace ne tregua ne guerra (3vv) [no attribution]: 267 12; 296 12

Non v’accorgete amanti Arcadelt: 17 24; 37 5; 56 5; 119 49; 151 49; 165 35; 191 35; 299 40; 337 40

Non v’accorgete amanti (2vv) Scotto: 23 2; 111 2; 159 2; 224 2; 395 2

Non v’acorgete com’avien al fine Gero: 78 5

Non vad’ Afirica piu superb’e altiera (3vv) Fiorino: 369 5

Non ved’hoggi ’! mio sole Bracharaio (Corteccia): 65 27; 107 37; 116 37; 163 37; 188 36; 294 10

Non ved’un simil par d’amant’il sole (6vv) Primavera: 262 17 Non vedete voi donna il mio tormento (3vv) Tiburtino: 84 17 1072

Italian Texts

Non veggio ove scampar mi possa homai (5vv) Adriani: 335 | Non veggio ove scampar mi possa homai (5vv) Monte: 182 2; 345 2 Non veggio ove scampar mi possa homai Roussel: 107 4; 116 4; 163 4; 188 4; 293 4

Non veggio e non vorrei (3vv) Candido: 364 27

Non vi fidat’d simplicett’amanti (2vv) Scotto: 171 19

Non vi fidat’d simplicett’amanti Verdelot: 14 27; 54 4; 85 4; 115 4; 146 4

Non vi gloriate donna (5vv) Baldesar d’Imola: 15 36 Non vi mando qua gil l’eterna cura Pont: 157 34 Non vi vieto per questo ch’avrei torto (3p. of Guardatevi da questi) Hoste da Reggio: 126 |

Non vi vieto per questo ch’avrei torto Lasso: 222 7

Non vid’al mondo si leggiadra donna (3vv) Mazzoni: 343 15 Non vid’ Angeli mai se non dipinti Gvv) Venturi: 379 16 Non vide alcun mai si leggiadrit rami (2p. of Alla dolc’ombra) Romano, A.: 128 2

Non vide il sol giamai cosa piu beila Berchem: 139 25

Non vide un simil par d’amanti il sole (Svv) Vinci: 199 5; 240 5; 275 2 Non vid’il mondo si leggiadri rami (2p. of Alla dolc’ombra) Adriani: 298 1 Non vid’il mondo si leggiadri rami (2p. of Alla dolc’ombra) (5vv) Animuccia: 277 | Non vid’il mondo si leggiadri rami (2p. of Alla dolc’ombra) (Svv) Berchem: 40 18; 204 2 Non vid’il mondo si leggiadri rami (2p. of Alla dolc’ombra) (vv) Mazzone: 323 13

Non vid’il mondo si leggiadri rami (2p. of Alla dolc’ombra) Rore: 130 1

Non voglio in donn’alcun’haver piu fede (3vv) [no attribution]: 226 72; 266 72

Non voglio piu campare no ne no (3vv) Troiano: 290 10; 310 10 Non voglio piu ne pianger ne guailare (3vv) Troiano: 309 13 Non voglio se non pianger e guailare (3vv) Trotano: 309 12

Non voglio veste piu d’or’o di seta (3vv) Troiano: 309 19

Non vola, senza pargoletta face (Sp. of Non trem’alcun mortal) Spontone: 160 |

Non volete ch’io viva dolce mio bene (2vv) Gero: 16 21; 50 13; 114 13; 210 13

Notte felice aventurosa e bella (Svv) Cottone: 389 10

Notte felice aventurosa e bella (5vv) Striggio: 185 13; 186 10; 274 10

Notte felici e care (Svv) Striggio: 354 20; 357 2; 377 20

Nova Angeletta sovra l’ale accorta (3vv) Ghibel: 110 9; 123 24 Nova Angeletta sovra I’ale accorta (Svv) Pordenon: 236 17

Nova Angeletta sovra l’ale accorta Ruffo: 94 6; 118 6 Nova Angeletta sovra Il’ale accorta [no attribution]: 65 19

Nova bellezza poi (2p. of Morte disciols’il laccio) (Svv) [no attribution}: 277 12

Nova Diana con piu vagha luce (Svv) Perissone Cambio: 49 5

Nova donna m’apparve di beltade Arcadelt: 17 11; 37 35; 56 35; 119 26; 151 26; 165 13; 191 13; 299 13; 337 13

Nova fiamma e fra noi di la giu ascesa Martinengo: 42 15

Nova fiamm’e gradita (Svv) Gonzaga: 208 10 Nov’amor nove fiamm’e nova legge Casulana: 301 2 Novi strali per altr’indarno scocchi (2p. of S’anch’i vestiggi) (Svv) Contino: 179 12 Novo consiglio 0 dii del ciel io cheggio (2p. of S’amor la viva) (Svv) Rore: 215 15

Novo e¢ strano miracolo d’amore (3vv) Zelanno: 280 19

Novo piacer che nelli humani ingegni Arcadelt (Berchem/Rampollini): 65 24; 107 32; 116 32; 163 32; 188 31; 294 5

Nu semo tre vechieti inamorai (3vv) Bellavere: 279 26; 359 14; 398 14 Nui siamo tre vecchietti sventurati (3vv) Mazzoni: 325 23 Null’altra via niun’altro conforto (Sp. of Lagrimando dimostro)(3vv) Scotto: 353 8 Nulla 0 poco prezza va all’hora il porto (2p. of Un tempo amor dolce Cottone: 389 9 e felice aura) (Svv)

Nulla posso levar io per mi’ingegno (2p. of Giunto m’ha amor) (Svv) Wert: 201 3; 202 3

O amorose mamelle (Svv) Berchem: 15 34 O anima mia bella Gvv) Roiccerandet: 280 24 O anime devot’in charitate vv) Nola: 24 23 O beata stagion’o lieto giorno Fiesco: 229 8 O beati color c’hanno dui cori Aretino: 81 21

O beati color c’hanno dui cori (2vv) Gero: 16 39; 50 33; 114 33; 210 33 O bel vis’a me dat’ in dura sorte (2p. of O dolci sguardi) (6vv) Pesciolini: 235 19

O bel viso leggiadr’in terr’apparso Gvv) Venturi: 379 22 O bel viso ove amor insieme pose (2p. of O passi sparsi) Adriani: 298 9 O bel viso ove amor insieme pose (2p. of O passi sparsi) (6vv) Ruffo: 131 2 1073

Index of First Lines

O bella faccia mia non mi dar pene (5vv) Romano, A.: 371 1

O bella man ch’avanzi di valore (3vv) Arpa: 271 4 :

O bella man che mi distringi il core (Svv) Cavatoni: 387 6 O bella man che mt distringi il core (2vv) Scotto: 171 23

O bella pit che bella (3vv) Pinello: 394 5

O bella sopra tutte |’altre bella Nasco: 154 9; 197 9; 260 9 O bella sopra tutte I’altre bella Tudino: 133 21 O belle fusa chi ne v’accattare (3vv) Nola: 24 25 O belle trezze d’oro io per voi pasm’e moro (3vv) Arpa: 271 3 O belta senza esempio o gentil alma Aretino: 81 8 O bene mio fa fam’uno favore Willaert: 29 33; 74 11; 241 25

O Biancolella come gelsomino (3vv) [no attribution]: 226 33; 266 33 O bionde treccie in crespi nod’attorte (2p. of Occhi sereni) Perego: 143 26

O bocca dolce piu che canna mele (3vv) Bonagiunta: 267 1; 296 |

O bocca saporita (3vv) Policreto: 383 19

O bocca saporita piu che mele (Svv) Ferretti: 342 4; 390 4 O bocca saporita piu che mele Gvv) Troiano: 332 11

O cameretta che gia fost’un porto Wert: 203 21

O cara pastorella Lupacchino: 32 18

O celest’angiolett’in terra scesa (3vv) Venturi: 379 51 O che dolce piacer udir cantare (Svv) Ferretti: 342 15; 390 15

O che fuoco port’io nella mia vita Rufilo: 237 5

O che letitia m’é per te contesa (4p. of O ne miei danni) (Svv) Baccusi: 384 2

O che lieve ¢ ingannar chi s’assicura Manara: 72 35 O che lieve ¢ ingannar chi s’assicura (2p. of Quel rossignuol) (Svv) Mazzone: 323 9 O che lieve é ingannar chi s’assicura (2p. of Quel rossignuol) (Svv) Monte: 182 12; 345 12

O chiara luce che da due bei lumi (S5vv) Vicentino, N.: 59 12 O chiara piu che chiaro il sol di maggio (3vv) Pinello: 374 10

O chiaro nodo o lucido contesto (Svv) Contino: 220 8

O chioma de fin’oro o front’altiera Arcadelt: 1 5 O chioma de fin’oro o front’altiera Gero: 77 30

O chiome rilucenti piu che l’oro (3vv) Venturi: 379 44 O cianciarella mia quanto sei bella (Svv) Romano, A.: 344 23; 391 23 O ciel o terr’o mare e fium’odite (3vv) Califano: 282 19 O come pazze sete a creder donne (3vv) Bianco: 386 11 O conservi d’amor che cosi spesso [no attribution]: 40 7 O cor felice mio hor viv’e godi (2p. of Amor io son si lieto) (Svv) Vicentino, N.: 59 10

O core di diamante (3vv) Arpa: 360 19; 363 32; 397 19 O core mio mostrame no poco (5vv) Romano, A.: 344 19; 391 19 O core mio questo ch’io dico fallo Gvv) Troiano: 290 5; 310 5

O crude pene mie Raimondo: 183 9 O crude pene mie Volpe: 147 8 O crudel de mia fral vita nemica Arcadelt: 1 2

O d’ardente virtute ornata e calda (Svv) Vinci: 199 15; 240 15; 275 14

O de gii huomini inferma ¢ instabilmente Cataldo: 170 29 O della bella Etruria invitto duce (Svv) Striggio: 185 1; 186 1; 274 1 O dea ch’el sesso nostro sola honori (2p. of Dal di che conobb’io) Hoste da Reggio: 126 20 O dea ch’ogni pudic’altera donna (6p. of Dal di che conobb’io) Hoste da Reggio: 126 20

O del ciel parto in cui fiorir si vede (6vv) Chamatero: 319 11

O del mio navigar fidata scorta Porta: 222 21

O desir di quest’occhi almo mio sole Monte: 327 13 O desir di quest’occhi almo mio sole (5vv) Ruffo: 132 13

O destro amabil pie (3p. of Destra di quel amor ch’ogn’altr’amore) Courtois: 243 2

O di chiara virtut’albergo vero (6vv) Portinaro: 236 20 O di fausto (4p. of Ai pit soavi accenti) Baccusi: 384 1 O Dio che crudelta di questo sole (3vv) Mazzoni: 343 20 O Dio che fosse quella costumanza Waelrant: 265 14 O Dio che fossi pica che cantasse (3vv) [no attribution]: 226 47; 266 47 O Dio che la Brunette mia (3vv) Festa, C. (Pesenti): 66 21 O Dio che nott’e di sempre basciasse (3vv) Scotto: 376 17

O Dio che nott’é di sempre basciasse (3vv) [no attribution]: 226 19; 266 19 O Dio fammi passar sta fantasia (Svv) Ferretti: 283 11; 305 11; 334 11; 366 11

O Dio fammi trovar sta traditora (3vv) Mazzoni: 343 13 | 1074

Italian Texts

O Dio tl deggio dire Ciera: 121 3 O Dio perche non vedi il mio tormento (3vv) Primavera: 351 17

O Dio quanto sei bella (3vv) Troiano: 290 20; 310 20 O Dio se tu conosci quanto t’amo (3vv) Primavera: 351 3 O Dio se vede chiaro (3vv) [no attribution]: 278 25 O Dio se vede chiaro ch’io per te moro (3vv) Nola: 24 3

O Dio si vede chiaro ch’io per te moro Silvestrino: 74 9 O Dio vorrei na gratia da le stelle (3vv) [no attribution]: 226 16; 266 16 O dolc’albergo d’ogni cor gentile (Svv) Adriani: 336 11

O dolce amore o gioi’alma’ infinita Schiavetto: 238 14 O dolce guerr’e pugna ben leggiadra (2p. of Porta l’insegna) Schaffen: 82 18

O dolce mia nemica La Martoretta: 70 16 O dolce mia nemica (3p. of Occhi leggiadri amorosetti’e gravi) Lupacchino: 164 14

O dolce notte o ben nati pensieri (Svv) Hoste da Reggio: 125 17

O dolce piu che l’uva moscarella (3vv) Scotto: 376 16 O dolce piu che l’uva moscarella (3vv) [no attribution]: 226 26; 266 26 O dolce saporita cianciosella (3vv) [no attribution]: 226 30; 266 30 O dolce servitt dolce tormento (3vv) Bassano: 376 23

O dolce servitu dolce tormento Donato: 304 8 O dolce servith dolce tormento Veggio: 12 8 O dolce sonno aventurosa mano (3vv) Candido: 364 9 O doice vita mia che t’haggio fatto (3vv) Nola: 24 4

O dolce vita mia che t’haggio fatto Willaert: 74 5 O dolce vita mia che thaggio fatto (3vv) [no attribution]: 278 26 O dolce vita mia dolce mio bene Volpe: 147 10

O dolce vita mia dolce thesoro (Svv) Romano, A.: 344 17; 391 17

O dolce vita mia non mi far guerra Donato: 101 12; 152 8 O dolce vita mia non mi far guerra [no attribution]: 109 8 O dolci colli fioriti a me si cari (3vv) Scotto: 353 6 O dolci parolete o dolce riso Ciera: 121 10 O dolci sguardi, o parolette accorte Berchem: 139 19

O dolci sguardi, o parolette accorte (Svv) Monte: 348 | O dolci sguardi, o parolette accorte (6vv) Pesciolini: 235 19 O dolci sguardi, o parolette accorte (Svv) Rore: 46 5; 223 13 O dolci sguardi, o parolette accorte (Svv) Ruffo: 169 4 O dolci sguardi, o parolette accorte (3vv) Scotto: 22 54; 83 54 O dolci spoglie mentr’il ciel permesse Schiavetto: 238 13

O dolci sguardi, o parolette accorte Nola: 519

O dolorosa vita de gli amanti Hoste da Reggio: 126 18 O donna bella tu mi fai morire (3vv) Califano: 282 11 O donna degna d’honorata palma Martinengo: 71 7 O donna scesa dal celeste regno Ciera: 121 22 O donn’in quest’etade al mondo sola Pont: 157 15 O duri miei pensier datemi pace (3vv) Gorzanis: O ecco ombr’invisibile che vivi Aretino: 81 12 O empia gelosia iniqu’e fella Volpe: 147 27 O esecrabile Avaritia o ingorda Cataldo: 170 43

370 8 .

O faccia bella che pintata stai (3vv) [no attribution]: 226 55; 266 55

O faccia che rallegr’t! paradiso (3vv) Scotto: 376 13

O faccia che rallegr’il paradiso (3vv) [no attribution]: 226 41; 266 41 O faccia d’una luna rotondella (vv) [no attribution]: 226 29; 266 29 O faccia mia piu che la neve bianca Nasco: 154 17; 197 17; 260 17

O famelice inique e fiere arpie Cataldo: 170 34 O fatt’o ciel o stella Menon: 79 9 O felice colui ch’al suo volere (3vv) Donato: 95 14; 173 13; 281 15 O felice o beato o glorioso Gvv) Mazzone: 360 3; 397 3 O felice o beato o glorioso vv) Scotto: 375 3 O felice pensier felice il giorno (3vv) Gero: 113 17 O felice pensier felice il giorno (Svv) Mazzone: 323 5

O felici color che nott’e giorno Festa, C.: 217 O fier’aspr’e selvaggie (Svv) Wert: 162 15; 200 15

O felici occhi miei felici voi Arcadelt: 17 48; 37 50; 56 50; 119 42: 151 42

O figlia non ti fare chtu gabare (3vv) Pinello: 374 16 1075

Index of First Lines

O fortunata Cice il cui bel viso Barré: 172 3

O fortunato augello Lupacchino: 32 15 O fortunato che con altre rime Ruffo: 53 16; 150 5; 184 5 O foss’il mio cor fieno (Svv) [no attribution]: 243 10 O gran contrasto in giovenil pensiero Cataldo: 170 25 O incivile e barbaro costume (Sp. of O ne miei danni pit ch’el Baccusi: 384 2 giorno chiara) (Svv)

O invidia nemica di virtute (Svv) Lasso: 167 11; 180 11; 211 11; 285 i1

O invidia nemica di virtute (Svv) Perissone Cambio: 49 12 O lao la chi mi sa dar novella (Svv) Ferretti: 368 11 O Jao la chi mi sa dar novella (3vv) Fiorino: 369 17

O lieta coppia o ben felict amanti Rufilo: 237 |

O luce di quest’occh’almo mio sole (3vv) Dattari: 303 18

O Lucia miau tu non gabbi chiu a me (3vv) Lasso: 226 58; 266 58 O Lucia susa da lietta non dormire (2p. of O Lucia miau) (3vv) Lasso: 226 58; 266 58

O luna o sole o mia stella divina (3vv) Califano: 282 4

O madre mia non mi maritare (3vv) Pinello: 374 6

O mala cosa volere amare (3vv) Nola: 24 30

O meser hosto Gvv) Pinello: 394 12 O messaggi del cor sospiri ardenti (6vv) Striggio: 206 12; 273 8 O miei dolci pensieri Ghibel: 123 13 O mio lucente sole (Svv) Portinaro: 236 5 O messaggi del cor sospiri ardenti (Svv) Monte: 348 2

O miracol d’amor che queste fiamme (2p. of Hai lasso io mi) (6vv) Baccusi: 385 2 O miraco!l d’amor che queste fiamme (2p. of Hai lasso io mi) (Svv) Berchem: 204 4

O miraco! d’amor, mirabil prove Ragazzo: 252 4

O mort’ultimo fin d’ogni dolore Gero: 77 5

O natura pietosa e fera madre (2p. of I mi vivea di mia sorte) (Svv) Monte: 182 10; 345 10 O natura pietosa e fera madre (2p. of | mi vivea di mia sorte) (Svv) Rore: 46 4; 223 14

O ne miei danni pit ch’el giorno chiara (Svv) Baccusi: 384 2

O non begl’occhi ma lucent & chiare Martinengo: 42 4

O notte madre di tutti pensieri (3vv) Gero: 113 2 O notte o ciel’o mar’o piaggie o monti Casulana: 339 5 | O nuova terra e ricca (2p. of O verde amena aprica) (5vv) Nola: 358 14

O occhi manza mia cigli dorati (3vv) [no attribution]: 226 24; 266 24 O parolet’accorte o lieto sguardo (2p. of Questa mia pura) Perego: 143 3

O passi sparst o pensier vaghi e pronti Adriani: 298 9

O passi sparsi o pensier vaghi e pronti Festa, S.: 54 57; 85 57; 115 57; 146 $7 O passi sparsi 0 pensier vaghi e pronti (6vv) Ruffo: 131 2 O pieta grande o rar’e nova legge (3p. of E questo ’I legno) (Svv) Zarlino: 219 6 O poco mele molt’aloe con fele (4p. of Quel’antico mio) (Svv) Lagudio: 231 3

O pur donne donne belle Azzaiolo: 251 2 O pur per via fuggendo (2p. of Dunque tu fuggi Aminta) Ciera: 121 18

O quant’amore sempre t’ho portato Donato: 101 4; 109 7; 152 7

O quant’e dolce perch’ amor la stringa Pont: 157 47

O quante fiate quant’in un’hora Rufilo: 237 23 O quante volt’il sole (Svv) Hoste da Reggio: 125 4 O quante volt’avien ch’io pregh’ Amore Dalla Viola, F.: 72 12 O quant’esser mi dei diletto e caro Duc: 341 8

O quanti sono incantatrici o quanti Cataldo: 170 8 O quanto deve ringratiare il cielo Bonizzoni: 315 3 O quanto é dolce perch’ Amor Ifa stringa Monte: 327 10 O rondinella che il Dannubio passi (3vv) Troiano: 332 13 O rose eterne sparse infra le brine (2p. of O desir di quest’ occhi) Monte: 327 13

O Ruffian’o vecchia o mariola Gvv) Califano: 282 12 O sacro sangue (3p. of Inaudita pieta mirabil pegno) (Svv) Vicentino, N.: 59 19

O saette d’Amor fiamm’e catene Volpe: 147 12 O saporita piu che la insalata Nasco: 154 6; 197 6; 260 6 O saporita piu che ne lo ravano (3vv) Troiano: 290 28; 310 28

O saporito volto (3vv) Mazzone: 360 16; 397 16 O saporito volto (3vv) Policreto: 383 7 O saporito volto vv) [no attribution]: 267 14; 296 14 O sempre vagh’e piu ch’altri sereni (2p. of Si com’al chiaro giorno) —_ Lasso: 276 8

1076

Italian Texts

O signori italiani Gp. of Signori & cavaglieri) Werrecore: 103 |

O singular dolcezza Verdelot: 14 30; 54 45; 85 45; 115 45; 146 45

O s’io pensassi donna (2vv) Scotto: 23 27

O s’io potesse dir’o fazze bella vv) [no attribution]: 279 23

O s’io potessi donna Berchem (Arcadelt): 17 18; 37 46; 56 46; 119 37; 151 37; 165 24; 191 24; 299 26; 337 26 O s’io potessi donna (2vv) Scotto: 111 26; 159 26; 224 26 O s’io potessi donna palesarti (3vv) Mazzoni: 325 20 O soave contrada: o puro fiume (2p. of Lieti fior’e felic’e ben) (Svv) Merulo: 220 18 O soavi amorosi e chiari lumi (2p. of Quand’al grato spirar) (Svv) Monte: 373 17

O sogno mio felice o sogno grato Donato: 304 12 O sol o luna o giorno (5vv) Ferretti: 368 12 O sole ov’e quel’ sole che gia solo Ruffo: 94 5; 118 5 O solitarij colli o verde riva (2p. of Cari scogli dilette) (Svv) Monte: 346 3

O sonno o della queta humida ombrosa Raimondo: 183 14

O sonno o della queta humida ombrosa (Svv) Wert: 162 14: 200 14 O sopra |’altre aventuros’etate (3p. of Giovane illustre) (Svv) Striggio: 185 5; 186 6; 274 6

O spazza camin chi vuol belle madon’ Azzaiolo: 189 17; 250 17

O stelluzza d’amor dolce mia vita Candido: 364 16 O sur’ogn’altra donna gratiosa (3vv) Troiano: 332 17 O troppo cara o troppo eccelsa preda (5vv) Primavera: 262 8

O tu che mt dai guai (3vv) [no attribution]: 278 9

O tu che mi dai guai quanto poi (3vv) Bonagiunta: 279 14 O vecchia che te vea iettata amare (3vv) Pinello: 374 18 O verde amena aprica & alta villa (Svv) Nola: 358 14

O villanella quand’a l’acqua vai Azzaiolo: 251 5 O villanella quand’a l’acqua vai (3vv) [no attribution]: 226 25; 266 25 O vita del cor mio dolce mia speme Veggio: 12 26 O vita vita no ma vivo’affanno (5vv) Ruffo: 169 9

O voi che per fuggir il caldo estivo Ruffo: 53 20; 150 16; 184 16 O voi che sospirat’a meglior noti Reulx: 35 9 O voi che sotto l’amorose insegne (Svv) Rore: 186 31; 274 29 Occhi ch’a gli occhi miei date sol pianto Ragazzoni: 45 14

Occhi del pianger molli La Martoretta: 70 6 Occhi dolce’ occhi car’occhi soavi Casulana: 301 20 Occhi finit’hormai |’amaro pianto Menon: 79 2

Occhi leggiadr’e cari (Svv) Dattari: 303 26

Occhi leggiadri amorosetti e gravi Lupacchino: 164 14

Occhi leggiadri amorosetti e gravi (Svv) Romano, A.: 344 16; 391 16 Occhi leggiadri dov’ Amor fa nido 3vv) [no attribution]: 226 5; 266 5 Occhi leggiadri onde sovente amore (Svv) Romano, A.: 371 16

Occhi lucenti assai pit che le stelle Donato: 101 5; 109 1; 152 1 Occhi lucenti assai pit che le stelle (3vv) Mazzoni: 343 7 Occhi lucenti assai pit: che le stelle (Svv) Romano, A.: 371 11

Occhi mei ch’al mirar foste si pronti Hoste da Reggio: 127 7 Occhi miei ch’al mirar fosti si pronti (3vv) Nola: 280 23

Occhi miei ch’in dui frumi (Svv) Portinaro: 236 3

Occhi miei dolci io son ferito a morte (Svv) Raimondo: 292 6; 356 6 Occhi miei lassi che pianget’ogn’hora (3vv) Roiccerandet: 280 26 Occhi miei lassi che pianget’ogn’hora (vv) [no attribution]: 352 28 Occhi miei lassi mentre ch’io vi giro Arcadelt: 17 7; 37 22; 56 22; 119 8: 151 8: 165 7; 191 7; 299 5; 337 5

Occhi miei lassi mentre ch’io vi giro Nasco: 154 15; 197 16; 260 16

Occhi miei oscurat’é *! nostro sole Mazzone: 324 15

Occhi miei oscurat’é "| nostro sole (3vv) Nola: 349 |] Occhi non occhi ma lucente stelle (3vv) [no attribution]: 279 9 Occhi piangete; accompagnate il core Lasso: 222 19

Occhi piangete; accompagnate il core Scotto: 29 13

Occhi piangete e tu rima dolente Berchem: 139 10 Occhi piangete e tu rima dolente Perego: 143 28

Occhi piu che divini Volpe: 147 21 Occhi se voi pur sete occhi mortali (6vv) Monte: 347 13 Occhi sereni occhi che *! cor m’havete (6vv) Monte: 347 14 1077

Index of First Lines

Occhi seren’ov’ha suo nid’amore Perego: 143 26 Occhi soavi & belli (2vv) Gero: 16 25; 50 43; 114 43; 210 43 Occhi sopr’al mortal corso sereni Dalla Viola, F.: 72 16 Occhi vaghi & leggiadri La Martoretta: 70 5 Occhi voi che miraste quel bel viso Rufilo: 237 20 Occhio del ciel de con bei ragg’adorni (S5vv) Lagudio: 231 4

Occhio non fu giamai che lagrimasse Azzaiolo: 189 19; 250 19 Occhio non fu giamai che lagrimasse Willaert: 241 27 Odio chi m’amae seguo chi mi fugge (3vv) Pinello: 394 2 Ogn’hor per voi sospiro (2vv) Scotto: 23 28; 111 27; 159 27; 224 27

Ogn’hor per voi sospiro Verdelot: 14 28; 54 3; 85 3; 115 3; 146 3 Ogni belta madonna (3vv) Festa, C.: 66 15; 112 15; 174 15

Ogni coll’e ogni riva (Svv) Contino: 179 15

Ogni cosa al fin vola Martinengo: 71 19 Ogni di mille volt’io grid’e dico vv) Venturi: 379 15

Ogni giorno mi par piu di mill’anni Nola: 51 25

Ogni loco m’attrista ov’io non veggio (3vv) Festa, C.: 66 4; 112 4; 1744

Ogni loco m/’attrista ov’io non veggio Nola: 51 24 Ogni loco m/attrista ov’1o non veggio Reulx: 35 18 Ogni loco mi porge doglia e pianto (Svv) Palestrina: 205 3 Ogni mia speme n’han portat’i venti Rufilo: 237 13

Ogni mio ben crudel morte m’ha tolto (2p. of Creduto havria) (Svv) Monte: 182 4; 345 4

Ogni mio ben crudel morte m’ha tolto (2p. of Fu forse) (Svv) Rore: 46 2; 223 16

Ogni speranz’ogni confort’oimene (3vv) Troiano: 290 9; 3109

Ogni stato d’amor Jiet’e gioioso Hoste da Reggio: 126 13 Ogni stratio mi sia dolce morendo (5vv) Bellavere: 313 8

Ogn’un me dice ch’io vad’alla guerra (3vv) Fiorino: 369 7

Ognun per meraviglia (3vv) Scotto: 22 18; 83 18

Ognun s’allegra e viv’in fest’e in gioco Gvv) Mazzone: 360 11; 397 11

Oh d’amarissime onde (Svv) Lasso: 358 1

Ohimé che belle lagrime fur quelle (Svv) Monte: 182 7; 345 7 Ohimé che la mia amante vol ch’io mora (vv) Califano: 282 1

Ohimé che sol che lun’ che paradiso (3vv) Troiano: 309 16 |

Ohimé che sol mi doglio Veggio: 12 5

Ohimé ch’in tutt’io son fuor del mio core (Svv) Comis: 292 9; 356 9 Ohimé ch’io mi pensava che piu forza 3vv) Troiano: 290 27; 310 27 Ohimé ch’io piango e in vano mi lamento (Svv) Ferretti: 321 14; 367 14 Ohimé ch’io piango e in vano mi lamento (3vv) Troiano: 309 5 Ohimé ch’io spasmo apri [a porta omai (4p. of L’ aria s’oscura) Duc: 341 10 Ohimé ch’io spasmo apri la porta omai (4p. of L’aria s’oscura) (6vv) Striggio: 206 17; 273 17

Ohimé come porragio (3vv) Egidio: 325 26

Ohimé de cha vo mori (3p. of Horsu horsu compagni) Werrecore: 103 2 Ohimeé deh perch’amor al primo passo (2p. of La dolce vista) Monte: 312 6; 327 1 Ohimé deh perch’amor al primo sguardo (2p. of La dolce vista) Gero: 78 16

Ohimé dolce ben mio Bonizzoni: 315 16 Ohimé dolente channe fui vicino Gvv) Nola: 24 |

Ohimeé dolente channe fui vicino (3vv) [no attribution]: 278 23 Ohimé dov’e ’! bel viso La Martoretta: 70 19

Ohimé dov’el mio sole Lamberto: 164 18

Ohime il bel viso ohimé ’| soave sguardo Barré (Willaert): 14 68; 54 51; 85.51; 11551; 146 51; 2417

Ohimeé il bel viso ohimé ’I soave sguardo Gero: 77 15 Ohimé meschino che so’innamorato (5vv) Ferretti: 368 22 Ohimé m’inganno, v’ fuggi chi ti scaccia (2p. of E forse 1 mio)(Svv) = Zarlino: 220 1

Ohimé quanto mi doglio Scotto: 29 5

Ohimé quanto mi doglio di voi donna Veggio: 12 27

Ohimé quanto piacer sent’un moroso (3vv) Dattart: 303 10 Ohimé terra é fatt’il suo bel viso (4p. of Che debb’io far) (3vv) Montagnana: 158 3

Ohimé terra é fatt’il suo bel viso (Sp. of Che debb’io far) Ruffo: 131 14 Ohimé terra é fatt’il suo bel viso (4p. of Che debb’io far) (Svv) Vinci: 199 10; 240 10; 275 1

Olimpia vinc’infiamma lega e fura 3vv) Venturi: 379 41 Olmi querci e cipressi pini e faggi (3p. of Quand’al grato) (Svv) Monte: 373 17 Ombra son io sepolto in queste pene (Svv) Monte: 348 7 1078

Italian Texts

Ombrosa notte & di riposo madre (8vv) Dorati: 166 21 Ombrosa valle e de bei fior dipinta Gp. of Rose novelle) (Svv) Romano, A.: 371 18 Ond’amor paventoso fug’al core (2p. of Amor che nel pensier)(Svv) — Perissone Cambio: 49 13

Onde come colui che ’] colpo teme (2p. of Quando ’! voler (Svv) Lasso: 167 5; 180 5; 211 5; 285 5 Onde ferit’acceso e anchor tremante (2p. of Cosi in un punto) (Svv) —s- Tortora: 355 10

Onde il santo pastor che sempre alletta (2p. of Ecco scesa) (Svv) Striggio: 354 5; 377 5

Onde nasce il dolore (8vv) Fiesco: 229 29 Onde scesa l’imagine sua pria (2p. of L’alma belta) (Svv) Clerico: 207 5 Onde sempre rivolto (Sp. of Amor la bella face) (Svv) Barré: 204 5

Onde spumose d’ Adria che °l bel nome Ghibel: 123 20 . Ondeggiav’il crin d’or da laura mosso (2p. of Entr’un gran) (Svv) Striggio: 311 2; 354 8; 377 8 Ond’essi lieti & io doglioso sempre (2p. of Crespo dorato) (Svv) Fiesco: 229 16 Ondi lumi maggior dal ciel fur visti (2p. of Gia la vaga sorella) (Svv) Adriani: 311 11; 335 14

Ond’i piu dotti, & honorati spirti (2p. of Se grav’il peso) (Svv) Clerico: 208 13 Ond’io dird che fu falace inganno (2p. of Quel pianto quei sospiri) Raimondo: 183 15 Ond’io pian pian a Jui m’avicinai (2p. of L’altr’hier dalla mia) 3vv) —— Policreto: 383 21

Ond’io ringratio amor’e sue facelle (2p. of Se la mia donna) (5vv) Vicentino, N.: 59 13 Ond’io spero ch’ infin al ciel si doglia (2p. of S’honest’amor) (5vv) Rore: 73 3; 214 6 Ond’io tutto m’infuoc’ond’io tutt’ardo (3p. of Vedet’occhi) (Svv) Schiavetto: 238 10

Ond’io vi dd questo fedel consiglio Pont: 157 49

Ori un piu bel smiraldo la riviera (6vv) Monte: 347 il

Orsu Orsu compagni Werrecore: 103 2 Orsu stendiamo questi panni (Sp. of Nella vaga stagion) (7vv) Striggio: 289 1; 331 1 Oscur’abisso mi s’é fatt’il cielo (8p. of Al dolce suon) (5vv) Vento: 333 |

Ov’é condotto i! mio amoroso stile? (3vv) Scotto: 22 11; 83 11 Ove ch’i posi g!’occhi lassi o giri (Svv) Monte: 182 11; 345 11

Ove ch’i posi gl’occhi lassi o giri (Svv) Spontone: 357 10 Ove d’altra montagn’ombra non tocchi Lasso: 295 2

Ov’e ’} silenzio che ’! di fugge e ’| lume (2p. of O sonno o della Raimondo: 183 14 queta humida ombrosa)

Ov’e ’] silenzio che ’] di fugge e ’] Jume (2p. of O sonno o della Wert: 162 14; 200 14 queta humida ombrosa) (S5vv)

Ove lass’il bel viso ecco si s’asconde Schaffen (C. Festa): 94 19; 118 19 Ove porg’ombr’un pin’alto ad un colle (vv) Rampollini: 224 22

Ove porg’ombr’un pin’alto ad un colle Reulx: 35 8 Ove sacre sorelle (7vv) Portinaro: 307 Ove sei vita mia dov’e il tuo loco (Svv) Lasso: 358 10

|

Ove sete madonna Montagnana: 158 6 Pace non trovo e non ho da far guerra (Svv) Perissone Cambio: 49 9 Pace non trovo e non ho da far guerra (S5vv) Schiavetto: 238 3 Pace non trovo e non ho da far guerra (2vv) Scotto: 23 3; 111 3; 159 3; 224 3; 395 3

Padre del ciel dopo i perduti giorni Melfio: 149 9

Padre del ciel dopo i perduti giorni (5vv) Padovano: 219 12 Padre del ciel dopo i perduti giorni (6vv) Primavera: 262 13 Padre del ciel dopo i perduti giorni (Svv) Rore: 46 1; 223 15

Padre del ciel dopo i perduti giorni (2vv) Scotto: 23 20; 111 21; 159 21; 171 28; 224 21; 395 21

Padre del ciel dopo i perduti giorni Gvv) Scotto: 22 10; 83 10; 353 10 Padre eterno del ciel e de la terra (5p. of Fuor fuori 6 Muse) (6vv) Falcidio: 385 1 Paghi dunqu’il mio pianto, il grav’errore (2p. of Ridon liete) (Svv) Striggio: 185 2; 186 23; 274 23

Panta mi spanto e€ resto quasi mutto (3vv) Venturi: 379 38 Para pur quanto voi saett’e strali (vv) Zolini Bolognese: 361 22 Parlar soave di dolcezza pieno (2p. of Occhi sereni) (6vv) Monte: 347 14 |

Parmi di star la notte in paradiso Gvv) Bonagiunta: 279 2 Parmi di star la notte in paradiso (5vv) Ferretti: 368 3 Parmi di star la notte in paradiso Gvv) [no attribution]: 278 15 Parmi d’udirla udendo i rami e I’ore (2p. of Per mezz’i boschi) (Svv) —Rore: 28 11; 46 11; 129 12; 168 12; 213 11

Parmi veder da’monti (3vv) Venturi: 379 39 Partendo dal bel vostr’almo cospetto Gero: 78 9

Parti canzona mia (3vv) Arpa: 271 5

Partird dunque & perche mi s’asconde (6vv) Striggio: 378 5

Partomi donna & a voi lass’il core Volpe: 147 23 1079

Index of First Lines , Partomi donna, e pregovi per quelle Volpe: 147 24 Pasce la pecorella i verdi campi (Svv) Padovano: 357 4

Partomi donna e teco lascio il core (Svv) Ferretti: 283 21; 305 21; 334 21

Pasce la pecorella i verdi campi Pont: 157 41

Pascomi di dolor piangendo rido (Svv) Tortora: 355 15 Pascomi sol di pianto e viv’in pene (3vv) Mazzone: 360 5; 363 22; 397 5; Pascomi sol di pianto e viv’in pene (3vv) Scotto: 375 2

Pascomi sol di pianto e vivo in fiamme (3vv) {no attribution]: 278 2

Passa la nave °| mar d@’ir’e d’oblio (Svv) Contino: 179 19

Passa la nave mia colma d’oblio (Svv) Adriani: 336 15

Passa la nave mia colma d’oblio Gero: 78 6

Passa la nave mia colma d’oblio (5vv) Hoste da Reggio: 125 16 Passa la nave mia colma d’oblio (Svv) Portinaro: 307 3

Passa la nave mia colma d’oblio . Reulx: 35 17 Passa la nave mia colma d’oblio (6vv) Vinci: 381 1

Passa la nave mia colma d’oblio (Svv) Wert: 162 17; 200 !7 Passando per sta strada I’altra sera (3vv) Mazzoni: 325 11 Passer mai solitar’in alcun tetto Verdelot: 54 44; 85 44; 115 44; 146 44; 14 49 Passer mat solitar’in alcun tetto (Svv) Wert: 162 18; 200 [8

Pastorella d’amor non mi fuggir Ganassi: 251 12

Pastorella d’amor non mi fuggir deh dio Ruffo: 53 29; 150 28; 184 28 Pastorella gentil dal bianco armento (3vv) Mazzoni: 325 13

Pastorella gentil gentil pastori (3 vv) Pinello: 394 19

Patrone belle patrone Ghirardo: 189 18; 250 18 Pensai ch’ad ambi havesse tes’amore Dalla Viola, A.: 72 19

Pensai lasso, fra quest’ alpestri monti (Svv) Striggio: 185 19; 186 9; 2749 Pensai pit d’ogni amante esser contento (Svv) Ferretti: 368 18 Pensai pit d’ogni amante esser contento (3vv) Nola: 360 28; 397 28 Pensai pid d’ogni amante esser contento (3vv) Scotto: 376 4 Pensier ahime ch’el cor m’agghiacc’et ardi (Svv) Aretino: 156 4

Pensier che sovr’ogn’altro pensiero (3vv) Gero: 173 20 Pensier ch’il cor mi strugg’aggiacc’et ardi (Svv) Wert: 162 2; 200 2 Pensier dicea che *l cor m’agghiacc’& ardi (Svv) Lasso: 333 3 | Pensier dicea che ’] cor m’agghiacc’& ardi Paolo da Foligno: 172 20

Pensier dicea che ’| cor m’agghiace’& ardi (Svv) [no attribution]: 358 18

Pensier indegni iniquitos’& rei La Martoretta: 70 28 Pensier vagh’& soave Spontone: 160 8 Pensoso piu d’un’hor’a capo basso Ragazzo: 2§2 12 Pentite Amor diss’io ch’el cor m’accendi (3vv) Ghibel: 110 14 Per accrescer travagli’al miser core Spontone: 160 4 Per alti mont! ¢ per selv’aspre trovo (2p. of Di pensier in pensier) Adriani: 298 3

Per alti monti e per selv’aspre trovo Verdelot (C. Festa): 14 57; 54 39; 85 39; 115 39; 146 39

Per alt’ondoso mar d’aspro tormento Rufilo: 237 19 Per ampla strada entrai nel labirintho 3vv) Gero: 113 13

Per ch’al viso d’amor portav’insegna (3vv) Lupacchino: 281 26

Per ch’al viso d’amor portav’insegna Reulx: 35 |

Per che si ritrosetta Ragazzo: 252 14

Per cortesia canzon tu pregherai (7p. of Sovra una verde riva) [no attribution]: 222 17

Per creder men discosta (4p. of Mio pan’anzi mia vita) Nasco: 243 |

Per dar del suo gioir non picciol segno (Svv) Pratoneri: 308 7

Per debolezza piu non potea gire Volpe: 147 29

Per Dio dunque ciascuna donna pregata (3p. of S’amor venisse senza Scotto: 353 11 gelosia) (3vv)

Per Dio tu sei cortese Naich: 6§ 25; 107 35; 116 35; 163 35; 188 34;

2948 Per divina bellezza indarno mira (2p. of In qual parte del ciel) Adriani: 298 2

Per divina bellezza indarno mira (2p. of In qual parte del ciel) (Svv) = Chamaterd: 319 2

Per divina bellezza indarno mira Hoste da Reggio: 126 11 Per divina bellezza indarno mira (2p. of In qual parte del ciel) (Svv) — Lasso: 167 31; 181 11; 212 11; 286 11 Per divina bellezza indarno mira (2p. of In qual parte del ciel) (Svv) |§ Monte: 373 1

Per divina bellezza indarno mira (2p. of In qual parte del ciel) Perego: 143 2

Per divina bellezza indarno mira (2p. of In qual parte det ciel) (Svv) —_ Rufilo: 198 9 , 1080

Italian Texts Per divina bellezza indarno mira (2p. of In qual parte del ciel!) (Svv) Vinci: 380 10

Per far gl’honori al merto vostro equali (Svv) Chamatero: 318 7

Per far una leggiadra sua vendetta (Svv) Adriani: 336 3 Per folti boschi e per alpestre valle Arcadelt (Naich): 117 1

Per inhospiti boschi hispiti et hermi Festa, C. (Rampollini): 65 2; 107 3; 116 3; 163 3; 188 3; 293 3

Per inhospiti boschi hispiti et hermi (vv) Scotto: 22 46; 83 46

Per inospiti boschi oscuri e densi Rufilo: 237 21 Per I’avenir vo che ciascuna ch’aggia Menon: 79 8

Per le camere tue fanciull’e vecchi (2p. of Fiamma dal ciel) (Svv) Wert: 162 11; 200 11

Per lei pos’in oblio (Sp. of Cinta di fior’un giorno) Casulana: 339 8

Per mezz’i boschi inhospiti e selvaggi Gero: 77 32 Per mezz’i boschi inhospiti e sefvaggi Ragazzoni: 45 5

Per mezz’i boschi inhospiti e selvaggi (Svv) Rore: 28 11; 46 11; 129 12; 168 12; 213 11 Per miei prieghi si moss’amor un giorno (3vv) Meo Fiorentino: 361 1

Per narrarvi madonna el pensier mio vv) Ghibel: 110 21

Per negarmi mercede Mazzone: 360 32; 397 32

Per non saperti ringratiar amore Arcadelt: 2 45 Per paesi diversi aspri e lontani Romano, A.: 128 6 Per pianto la mia carne si distilla Gvv) Ghibel: 110 22 Per pianto la mia carne si distilla Lasso: 222 1

Per pianto la mia carne si distilla (Svv) Ruffo: 204 3

Per pieta de gl’accerbi miei martiri (Svv) Schiavetto: 238 4 Per prenderm’havea amor le reti tese (3vv) Mazzoni: 343 8 Per provar il morir da voi partendo (3p. of Quel pianto quei sospiri) Raimondo: 183 15

Per quei bei occhi ove s’annida amore Lupacchino: 32 13 Per quei bei occhi ove s’annida amore Veggio: 12 22 Per questa tua si subita partita (Svv) Converso: 388 22 Per quest’ogn’hor si sforza (7p. of Mio pan’anzi mia vita) (Svv) Nasco: 243 1 Per Rachel ho servito e non per Lia (7p. of Se io ’| dissi mai ch’i Ruffo: 131 13 venga in odio a quella) (7vv)

Per un’alma gentil spem’e timore (6vv) Striggio: 378 11

Per voi Vivo mia donna in ghiacci’e ’n foco (3vv) Primavera: 351 23

Perch’al viso d’amor portav’insegna (3vv) Lupacchino: 173 23

Perch’al viso d’amor portav’insegna Nola: 51 1

Perche con lui cadra quella speranza (2p. of Quanto piu m’avicino al Rore: 28 12; 46 25; 129 21; 168 21; 215 9 giorno extremo) (Svv)

Perche crudel Amor quando da prima (3vv) Courtois: 221 20 Perche dolce piu assai era fra l’herba (20p. of Quando miro la terra) Dorati: 340 1

Perche giovane sei disprezz’ Amore (5vv) Converso: 388 7

Perche |’usato stile (Svv) Portinaro: 236 16

Perche 11 Perche la la vita vita é¢ breve breve Arcadelt: Corteccia:251 65 29 Perche la vita é breve Lupacchino: 32 27 Perche lontana da fallaci scogli (3p. of Al dolce suon) (5vv) Gatto: 333 |

Perche madonna darne combianao (3vv) Gabrieli: 359 9; 398 9

Perche mi dai martir vita mia d’oro vv) Scotto: 376 19

Perche mi dai martir vita mia d’oro vv) [no attribution]: 226 38; 266 38 Perche mi date ogn’hor tormento e morte (3vv) Bianco: 386 9

Perche mi fai morire vv) Gero: 113 5

Perche nel petto mio (2p. of Dolce mio ben, vi chieggio) (6vv) Aretino: 156 23

Perche nemica mia mi vi mostrate (Svv) Lasso: 167 22; 180 22; 211 22; 285 22

Perche non cangi ahimé spiriti ¢ sensi (2p. of Vaga bella) (Svv) Monte: 346 8

Perche non date voi donna crudele Arcadelt: 17 17; 37 41; 56 41 Perche non date voi donna crudele Berchem: 119 32; 151 32 Perche Philli mi chiami ¢ poi t’ascondi Rufilo: 237 11

Perche piangi alma si dal pianto mai Aretino: 81 18

Perche piu acerba set’et piu rubella Verdelot: 65 22; 107 38; 116 38; 163 38; 188 37; 294 11

Perche piu aspir’ogn’hor sua fiera voglia Martinengo: 42 29

Perche si stretto e *I nodo e la ferita (2p. of Fera gentil che con Rore: 264 6; 3307 leggiadro modo) (S5vv)

Perche s’in voi tanto valor dal cielo Aretino: 81 30 1081

Index of First Lines Perche sol contemplando il vostro viso (2p. of S’io fuss’in cielo) Perego: 143 24

Perch’ io piang’ad ogn’hor donna gentile (vv) Gero: 16 9; 50 15; 114 15; 210 15

Perch’ io veggio e mi spiace Lasso: 222 15

- Percid ti prego dolce signor mio (3p. of Amor la vaga luce) (3vv) Scotto: 353 1

Perde la luc’il sol & veste il cielo (Svv) Aretino: 156 22

Pero ch’amor mi sforza Gero: 117 27

Perd che da l’ardore (2p. of Voi mi ponest’in foco) Palestrina: 172 1 Perd che dopo I’empia di partita (2p. of Si e debil’il filo) (Svv) Rufilo: 198 10

Perd che non Ia terra solo e ’] mare Pont: 157 18 Perd che voi non sete cosa integra Pont: 157 45

Perd che voi non sete cosa integra (4p. of Che giova posseder) Wert: 203 1 Perd, ch’ogni altro amaro, che si pone (2p. of Che dolce piu) Ghibel: 123 30 Perd padre che miri i nostri errori (2p. of Alto signor nel cui) (6vv) Wert: 162 20; 200 21 Perd piu fermo ogn’hor di tempo in tempo (4p. of Alla dolc’ombra) = Adriant: 298 1 Perd piu fermo ogn’hor di tempo in tempo (4p. of Alla dolc’ombra) — Berchem: 40 1; 204 2 Perd piu fermo ogn’hor di tempo in tempo (4p. of Alla dolc’ombra Mazzone: 323 13 delle belle frondi) (Svv) Perd piu fermo ogn’hor di tempo in tempo (4p. of Alla dolc’ombra}) |= Romano, A.: 128 2 Pero piu fermo ogn’hor di tempo in tempo (4p. of Alla dolc’ombra) —-Rore: 130 1 Pero s’io tremo e vo col cor gelato (2p. of Se ’] dolce sguardo) (Svv) = Adriani: 335 3 Pero s’io tremo € vo col cor gelato (2p. of Se "l dolce sguardo) (Svv) —— Perissone Cambio: 49 10 Perd s’io tremo e vo col cor gelato (2p. of Se ’l dolce sguardo) (Svv) = Vinci: 380 13

Perd s’oltra suo stil ella s’avventa (2p. of Amor io fallo) (6vv) Striggio: 206 11; 273 12 Pero s’oltra suo stil ella s’avventa (2p. of Amor io fallo) (Svv) Wert: 201 10; 202 10 Per ti prego Amor ch’al mio lamento (2p. of Lassa che gia) (Svv) Monte: 348 9

Perd vorrei ch’ andast’a quelle fere Pont: 157 10 Perseguendomi amor al luogo usato Gero: 117 16 Perseguendomi amor al luogo usato (5vv) Rore: 28 13; 46 12; 129 18; 168 18; 215 5 Perseguendomi amor com’er’usato Martinengo: 71 17 Pervert’e guast’il ciel la legg’ eterna (2p. of Piova sangue) (Svv) Ruffo: 169 25

Peso piu dolc’e grato Menon: 79 30 Phebo col novo giorno Menon: 79 37 Phebo se fra le stelle (Svv) Clerico: 207 2 | Phillida mia ch’d’amoroso foco Schaffen: 82 14

Phillida mia piu che i ligustri bianca (2vv) Gero: 16 13; 50 17; 114 17; 210 17

Phillida mia piu che i ligustri bianca Gvv) Ghibel: 110 8 Piacciati homai col tuo lume ch’io torni (2p. of Padre del ciel) Melfio: 149 9

Piaga che medicina non ci trovo (3vv) Gorzanis: 370 5 Piagata man de! mio fattor sinistra (2p. of Destra di quel amor) (Svv) Courtois: 243 2

Piange del pianger mio moss’ogni sasso (3vv) Mazzoni: 325 7 Piange inferma natura (2p. of Inaudita pieta mirabil pegno) (Svv) Vicentino, N.: 59 19

Piange ’l Thebro sospira |’aria e i sassi (3vv) Fiorino: 369 32

Piangea madonna & era’seco Amore Anville: 276 17 Piangean’e padr’ei figl’emp’e crudeli (4p. of Questo si ch’é felic’e Animuccia: 357 6 lieto giorno) (Svv)

Piangend’amaro me voglio morire Gvv) Troiano: 290 4; 310 4 Piangendo sempre pur convien ch’io ’! dica Ragazzoni: 45 9 Pianger dovrebbe I’aer la terr’e il mare (3vv) Troiano: 309 17

Pianger I’aere et la terra e ’! mar devrebbe (2p. of Lasciat’hai morte Striggio: 206 4; 273 4 senza sol il mondo) (6vv)

Pianger’e sospirar’a tutte |’hore (3vv) {no attribution]: 226 65; 266 65 Piangero donque insin al suo ritorno (6p. of L’altr’hier dalla mia Policreto: 383 21 villa ritornando) (3vv)

Piangete donne e con voi pianga Amore (2vv) Scotto: 23 33; 111 31; 159 31; 224 31

Piangete o mus’e con voi piang’amore (5Svv) Lockenburg: 205 4

Pianget’egri mortali (Svv) Willaert: 243 3

Pianget’occhi mei lasci (Svv) Gabrieli: 132 17 Piangi mi dic’hor piang’hor che sei privo (Sp. of Dolor lagrime)(Svv) | Monte: 3115

Piango cantand’ogn’hora del mio felice Tudino: 133 8 Pien d’amoroso inestinguibil fuoco (Sp. of Destra di quel amor Courtois: 243 2 ch’ogn’altr’amore) (Svv)

Pien di tremante gielo me n’andai (2p. of Nella stagion) Tudino: 133 17

Pien d’un vago pensier che mi desvia (Svv) Lasso: 167 20; 180 20; 211 20; 285 20 1082

Italian Texts

Pien d’un vago pensier che mi desvia Manara: 72 6

Pien d’un vago pensier che mi desvia (5vv) Rufilo: 198 1 Pien d’un vago pensier che mi desvia (Svv) Wert: 162 16; 200 16

Pieta ti mova e giust’amor ti sforza (Svv) Ferretti: 283 12; 305 12; 334 12; 366 12 Pioggia di lagrimar nebbia di sdegni (2p. of Passa la nave) (Svv) Hoste da Reggio: 125 16 Pioggia di lagrimar nebbia di sdegni (2p. of Passa Ja nave) (Svv) Portinaro: 307 3 Pioggia di lagrimar nebbia di sdegni (2p. of Passa !a nave) (6vv) Vinci: 381 | Pioggia di lagrimar nebbia di sdegni (2p. of Passa la nave) (Svv) Wert: 162 17; 200 17

Piova sangue e dal ciel casch’ogni stella (Svv) Ruffo: 169 25 Piove da gli occhi della donna mia Verdelot: 13 18; 14 19; 54 30; 85 30; 115 30; 146 30

Piovommi amare lagrime dal viso Nola: 5117

Piovommi amare lagrime dal viso (Svv) Ruffo: 169 18 Piu ch’umana belta ch’in voi risplende Lupacchino: 32 4 Piu che mai bella e piu leggiadra donna (Sp. of Che debbo far) Montagnana: 158 3 Piu che mai bella e piu leggiadra donna (6p. of Che debbo far) (Svv) Ruffo: 131 14 Piu che mai bella e piu leggiadra donna (6p. of Che debbo far) (Svv) ——- Vinci: 199 10; 240 10; 275 1

Piu d’alto pin ch’in mezz’un orto sia (Svv) Ferrabosco: 223 19

Piu leggiadr’e piu bella Donato: 101 3; 152 19; 109 20

Piu lieta di me non é donna alcuna (2vv) Scotto: 23 7; 111 7; 159 7; 224 7; 395 7

Piu non e sol il sol ma tu sei sole (6vv) Pesciolini: 235 16 Piu prest’il sol non sgombra Ragazzoni: 45 15 Piu presto vorria te core mio bello (3vv) Troiano: 332 10

Piu seguir non vogli’amore (3vv) Dattari: 303 16

Piu temp’ho gia seguito (3vv) Gero: 113 7

Piu volte ditto m’hai o babbo mio (3vv) Califano: 282 22

Piu volte gia dal bel sembiante humano Nola: 51 5

Piu volte t’haggio detto o villanella Bonizzoni: 315 4 | Poca merced’a si gravi martiri (2p. of Poi che lasso) (Svv) Porta: 219 15

Poggiand’al ciel coll’ali del desio (Svv) Rore: 28 3; 46 14; 129 3: 168 3; 213 3 Poi ch’amor cosi vole . Palazzo: 14 64 Poi che belta de |’alma sempre dura (8p. of Dal di che conobb’io Hoste da Reggio: 126 20 quanto sia bella) (Svv)

Poi che con gli occh’io veggio (2p. of Cara la vita mia) (Svv) Wert: 162 8; 200 8

Poi che crudel ammazzi le persone (3vv) Mattee: 280 28

Poi che del travagliato stato mio Scotto: 29 26

Poi che fortuna mi t’ha fatt’amare (3vv) Zappasorgo: 382 2

Poi che ’| camin m’é chiuso di mercede (Svv) Lasso: 167 7; 180 7; 211 7; 285 7 Poi che *] camin m’é chiuso di mercede (6vv) Monte: 326 9; 372 9 Poi che ’] camin m’é chiuso di mercede (3vv) Scotto: 22 47; 83 47

Poi che *| camin m’é chiuso di mercede Scotto: 29 7

Poi che ’| cor lasso ogni suo caro bene (5vv) Tortora: 355 16 Poi che ’| soave stile e *] dolce canto vv) Scotto: 22 44; 83 44 Poi che ’! fiero destin del mondo ha tolto Arcadelt (Berchem): 2 41

Poi che ’! mio largo pianto (6vv) Monte: 347 3 Poi che ’I mio largo pianto Amor ti piace (Svv) [no attribution]: 292 8; 356 8 Poi che la dispietata mia ventura Reulx: 35 14 Poi che la vista angelica serena (6vv) Fiesco: 229 26

Poi che la vista angelica serena (2vv) Scotto: 23 23; 111 23; 159 23; 224 23; 395 23

Poi che lasso e stanco mi trov’amor (Svv) Porta: 219 15

Poi che l’empia mia sorte (3vv) Scotto: 22 7; 83 7

Poi che l’iniquo e fero mio destino (Svv) Lasso: 167 9; 180 9; 211 9; 285 9

Poi che lo mond’é tutt’alla riversa Gvv) Troiano: 309 10 Poi che Lucilla mia mi sdegn’e sprezza (3vv) Mazzoni: 343 25 Poi che madonna non mi fa piu guerra Bonizzoni: 315 14

Poi che m’hai tolto la tua dolce vista (Svv) Converso: 388 4

Poi che m’invit’amore (Svv) Rore: 264 14; 330 13 Poi che mi brami pit’ morte che vita (Svv) Converso: 388 18 Poi che mort’e colei) (Svv) Striggio: 185 8; 186 29; 274 28 Poi che non spero pace del mio pianto (3vv) Celano: 280 13

Poi che nostro servir ha per mercede Dalla Viola, F.: 72 25 Poi che pato per ti tanto dolore (3vv) [no attribution]: 226 35; 266 35 Poi che per ben amar porto tormento [no attribution]: 164 9 1083

Index of First Lines

Poi che per mille prove Veggio: 12 35 Poi che per mio destino Gero: 117 24

Poi che pianti e sospir gravi e dolenti Raimondo: 183 12

Poi che pieta non ha di me pietade (3vv) Troiano: 290 22; 310 22 Poi che pieta non trov’al mio gran male vv) Perugino: 361 4; 363 3 Poi che questa crudel mi straccia a torto Nasco: 154 10; 197 10; 260 10 Poi che questa crudel mi straccia tanto (Svv) Romano, A.: 344 2; 391 2 Poi che sento di me I’anima accesa (4p. of Dal di che conobb’io Hoste da Reggio: 126 20 quanto sia bella) (3vv)

Poi che sola vi state a la finestra Bonizzoni: 315 15

Poi che son le due luc’al piant’intenso (Svv) Grisonio: 313 13 Poi che spiegat’ho I’ale al bel desio (6vv) Striggio: 206 13; 273 13 Poi che suo fui hebbi hora tranquilla (9p. of Quel’antico) (Svv) Lagudio: 231 3

Poi che volse de Ia mia stella Azzaiolo: 189 20; 250 20 Poi ch’ei trovar non puo penna ne stile (2p. of O del ciel parto) (6vv) Chamaterd: 319 11 Poi ch’empia mort’ha chiusi (2p. of Spezza I’arco et li strali ) (Svv) Tortora: 355 18

Poi ch’en voi sola il giusto Dio consente (5vv) Contino: 179 5

Poi ch’eri cosi forte scropulosa (Svv) Ferretti: 368 16

Poi ch’eri cosi forte scropulosa (vv) [no attribution]: 267 25; 296 25

Poi ch’to parti d’Italia gentile vv) Pinello: 374 4 Poi ch’io vi veggio o donna (Svv) Martinengo: 73 15

Poi ch’io viddi le tue superbe frondi (3vv) Fogliano: 66 32; 112 23; 174 23

Poi ch’ogn’ardir mi circonscriss’ amore Nola: 51 3 Poi ch’ogn’ardir mi circonscriss’amore Reulx: 35 24 Poi l’aspra saldar profonda piaga (5vv) Pesciolini: 235 8 Poi prima tutta cenere diventa (2p. of Prima che Ia mortal) (Svv) Tortora: 355 7

Pon fren’al gran desio che ti trasporta Gero: 78 4

Pon fren’al gran dolor che ti trasporta (Svv) Lasso: 167 13; 180 13; 211 13; 285 13 Pon fren’al gran dolor che ti trasporta (7p. of Che debbo far) (Svv) Montagnana: 158 3 Pon fren’al gran dolor che ti trasporta (8p. of Che debbo far) (7vv) Ruffo: 131 14 Pon fren’al gran dolor che ti trasporta (7p. of Che debbo far) (Svv) Vinci: 199 10; 240 10; 275 1

Porgetemi la lira (Svv) Chamatero: 319 1

Porgimi quella man, ch’avanz’il latte (3vv) Barré: 221 17 |

Porta l’insegna fra I’antich’ ore Schaffen: 82 18

Porta si lieti giorni un’altra aurora (5vv) Monte: 346 10 Port’ acqu’al crin’e piglia vent’in rete Waelrant: 265 20 Porta’il bon villanel da strania riva (Svv) Primavera: 262 6

Posando le mie membra in pover letto Arcadelt: 2 21 Poscia che la mia stella Menon: 79 28 Poscia che mia fortun’accompagnato Martinengo: 71 12 Poscia che per mio mal vi son si lunge (2p. of Ogni loco mi porge Palestrina: 205 3 doglia e pianto) (Svv)

Poscia ch’el tempo in vano (Svv) Naich: 223 17 Poscia ch’il mio destin fallace et empio Scotto: 29 31

Poscia cor mio, Chaterina Ghibel: 123 26 Poscia rivolto al tuo senno vivace (3p. of Donna non donna) (7vv) Rossetto: 288 3

Posci’in pensar che senz’udir cagione (2p. of Quand’ io veggio Rore: 214 2 tal’hor al dolce loco) (Svv)

Poss’io morir di mala morte s’io Arcadelt: 17 35; 37 13; 56 13; 119 6; 151 6

Poss’io morir di mala morte io [no attribution]: 299 8; 337 8 Potess’io almen poi che mi viet’e toglie Rufilo: 237 16

Pregovi donna non I’abbiat’a sdegno (Svv) Ferretti: 368 6 Pregovi donna non |’abbiat’a sdegno (3vv) Pinello: 394 3 Presago del mio male anzi che sia (Svv) Monte: 346 12

Preso al primo apparir del vostro raggio Monte: 327 15 Preso al primo apparir del vostro raggio Scotto: 29 27 Preso son io nelle piu belle braccia vv) Zappasorgo: 382 5 Press’un alpestre riva Hoste da Reggio: 126 9 Pria vedrete madonn’arder il mare Mazzone: 360 30; 397 30 Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) (5vv) Adriani: 336 8

Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) Berchem: 139 21 Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) (Svv) Chamatero: 317 1

Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) Donato: 304 1 1084

Italian Texts Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) Montagnana: 158 | Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) Pesciolini: 235 1 Prima ch’i torni a voi lucenti stelle (Sp. of A qualunque) (6vv) Vinci: 381 6

Prima che la mortal spogli’a Ja terra (Svv) Tortora: 355 7

Prima che stava sciolto d’ogn’ Amore Primavera: 329 22

Prima hora della notte Azzaiolo: 189 5; 250 7

Privo di quel che gran tempo mi tenne (3vv) Gero: 113 26

Privo in tutto son io d’ogni mio bene (2p. of Solingo augello) (Svv) Monte: 346 4 Privo in tutto son io d’ogni mio bene (2p. of Solingo augello) (Svv) Picenni: 220 11

Provat’amanti se morir volete (3vv) Zappasorgo: 382 16 Proverbio, ama chi t’ama é fatto antico Naich: 65 18 Proverbio, ama chi t’ama é fatto antico Nola: 51 27 Proverbio, ama chi t’ama é fatto antico (3p. of Mai non vo piu) Gvv) ~Bonardo: 297 6

Puli chiam’il mio cor quel giorno ch’io (5vv) Ruffo: 220 2 Pungente dardo che’l mio cor consumi Berchem (Arcadelt): 17 2; 37 10; 56 10; 119 3; 151 3; 165 3; 191 3; 299 2; 3372

Puossi morta chiamar quella di cui Pont: 157 48

Pur converra, che i miei martiri amore Parabosco: 40 8

Pur converra, che i miei martiri amore (Svv) Portinaro: 236 15 Pur converra, che 1 miei martiri amore (3vv) Scotto: 22 22; 83 22; 216 16 Pur cosi vuol mia stella & 6 non voglia (2p. of Ogni stratio) (Svv) Bellavere: 313 8

Pur m’eran dolci il foco (2p. of Quel foco che tant’ anni) (Svv) Chamatero: 319 4 Pur mi dara tanta baldanz’ amore (2p. of Se la mia vita) (vv) Vinci: 199 8; 240 8; 275 12 Pur mi rivolto all’una e l’altra guancia (3p. of La figliola d’ Amon) Volpe: 147 2

Pur sepp’il tuo partire (Svv) Ferretti: 283 20; 305 20; 334 20; 366 20 Pur troppo donna invan tant’ho sperato (Svv) Verdelot: 15 32

Purpurei e bianchi fior! Gero: 117 17

Quai d’eloquentia sempiterni fiumi (2p. of O chiara luce) (Svv) Vicentino, N.: 59 12 Quai divener le piaggi’e i coll’ all’ hora (6p. of Questo si ch’é felic’e = Perissone Cambio: 357 6

lieto giorno) (Svv)

Quai pomi mai qual’oro Arcadelt: 17 28; 37 3; 56 3; 119 47; 151 47; 165 34; 191 34; 299 38; 337 38

Qual altra fu giamai dolcezz’in pria Arcadelt (Corteccia): 1 25

Qual anima ignorante over piu saggia Berchem (Nolet): 65 1;107 1; 116 1; 163 1; 188 1; 293 |

Qual anima ignorante over piu saggia (2vv) Scotto: 23 21; 225 | Qual anima ignorante over piu saggia Willaert: 14 59; 223 9; 241 9

Qual Clitia sempre al maggior lum’intenta Arcadelt: 2 33; 17 23; 37 6; 56 6; 119 50; 151 50; 165 36; 191 36; 299 28; 337 28

Qual credenza d’haver senza Amor pace Pont: 157 16 Qual da l’usato suo vagho ritegno (3p. of Qual di notte tal hor) (3vv) Wert: 162 1; 200 1 Qual di notte tal hor chiara facella (Svv) Wert: 162 1; 200 |

Qual dogli’agguagliar poss’alla mia doglia (2vv) Gero: 16 17; 50 9; 1149; 2109 ,

Qual dolcezza giamai (Svv) Willaert: 15 1

Qual donn’attend’a gloriosa fama Hoste da Reggio: 127 21 Qual donn’attend’a gloriosa fama (S5vv) Rore: 73 10; 2148

Qual donna cantera se non cant’io Schaffen: 82 12

Qual donna cantera se non cant’io (2vv) Scotto: 23 9; 111 10; 159 10; 224 10; 395 10 Qual donna cantera se non cant’io 3vv) Scotto: 22 31; 83 31; 216 18; 353 9

Qual donna piu di me vive felice Hoste da Reggio: 126 5

Qual dopo i giorni nubilos’e brevi (Svv) Wert: 201 !; 202 1 Qual duo veneni uniti, |’huom tal hora (vv) Contino: 220 6

Qual duro freno o qual ferrigno nodo Cataldo: 170 42 Qual é a veder per l’odorate sponde Martinengo: 71 21 Qual e ’1 dolce concento (2p. of O chiaro nodo) (Svv) Contino: 220 8

Qual é piu grande Amore (8vv) Fiesco: 229 30 Qual falace sentier che ’] cor martira Ciera: 121 6

Qual fia *! dolor nella crudel partita [no attribution] (Naich): 65 20; 107 14;

| 116 14; 163 14; 293 14

Qual focoso desio ch’in me s’accese (Svv) Clerico: 208 19

Qual for’un huom se !’un & Valtra luce Pont: 157 33

Qual gia Diana la faretra e l’arco (4p. of Donna non donna) (8vv) Rossetto: 288 3

1085

Index of First Lines Qual hebb’a pensar mai in terr’o’in cielo (2p. of Mio pan’anzi) (Svv) Nasco: 243 1

Qual hor rivolgo’il basso mio pensiero (Svv) Rore: 330 19

Qual l’eclissato sol che quasi privo (Sp. of Qual di notte) (Svv) Wert: 162 1; 200 |

Qual maggior segno del mi’ardor volete (2vv) Gero: 16 23; 50 44; 114 44; 210 44 Qual meraviglia se mi piacqu’il bosco (5p. of Alla dolce ombra) Gosswin: 333 4 (Svv)

Qual meraviglia se mi piacqu’il bosco (Sp. of Alla dolce ombra) Rufilo: 237 10 Qual miracolo é@ quel quando fra |’erba (2p. of Amor & io si pien di Monte: 373 2 meraviglia) (Svv) Qual miracolo é quel quando fra l’erba (2p. of Amor & io si) (Svv) Primavera: 262 |

Qual nave scorta da celeste lume (4p. of Al dolce suon) (Svv) Comazzani: 333 | Qual part’hoggi del mondo che non sia (2p. of Qual anima) (2vv) Scotto: 23 21; 225 1

Qual paura ho quando mi torn’a mente Arcadelt (C. Festa): 2 20

Qual pena lass’é si spietat’e cruda Donato: 304 18 —

Qual pit suave ardore (5vv) Adriani: 335 10 Qual piu diversa et nova Willaert: 29 32; 241 | Qual piu si trova oppressa (Svv) Striggto: 357 3 Qual possanza fia mai (5vv) Ruffo: 132 4 Qual prova donna vi puo far piu certa (Svv) Clerico: 208 12

Qual sara mai si degn’alma corona Ragazzoni: 45 10

Qual sara mai si miserabil canto Gvv) Festa, C.: 66 7; 112 7; 1747 Qual sara mai si miserabil canto (3vv) Rampollini: 221 18

Qual sara mai si miserabil pianto Fiesco: 229 10 Qual sara mai si miserabil pianto Romano, A.: 128 8 Qual si perfetto stil diria mai tanto Tudino: 133 5

Qual sol che d’Oceano nimpha bianca (6vv) Primavera: 262 14

Qual sventurato mai tra’i sventurati Lupacchino: 172 21 Qual timido nochier ch’a part’a parte (5vv) Rufilo: 198 11

Qual tu ti sia qui vieni (6vv) Striggio: 378 4

Qual vag’augel si liet’& si giocondo Schaffen: 82 10 Qual vi move pensier fallac’e rio Hoste da Reggio: 127 19 Qual vista sara mai occhi miei lassi (Svv) Aretino: 156 13

Qual vista sara mai occhi miei lassi (Svv) Willaert: 46 22; 2233 — Qual vista sara mai occhi miei lassi [no attribution]: 107 2; 116 2; 163 2; 188 2; 293 2

Qual volta donna mi si rapresenta (Svv) Wert: 162 3; 200 3

Qual’e piu grand’o’amore Rore: 130 17

Qualhor i veggio ‘| bel viso leggiadro Menon: 79 19

Qual’ hor la vaga luce (Svv) Monte: 346 14 Qual hor m’assal amore (S5vv) Arcadelt: 15 17

Qual’hor rimiro i vostri bei sembianti Martinengo: 42 24 Quand una valle dilettosa tanto (Svv) Tortora: 355 6

Quand’al grato spirar de le dolci aure (Svv) Monte: 373 17

Quand’altr’aurora in piu vezzos’ostello (2p. of Eran Tet’e Giunon) Casulana: 301 16

Quand’alz’il tuo destrier perlata fronte Ferro: 94 14; 118 14

Quand’amor fia ch’il vag’e sopr’>humano (5vv) Hoste da Reggio: 125 21

Quand ’amor i begli occh’a terr’inchina [1] Verdelot: 14 31

Quand’amor i begli occh’a terr’inchina [2] Verdelot: 13 2; 14 32; 54 28; 85 28; 115 28; 146 28

Quand’amor i begli occhi intorno gira Gero: 117 33

Quand’anchor pens’al mio crudel martire Schaffen: 82 23 Quand’ apparir da I’altra riva il lume (2p. of Chius’er’il sol) (Svv) Rufilo: 198 5

Quand’ aprir veggio quessi bei rubini (Svv) Converso: 388 25 Quand’ecco donn’il vostro bracci’invitto (5p. of Questo si ch’é Pelestina: 357 6 felic’e lieto giorno) (5vv) Quand’ ella presso’a Dio lieta s’assise (2p. of Lasciando il piu) (Svv) — Fiesco: 229 13

Quand’havran fin amor gli affanni mei (Svv) Arcadelt (Verdelot): 15 15

Quand’havran fin amor gli affanni miei Mazzone: 324 3

Quand ’havran fin amor gli affanni miei vv) Scotto: 22 14; 83 14

Quand’ il pianetta che distingue hore Gero: 78 2 Quand’ il soave mio fido conforto Adriani: 298 15 Quand’ il soave mio fido conforto Melfio: 149 20 Quand’ il soave mio fido conforto Montagnana: 158 4 1086

Italian Texts

Quand’il soave mio fido conforto Romano, A.: 128 13 Quand’ il soave mio fido conforto Zarlino: 295 13 Quand’il tempo ch’el ciel con gl’anni gira (Svv) Clerico: 208 7 Quand’in lo specchio rimirate fiso Martinengo: 71 5

Quand’ io mi volg’indietr’a mirar gli anni Nola: 51 2 Quand’io mi volg’indietr’a mirar gli anni Reulx: 35 13 Quand’io mi volg’indietr’a mirar gli anni (Svv) Wert: 201 11; 202 11 Quand’ io mirai sa bella faccia d’oro (3vv) Scotto: 375 §

Quand’ io movo i sospiri 4 chiamar voi (2vv) Scotto: 171 16 Quand’io movo i sospiri 4 chiamar voi vv) Scotto: 22 42; 83 42

Quand ’io pens’al tormento Rufilo: 237 17

Quand’ io penso al martire Arcadelt: 17 55; 37 56; 56 56; 119 56; 151 56; 165 42; 191 42; 299 41; 337 41

Quand’io penso al martire (2vv) Scotto: 23 30; 111 29; 159 29; 216 1; 224 29

Quand’ io penso al martire (3vv) Scotto: 22 51; 83 51; 84 18 Quand’ io risguardo fiso in quella luce (6vv) Dorati: 166 16

Quand’io son tutto volto in quella parte (Svv) Rore: 28 4; 46 15; 129 10; 168 10; 213 9

Quand’io son tutto volto in quella parte (2vv) Scotto: 171 14 Quand’io veggio dal ciel scender l’aurora (vv) Dorati: 166 11

Quand io veggio dal ciel scender l’aurora Mazzone: 324 4 Quand’io veggio tal’hor al dolce loco (Svv) Rore: 214 2 Quand ’io vidi cader a terr’il verde (Svv) Clerico: 207 3 Quando a prieghi d’amore honesti et degni (2p. of Dal terzo cielo fin Dorati: 166 15 qua giu splendea) (6vv)

Quando ch’io miro o sol de gli occhi mei (3vv) Troiano: 290 18; 310 18

Quando co ’I dolce suono Arcadelt: 17 13; 37 28; 56 28; 119 19; 181 19; 165 16; 191 16; 299 20; 337 20 Quando co’i dolci rai ti rivolgesti (2p. of Non dubitar ben mio) (Svv) Converso: 388 9

Quando col rozzo stile Veggio: 12 18

Quando consente ’! cielo Spontone: 160 20 Quando cosso muscillo (3vv) Fiolo: 280 21

Quando da noi ne brevi giorn’il sole (Svv) Hoste da Reggio: 125 2

Quando da voi madonna son lontano Nola: 222 14

Quando de l’alma pianta e ’l santo bosco (7p. of Alla dolce ombra de Troiano: 333 4 la nobil pianta) (Svv)

Quando di rose d’oro Willaert: 241 28 Quando donna sembiante a la stagione (2p. of La notte che segul Adriani: 336 17 ’horribil caso) (Svv)

Quando fia ch’io le verd’amiche piagge (12p. of Al dolce suon) Troiano: 333 1 (5vv)

Quando fia mai che ’] foco ond’io tutt’ardo Lamberto: 117 13

Quando fra l’altre donne ad hor’ad hora Berchem: 139 23

Quando fra I’altre donne ad hor’ad hora (S5vv) Rore: 73 5; 215 11

Quando fra verdi colli Menon: 79 20 Quando fuori del mar la prima luce (5vv) Comis: 311 8

Quando gionse per gli occh’al cor madonna Willaert: 14 44; 54 47; 85 47; 115 47; 146 47; 241 12

Quando il gran Giove fulminando tona Bonizzoni: 315 13

Quando ’! desir 4 riveder mi spinge (Svv) Vicentino, N.: 59 4 Quando °! di chiar’apparira di notte (Svv) Pesciolini: 235 12

Quando ’| voler che con duo sproni ardenti (Svv) Lasso: 167 5; 180 5; 211 5; 285 5

Quando la bell’aurora, innanz’al sole (3vv) Barré: 221 12

Quando la bell’ aurora, innanz’al sole Rossetto: 312 7

Quando Ja sera canta il griolin Azzaiolo: 189 7; 250 8 Quando la sera scaccia il chiaro giorno (3p. of A qualunque) (5vv) Adriani: 336 8

Quando la sera scaccia il chiaro giorno (3p. of A qualunque) Berchem: 139 21 Quando la sera scaccia il chiaro giorno (3p. of A qualunque) (5vv) Chamater6: 317 |

Quando la sera scaccia il chiaro giorno (3p. of A qualunque) Donato: 304 |

Quando la sera scaccia il chiaro giorno (Svv) Lasso: 167 15; 180 15; 211 15; 285 15 Quando Ia sera scaccia il chiaro giorno (3p. of A qualunque) Montagnana: 158 | Quando la sera scaccia il chiaro giorno (3p. of A qualunque) (5vv) Pesciolini: 235 |!

Quando la sera scaccia i! chiaro giorno (3vv) Roussel: 221 7 Quando Ia sera scaccia il chiaro giorno (3p. of A qualunque) (6vv) Vinci: 381 6

1087

Index of First Lines

Quando la terr’é piu verd’& fiorita Martinengo: 71 9

Quando Ja tromba alla battaglia in festa (Svv) Schiavetto: 238 6

Quando !’alma bellezza Perego: 143 12

Quando lieta sperat sederm’all’ombra (S5vv) Rore: 99 6; 214 3 Quando madonna gli amorosi sguardi (3vv) Gero: 113 14 Quando madonn’amor lasso m’ invita Verdelot: 14 6; 54 13; 85 13; 115 13; 146 13

Quando mi lev’e vad’a la fenestra Primavera: 329 9 Quando mi miri con quess’occhi ladri (Svv) Converso: 388 8

Quando mi vene innanz’il tempo e ’! loco Monte: 327 16 Quando mia speme gia condott’al verde (2p. of Gia flammeggiava Lagudio: 231 1 l’"amorosa stella) (Svv)

Quando mio padre me dette marito 3vv) Guami, G.: 267 23; 296 23 Quando mirai sa bella faccia d’oro 3vv) Mazzone: 360 2; 363 30; 397 2

Quando miro i capelli (3vv) Primavera: 352 1; 363 17 Quando miro la terra ornat’e bella Dorati: 340 1 Quando muovo le luci a mirar voi (6vv) Monte: 347 8

Quando nasce quest’alba (2p. of Ecco sorge a noi |’alba) (5vv) Contino: 179 4

Quando nascesti amore (8vv) Nasco: 205 18

Quando nochier ben saggio su per I’onde (Syv) Cavatoni: 387 |

Quando pens’al gravoso mio martire (Svv) Roussel: 132 14

Quando penso ferirla m’ha ferito La Martoretta: 70 11 Quando per gentil atto di salute (4p. of La dolce vista) (Svv) Gero: 78 16

Quando per gentil atto di salute (4p. of La dolce vista) Monte: 312 6; 327 1

Quando prend’il cammino Corteccia: 39 23 Quando quel cocchio dalla chiesa parte (3vv) Pinello: 374 2

Quando quel tuo bel sguard’in me rivolgi Gvv) Archangelo da Reggio: 361 5

Quando ritrovo la mia pastorella Arcadelt (C. Festa): 1 11 Quando sara mai quel zorno (3vv) Bellavere: 359 10; 398 10

Quando son piu lontan de bei vostri occhi Berchem (Ivo Barry): 65 36; 107 28; 116 28; 163 28; 188 27; 294 |

Quando tal hor di voi ci fate degni (3vv) Perugino: 361 27

Quando tal’hor nell’apparir del giorno (3vv) Zappasorgo: 382 13

Quando talhor el mio unico sole Arcadelt: 2 2 |

Quando vede il pastor calar i raggi Aretino: 81 24 Quando vede il pastor calar i raggi Mazzone: 324 10

Quando vede il pastor calar i raggi (6vv) Striggio: 206 7; 273 7 Quando vede il pastor calar i raggi (Svv) Wert: 162 12; 200 12 Quando vedro ch’a miei caldi sospiri (2p. of Gentil mia donna) (Svv) — Fiesco: 229 19

Quando vego sta vecchi’a la divisa (3vv) Primavera: 351 27

Quando vi veggi’andar donn’in caretta Nola: 349 25 Quando vidi madonna’i bei vostr’occhi (3vv) Primavera: 263 24; 272 24; 350 24 Quando vincer da l’impetto ¢ da lira Cataldo: 170 30 Quando voleva gia tu non volevi Nasco: 154 11; 197 11; 260 11

Quando vostri begli occhi un chiaro velo Arcadelt: 1 22

Quando vostri begli occhi un chiaro velo (Svv) Vicentino, N.: 59 2 Quanta belta, quanta gratia e splendore Arcadelt: 17 34; 37 12; 56 12; 119 5; 151 5; 165 5; 191 5; 299 7; 337 7

Quant’ahi lasso il morir saria men forte Scotto: 29 9

Quant’é folle chi crede Corteccia: 39 17 Quante grandeze fanno ste vaiasse (3vv) Califano: 282 14

Quante gratie a quegl’occhi, che mirando (2p. of Quante gratie vi Garugli: 220 17 rend’amiche stelle) (Svv)

Quante gratie vi rend’amiche stelle (Svv) Garugli: 220 17 Quant’é il cerchio del ciel distess’et largo La Martoretta: 70 25

Quante lagrime lasso, e quanti versi Berchem: 14 65

Quante lagrime lasso, e quanti versi (3p. of La ver l’aurora) Vicentino, D.: 158 5

Quant’é madonna mia folle ’| pensiero Arcadelt: 17 44; 37 30; 56 30; 119 21; 151 21; 165 18; 191 18; 299 18; 337 18

Quant’é vano il piacer brev’e fallace (Svv) Adriani: 336 12 Quante volte diss’io (Sp. of Chiare fresch’e dolci acque) (Svv) Arcadelt: 204 |

Quante volte il diss’io Gero: 77 22 Quante volte diss’io (3vv) Ghibel: 110 23

Quante volte diss’io (Sp. of Chiare fresch’e dolci acque) Mazzone: 324 13 1088

Italian Texts Quante volte diss’io (5p. of Chiare fresch’e dolci acque) Palestrina: 172 25

Quante volte diss’io Willaert: 29 35; 241 2

Quant’esser vi dee caro un huom che brami Pont: 157 42 Quant’esser vi dee caro un huom che brami (3p. of Che giova) Wert: 203 1

Quant’hai lasso il morir saria men forte (2vv) Scotto: 171 7 Quant’hai lasso il morir saria men forte (Svv) Verdelot: 15 10

Quant’ han gia detto (vv) Fiorino: 369 29

Quant’hanno i lidi arene (6vv) Pesciolini: 235 18

Quanti lasso sospir la nott’al vento Gvv) [no attribution]: 271 16

Quanti ne vedi tutt’a te li tiri Waelrant: 265 11 | Quanti principi grandi amati e cari (24p. of Quando miro Ja terra) Dorati: 340 | Quanti son poi che divenuti amanti (12p. of Quando miro la terra) Dorati: 340 |

Quanti travagli e pene Arcadelt: 17 52; 37 52; 56 $2; 119 52; 151 52, 165 38; 191 38; 299 35; 337 35 Quant’il mio duol senza conforto sia Menon: 79 5 Quant’il mio duo! senza conforto sia (4p. of Lagrimando) (3vv) Scotto: 353 8

Quant’il mio mal senza conforto sia Schaffen: 94 16; 118 16

Quant’il sereno giorno (6vv) Dorati: 166 12 Quant’in mill’anni il ciel dovea mostrarne Aretino: 81 15 Quant’in mill’ anni il ciel dovea mostrarne Pont: 157 26

Quant’in mill’anni il ciel dovea mostrarne (Svv) Rufilo: 198 17

Quant’invidia a quelle anime ch’in sorte (2p. of Quant’invidia) (Svv) Lasso: 232 3; 287 3 Quant’invidia 4 quelle anime ch’in sorte (2p. of Quant’invidia) (S5vv) Mazzone: 323 11

Quant’ invidia ti porto avara terra (Svv) Lasso: 232 3; 287 3 Quant’ invidia ti porto avara terra (Svv) Mazzone: 323 11 Quant’ invidia ti porto avara terra Reulx: 35 7 Quant’ invidia vi port’aure beate (5vv) Lasso: 232 9; 287 9 Quanto a potuto iI ciel l’industria e |’ arte Tudino: 133 2 Quanto debb’allegrarse la natura Donato: 101 19; 109 19; 152 18

Quanto di buon dal cielo (Svv) Pratoneri: 308 12

Quanto di dole’havea (Svv) Pesciolini: 235 14

Quanto soave Aretino: 23 Quanto dolce fra voi&mortali Arcadelt:81 2 23

Quanto ha del pellegrin’e del gentile (18p. of Quel’ antico) (Svv) Lagudio: 231 3

Quanto il mio duol senza conforto sia Lasso: 222 9

Quanto m’apparv’amor cortes’‘all’hora (Svv) Striggio: 354 15; 377 15 Quanto pit m’allontano dal mio core (Svv) Striggio: 354 17; 377 17

Quanto piu m’arde e piu s’accende il foco Festa, C.: 2 12

Quanto piu m’arde e piu s’accende il foco (3vv) Scotto: 22 38; 83 38

Quanto piu m’arde e piu s’accende il foco Scotto: 29 36

Quanto piu m’arde e piu s’accende il foco (Svv) Willaert: 15 2

Quanto piu m’avicino al giorno estremo (Svv) Rore: 28 12; 46 25; 129 21; 168 21; 2159 Quanto piu miro fiso Ferro: 164 11 Quanto piu miro la tua gran bellezza Gvv) Primavera: 352 22

Quanto piu penso di m’allontanare (3vv) Tudino: 280 7

Quanto pill posso mi ti raccomando (3vv) Lando: 360 18; 397 [8

Quanto piu su I’instabil rota vedi Cataldo: 170 45

Quanto piu v’am’ogm hor piu bella sete (Svv) Barré: 181 5; 212 5; 286 5 Quanto privo di te mia Nub’i veggo (Svv) Striggio: 185 21; 186 24; 274 24 Quanto sarei felice tra quest’ombre (6p. of Hai lasso io) (6vv) Baccusi: 385 2 Quanto sarei felice tra quest’ombre (6p. of Hai lasso io) (Svv) Berchem: 204 4

Quanto sia lieto il giorno (vv) Scotto: 22 19; 83 19; 171 21; 216 17 Quanto sia lieto il giorno Verdelot: 13 1; 14 21; 54 55; 85 55; 115 55; 146 55 |

Quanto sicuri & lieti Corteccia: 39 25 Quantunque a voi lontano (6vv) Vinci: 381 8 Quantunque debil freno a mezo il corso Cataldo: 170 11

Quantunque il simular sia le piu volte Cataldo: 170 4

Quasi improvisa desiat’e chiara (6vv) Striggio: 206 15; 273 15

Quattro Dee, ch’il mond’ honor’& ama Donato: 101 25; 109 28; 152 27 Quattro sospir ahime te vo mandare (3vv) Dattari: 303 14 Quattro sospiri te voria mandare (3vv) Bonardo: 359 4; 398 4

Quet coralli vermig]i Menon: 79 10 1089

Index of First Lines

Quel anellato crine Gvv) Ghibel: 110 13 Quel che mentr’er’in questa vall’oscura (2p. of Beatae felice) (Svv) _Clerico: 207 18

Quel chiaro sol che tragge indi lontano (Svv) Lasso: 167 25; 181 4; 212 4; 286 4 Quel ch’io divenn’allhor sassel’ Amore (2p. of Smarriss’il cor) (6vv) —_‘ Portinaro: 307 9

Quel dolce fuoco in cui abbrugg’& ardo (3vv) Gero: 113 38

Quel dolce suon per cui chiaro s’intende (Svv) Ameyden: 232 12; 287 12

Quel foco che tant’anni m’arse et alse (Svv) Chamaterd: 319 4

Quel foco che tanti anni Rore: 130 11 Quel fuoco é morto e ’| copre un picciol marmo (2p. of Mentre Cavatoni: 387 9 che ’| cor da gli amorosi vermt) (Svv)

Quel fuoco é morto e ’! copre un picciol marmo (2p. of Mentre Lasso: 167 8; 180 8; 211 8; 285 8 che ’I cor da gli amorosi vermi) (Svv)

Quel fuoco é morto e ’! copre un picciol marmo (2p. of Mentre Nasco: 205 16

che ’1 cor da gli amorosi vermi) (6vv) .

Quel fuoco é morto e ’] copre un picciol marmo (2p. of Mentre Pratoneri: 308 4 che 1 cor da gli amorosi vermi) (5vv)

Quel fuoco é morto e | copre un picciol marmo (2p. of Mentre Severino: 199 13 che ’! cor da gli amorosi verm1) (Svv)

Quel fuoco é morto e ’I copre un picciol marmo (2p. of Mentre Vinci (Severino): 240 13; 275 6 che *t cor da gli amorosi vermi) (Svv)

Quel limpido ruscello Candido: 364 29

Quel pianto quei sospir e la parole Raimondo: 183 15 Quel pudico desio che ’1 cor m’infiamma (Sp. of Dal di che) (3vv) Hoste da Reggio: 126 20

Quel rossignuol che si soave piagne (Svv) Mazzone: 323 9 Quel rossignuol che si soave piagne (Svv) Monte: 182 12; 345 12

293 23 |

Quel sempre acerbo et honorato giorno (Svv) Rore: 28 15; 46 7; 129 15; 168 15; 215 3

Quel si grave dolore Arcadelt: 65 6; 107 24; 116 24; 163 24; 188 23;

Quel si grave dolore Lockenburg: 222 10 Quel sol che solo a gl’occhi miei risplende (2p. of Quando mi vene) Monte: 327 16

Quel vago impallidir che ’] dolce riso (Svv) Rore: 73 9; 2147

Quel viso’ov’e l’albergo del mio core [no attribution]: 164 23

Quel vostr’avorio & oro Martinengo: 42 16 , Quella belta maggiore (Svv) Ruffo: 132 1 Quella che fu del secol nostr’honore Schiavetto: 238 21 Quella che gl’occhi suoi guerra mi fanno (Svv) Ferretti: 368 | Quella che sospirand’ogn’hor desio Verdelot: 14 5; 54 40; 85 40; 115 40; 146 40

Quella rara virtt et quel valore Corteccia: 39 20

Quel’ antico mio dolce empio signore (Svv) Lagudio: 231 3 Quell’ altro ingordo d’acquistar thesori (9p. of Quando miro la terra) Dorati: 340 1

Quell’ardente desir ch’amor mi diede Berchem: 107 30; 116 30; 163 30; 188 29; 294 3 Quelle fiamme quel foco & le faville (Svv) Martinengo: 73 11 Quello per haver fama in ogni parte (8p. of Quando miro la terra) Dorati: 340 1 Quell’occhi d’eban ch’in avorio puro (2p. of Febre importuna) (Svv) Vidue: 277 14

Quell’occhi dolci e cari ond’usci ’1 dardo Volpe: 147 15 Quess’occhi belli m’han ferit’il core (3vv) Mazzoni: 325 18 Quess’occhi ladr’e quessa faccia bella Gvv) Policreto: 383 | Quess’occhi latri che mi fa morire Gvv) [no attribution]: 226 2; 266 2

Quessa gonella rossa che portate (3vv) Candido: 364 7 Questa bella d’Amor nemica e mia (5vv) Rufilo: 198 2

Questa crudel per cui piango e sospiro (Svv) Romano, A.: 371 6 Questa donna crudel che tanto bella 3vv) Primavera: 263 12; 272 12; 350 12

Questa donna gentil tant’era bella (6vv) Vinci: 381 2 Questa é la vita che cotanto piacque (19p. of Quando miro Ia terra) Dorati: 340 |

Questa fé Cino poi lodar selvaggia Pont: 157 22 Questa fé dolce ragionar Catullo Pont: 157 21

Questa fera gentil che scherz’e fugge (6vv) Ferretti: 292 13; 356 13

Questa fera gentile (Svv) Ruffo: 169 11 Questa humil fera un cor di tigre o d’orsa Fiesco: 229 11

Questa luce d’Amor piu che *I sol chiara (Svv) Portinaro: 236 18

Questa mia pastorella (2p. of La pastorelia mia) (6vv) Baccusi: 385 3

Questa mia pur’ & candida colomba Perego: 143 3 Questa mortal ferita ch’al cor sento (3vv) Gorzanis: 370 22 , 1090

Italian Texts

Questa notte sognai dormend’in letto 3vv) Guami, G.: 279 17

Questa novellamente ai padri vostri Pont: 157 24

Quest’a par dell’antica e casta e bella (Svv) Striggio: 354 11; 377 11

Questa passion d’amore (3vv) Ferrello: 280 9 Questa per vie sovra ’! pensier divine Pont: 157 20 Questa piaga me sia sempre nel core Nola: 51 29 Questa piaga me sia sempre nel core Reulx: 35 10

Questa schiera d’accricati (2p. of Dir si suol felicita) (Svv) Baccusi: 384 8

Questa sol m’accompagna ovunqu’io vada Ragazzo: 252 17 Quest’acqua non é acqua é tutto fuoco 3vv) Candido: 364 23 Quest’ affannato mio doglioso core (5vv) Rore: 264 10; 330 9 Quest’ alta tua belta ch’al mondo e rara (Svv) Fiesco: 229 14 Quest’arder mio di che vi cal si poco (2p. of Lasso ch’io ardo) (Svv) | Monte: 182 6; 345 6 Quest’arder mio di che vi cal si poco (2p. of Lasso ch’io ardo) (Svv) —_— Pesciolini: 235 7

Quest’é colui ch’a tutt’il mond’invola Gvv) Candido: 364 2 Queste fur le tue doti alma gentile (Svv) Anville: 313 $

Queste non son piu lagrime che fuore Fiesco: 229 6 Queste non son piu lagrime che fuore Lasso: 222 4

Queste tre donne tengon le bellezze (vv) Venturi: 379 27 Quest’herbe tenerelle Ragazzo: 252 27 Questi ch’inditio fan del mio tormento Comis: 312 4

Questi ch’inditio fan del mio tormento (Svv) Lasso: 167 26; 181 9; 212 9; 286 10

Questi ch’inditio fan del mio tormento Reulx: 35 15

Questi ch’inditio fan del mio tormento (5vv) Ruffo: 169 13

Questi ch’ inditio fan del mio tormento (6vv) Striggio: 292 15; 356 15; 378 2 Questi ch’inditio fan del mio tormento (S5vv) Wert: 162 6; 200 6 Questi m’ha fatto men amare Dio (Sp. of Quel’antico mio) (Svv) Lagudio: 231 3

Questi soavi fiori Buus: 65 32; 107 33; 116 33; 163 33; 188 32; 294 6 Questi son lasso questi (Svv) Lasso: 232 7; 287 7 Questi son que begl’occhi che Il’imprese (2p. of I begl’occhi) (6vv) Monte: 326 2; 372 2

Questi stian questi degn’e vaghi boschi (Svv) Clerico: 207 14 Questo é quel di che da propitie stelle (3p. of Fuor fuori) (6vv) Baccusi: 385 1 Questo fu ’! fel, questi li sdegn’e l’ire (15p. of Quel’antico) (Svv) Lagudio: 231 3

Questo mio bene s’assomiglia a l’esca Nola: 360 33; 397 33 Questo s’acquista per voler’amare (3vv) Califano: 282 24 Questo se dice a lo paese mio (3vv) Nola: 24 12 Questo si ch’é felic’e lieto giorno (5vv) Donato: 357 6 Quest’occhi questa front’e questo viso 3vv) Dattari: 303 I Quest’un morte n’ha tolto la tua mano (2p. of Poi che la vista) (6vv) | Fiesco: 229 26 Qui m’ha lassato afflitto e sconsolato (4p. of L’altr’hier dalla mia Policreto: 383 21 villa ritornando) (3vv) Qui pose ’! signor mio le membr’essangue (2p. of E questo °! legno Zarlino: 219 6 che del santo sangue) (Svv)

Qui voi sterili & egre (Svv) Roussel: 358 7 Quinci ridon i cieli e ’ onde chiare (2p. of Sparso d’or) (Svv) Clerico: 207 10

Quindi giusto desio m’infiamm il core (2p. of Da bei raggi) (Svv) Merulo: 292 1; 356 1 Quindi vedransi le dorate chiome (2p. of Di Marte altero) (Svv) Cottone: 389 2

Quiss’occh’e quessa bocca vasariella (3vv) Scotto: 376 21

Quiss’occh’e quessa bocca vasariella (3vv) [no attribution]: 226 45; 266 45

Quivi fra verdi frond’& rivi amati Spontone: 160 24 Quivi hor lodando I’arte da me stesso (2p. of Perseguendomi amor) Martinengo: 71 17

Quivi surgea nel lito’estremo un sasso (6p. of Fra quanti amor) Rossetto: 288 |

Raddoppiandosi in me quel vivo foco Fiesco: 229 | Rado fu al mondo fra cosi gran turba Ghibel: 123 15

Ragion’é ben ch’io mi lament’ ogn’hora (Svv) Ferretti: 321 16; 367 16 Ragion’é ben ch’alcuna volta io canti Berchem (Arcadelt): 17 3; 37 11; 56 11; 119 4; 151 4; 165 4; 191 4; 299 6; 337 6

Ragion’é ben ch’alcuna volta io canti Montagnana: 158 9

Rapido fiume, che d’alpestra vena Nola: 51 8

Rare gratie celesti (3vv) Gero: 173 12 Regna ne gl’occhi tuoi donna gentile Gvv) Bianco: 386 7 1091

Index of First Lines

Rendete alma gentile a vostra patria Hoste da Reggio: 126 15 Resta N. mia non ti turbare Volpe: 147 28 Resta resta cor mio d’amar costei (3vv) Dattari: 361 6 ~ Riconosci colei che prima torse (3p. of La notte che segui ) (Svv) Adriani: 336 17 Riconosci colei che prima torse (2p. of La notte che segui) (Svv) Lasso: 358 17

Ridon hor per le piaggie herbett’e fiori Casulana: 339 |

Ridon hor per le piaggie herbett’e fiori (6p. of La ver l’aurora) Vicentino, D.: 158 5 Ridon in tant’honor gl’Euganei colli (2p. of Ne si vag’o sereno ’| Portinaro: 236 21 ciel anchora) (6vv)

Ridon liete le rive e i verdi colli (Svv) Striggio: 185 2; 186 23; 274 23 Rimase a dietr’il lito e la meschina (3p. of Fra quanti amor) Rossetto: 288 1

Rime leggiadre che novellamente (5vv) Adriani: 335 18

Rimedio donna mia mortal ferita Waelrant: 265 17 Rimembrati il piacer ch’alhor havesti (2p. of O ne miei danni) (Svv) = Baccusi: 384 2

Riponi entro ’! bel viso il vivo lume (2p. of Amor se vuoi) (5vv) Dorati: 166 |

Risguarda faccia bella al mio colore Schaffen: 82 4

Risplendente son tue trezze (3vv) Pinello: 394 4

Rispondo, io non piang’altro che me stesso (3p. of Quand’ il soave) Montagnana: 158 4

Ritornate a me poi leggiero a volo (2p. of Ite pensier) (Svv) Monte: 346 13 Ritornato son io charo mio bene (2p. of Madonna nel partir) Lando: 15§ 21

Romane belle (3vv) Fiorino: 369 2 Romane vagh’e belle (3vv) Venturi: 379 48

Rompi de I’empio cor il duro scoglio (3vv) Scotto: 22 25; 83 25; 216 2

Rosa eterna immortal sacro giacinto (6vv) Merulo: 273 18 Rosa eterna immortal sacro giacinto (6vv) Striggio: 206 18

Rosa gentil che vaga per natura (3vv) Mazzont: 325 9 Rose bianch’et vermeglie ambe le gote Pont: 157 27 Rose novelle amorosette rose (Svv) Romano, A.: 371 18 Rottava & e pur ver di puro fuoco (3p. of Del freddo Rheno) Lasso: 222 5

Rott’é alta colonna e *] verde lauro (Svv) Mazzone: 323 10

Rott’é alta colonnae ’I verde lauro Reulx: 35 25

Rott’é l’alta colonna e ’] verde Iauro Romano, A.: 128 15 Rott’é alta colonna e ’| verde lauro (2vv) Scotto: 23 31;2258 Ruggier qual sempre fui tale esser voglio Martinengo: 71 30

Sa bella faccia tua mi da la morte (Svv) Romano, A.: 344 9; 391 9 Sa ben il mio secret’alt’e pensoso (2p. of Hor che ne l’occeano) Hoste da Reggio: 127 8

Sa ch’io v’am’ogni sera (3vv) Meo Fiorentino: 361 25 Sa che te dic’amor lassame stare (3vv) Nola: 349 4 Sa questo altier ch’io l’amo e ch’io l’adoro (2p. of Dunque fia ver) Barré: 164 1!

Sa questo altier ch’io l’amo e ch’io I’adoro La Martoretta: 70 4 Sa questo altier ch’io l’amo e ch’io l’adoro Lupacchino: 32 22 Sa questo altier ch’io l’amo e ch’io Il’adoro (7p. of Non ha tanti) Montagnana: 158 2

Sa questo altier ch’io amo e ch’io |’adoro (6vv) Ruffo: 131 10

Sacciate mo che poi fiera crudele Waelrant: 265 12 Sai c’hai da fare ohime (2p. of Che debbo fare ohime) (3vv) Trotano: 290 19; 310 19 Sai che me disse va Mariella (3vv) Nola: 24 17 Saltando lo mio amor da un loco all’altro (5vv) Converso: 388 10 Sant’Imene ch’il bel vago soggiorno Rufilo: 237 2 Saper vorei da te dolce mio cuore Perego: 143 16

Sapete amanti perch’amor é cieco Berchem (Arcadelt): 17 10; 37 25; 56 25; 119 16; 151 16; 165 21; 191 21; 299 22; 337 22

Sapeteamanti perche questa donna (3vv) Venturi: 379 37

Sappi cor mio che per te al modo vivo vv) Roiccerandet: 280 15

Sappi cor mio ch’io non riposo mai Waelrant: 265 30

Sappt madonna ch’ io I’haggio a dispetto Nasco: 154 16; 197 15; 260 15

Sappi madonna ch’io t’haggi’a dispetto Waelrant: 265 21

Sappi madonna mia ch’io son vulcano (Svv) Ferretti: 321 17; 367 17 : Sappi signor che Lidia son io (Svv) Vinci: 380 7 Sappiat’amanti ch’amor fa gran guerra (Svv) Ferretti: 283 14; 305 14; 334 14; 366 14

Sappiat’amanti ch’amor fa gran guerra (3vv) Tudino: 271 9 Sappilo certo ca te vorria bene (3vv) {no attribution]: 226 61; 266 61

Saprest’indovinar quel ch’io vorria Dattari: 303 23 1092

Italian Texts Sara che cessi o che s’allenti mai (2p. of O messaggi del cor) (Svv) Monte: 348 2 Sara che cessi o che s’allenti mai (2p. of O messaggi del cor) (6vv) Striggio: 206 12; 273 8

Saria pur temp’ hormai Martinengo: 42 7

Saria pur tempo hormai madonna mia Arcadelt (Festa, C.): 1 20 Sarra se la mia vita Romano, A.: 128 14

Satiati Amor ch’al piu doglios 'amante Manara: 72 28 Scacciato del mio dolc’albergo fuora Montagnana: 158 12

Scarco di doglia e pien di gioia in vista (Svv) Rore: 215 16

Scarpello si vedra di piomb’o lima (5vv) Aretino: 156 19 Scarpello si vedra di piomb’o lima (2p. of Fedel qual sempre ful) Danchert: 164 4 Scarpello si vedra di piomb’o lima vv) Gorzanis: 370 9

Scarpello si vedra di piomb’o lima Martinengo: 71 14

Scelse dal bell’il bello natura Corteccia: 39 33

Scemar sperando i piu dogliosi accenti (3vv) Scotto: 22 26; 83 26; 216 3

Scenda dal ciel Appollo scend’Orpheo Ragazzoni: 45 23

Scielgan l’alme sorelle in fi orti suoi (Svv) Rore: 46 6; 223 12

Sciocco fu ’! tuo desire (Svv) Willaert: 223 4

Sciogliam! morte da tuoi lacci Amore (Svv) Converso: 388 19 Sciolta bella gentil’e schiva Parda (2p. of D’ ogni gratia) (6vv) Striggio: 378 1

Sciolt’é quella catena ch’ad ogn’hora (3vv) Primavera: 352 14 Sciolt’é quella catena ch’ad’ogn’hora (3vv) Zappasorgo: 382 17 Scis’a una font’e viddi una citella (3vv) [no attribution]: 267 15; 296 15

Scolpio nell’alm’amore Casulana: 276 3; 301 9 Scontrai una fantina ballalilo (3vv) Primavera: 351 26

Scorgo tant’alt’il lume che m’infiamma (S5vv) Lasso: 232 16; 287 16 Scuoprasi inanti al giorno (2p. of Non son fra I’alte stelle) (Svv) Candido: 364 32

Sdegna l’idalio verde e 1 dolce Gnido (5vv) Contino: 179 17

Sdegnat’un giorno guel crudel d’amore (3vv) Mazzone: 360 4; 397 4

Sdegnat’un giorno quel crudel d’amore (3vv) Scotto: 375 4

Se a divina bellezza Martinengo: 42 11

Se a mia vogl’ardo onde’e *I piant’e lamento (2p. of S’Amor non’é Pesciolini: 235 4 che dunqu’é quel ch’i sento) (Svv)

Se a mille segn’il ver’ amor vedete (Svv) Hoste da Reggio: 125 7 Se a quelfa gratia & a la vaghezza vostra Martinengo: 42 14 Se a te signora t’hagio dato il core Gvv) Policreto: 383 17

Se a voi fossi si nota la divina Lupacchino: 32 28

Se ad amorosi preghi (7vv) Dorati: 166 20

Se ajut’in van dal ciel mai non si spera (Svv) Raimondo: 313 9

Se al vostro mal consente (5vv) Merulo: 220 14

Se alcun vi mira fisso Casulana: 339 11]

Se alcun vi mira fisso Ruffo: 53 21; 150 3; 184 3 Se alla mia mente vaga (Svv) Tortora: 355 2 Se allhor che pid sperai da voi conforto Animuccia: 164 28

Se allhor che pit sperai da voi conforto (Svv) Aretino: 156 15 Se allhor che per pigliar Laurent’ Enea (Svv) Wert: 162 10; 200 10 Se allhor piu vago e piu risplende il sole (6vv) Monte: 326 12; 372 12 Se alteri poi gli gir’altrov’e volge (2p. of Si fa mio cor sovente Portinaro: 236 10 fiamm’e ghiaccio) (Svv)

Se altra fiamma giamai m’arse madonna Raimondo: 183 2

Se altra ragion ti mosse al canto e al suono (Svv) Hoste da Reggio: 125 1]

Se altri d’amor sospir’io rid’et canto Arcadelt (Corteccia): 2 38 Se altri d’amor sospir’io rid’et canto Corteccia (Arcadelt): 39 5

Se altri s’afflig’et duole Reulx: 164 12

Se amante fl giamai di sperar privo Arcadelt: 40 4 Se Amarillide mia Martinengo: 42 30 Se Amor crudel’irato a darmi morte Matelart: 172 15

Se amor donna vi diede Menon: 79 38 Se amor la viva fiamm’hormai non smorza (5vv) Rore: 215 15

Se amor non é che dunque é quel ch’io sento (5vv) Animuccia: 232 8; 287 8 Se amor non é che dunque é quel ch’io sento (Svv) Hoste da Reggio: 125 13

Se amor non ¢ che dunque é quel ch’io sento Menon: 79 4

Se amor non é che dunque é quel ch’io sento (5vv) Monte: 373 6

Se amor non é che dunque é quel ch’io sento Nola: 51 16 1093

Index of First Lines

Se amor non é che dunque ¢ quel ch’io sento (Svv) Pesciolini: 235 4 Se amor non é che dunque é@ quel ch’io sento (2vv) Scotto: 23 1; 111 1; 159 1; 224 1; 395 1

Se amor non e ma s’eglie amor (8vv) Tudino: 133 24 Se amor novo consiglio non n’apporta Reulx: 35 6 Se amor novo consiglio non n’apporta (Svv) Vinci: 199 2; 240 2; 275 15 Se amor venisse senza gelosia (3vv) Scotto: 353 11 Se anch’i vestiggi acerbament’impressi (Svv) Contino: 179 12

Se ben di sette stell’ardent’e belle Spontone: 160 13

Se ben di sette stell’ardent’e belle (6vv) Striggio: 206 6; 273 6

Se ben discorro sotto P’alto cielo Gp. of Alla dolc’ombra) Romano, A.: 128 2 Se ben dura mi sei crudel’e sorda (2p. of Cosi sovente) (Svv) Converso: 388 13

Se ben I’empia mia sorte Lasso: 222 20 Se ben l’empia mia sorte Menon: 79 27

Se ben l’empia mia sorte (Svv) Schiavetto: 238 5

Se ben mi foste ingrata (Svv) Cavatoni: 387 3

Se ben non veggon gl’occhi (Svv) Palestrina: 358 11 Se ben par dur’et grave Corteccia: 39 15 Se chi ¢ causa de lo mio tormento Primavera: 329 25

Se col cieco desir, che ’[ cor distrugge (Svv) Schieti: 219 11

Se come sete bella vv) Festa, C.: 66 14; 112 14; 174 14 Se con la mente rimirando fiso Raimondo: 183 1 Se da l’ardent’humore (6vv) Striggio: 378 7 Se da vostr’occhi nasce ’] Paradiso (2p. of Deh perche non credete) Dalla Viola, F.: 72 26

Se dai soav’accenti Palestrina: 172 23 Se dai sublim’& bei pensier aviene (Svv) Pratoneri; 308 13

Se d’altr’amante il petto (Svv) Striggio: 354 16; 377 16 Se de signor de cavalier mai detto Tudino: 133 |

Se del mio amor temete Menon: 79 26

Se del mio amor temete (2vv) Scotto: 23 29; 111 28; 159 28; 224 28

Se del mio amor temete (3vv) Scotto: 22 20; 83 20; 216 19 Se del mio amor temete Verdelot: 14 9; 54 6; 85 6; 115 6; 146 6

Se del mio gran tormento Mazzone: 360 38; 397 38

Se deste a la mia lingua tanta fede (6vv) Monte: 326 14; 372 14 | Se d’Helicon o muse il bel soggiorno (5vv) Chamatero: 317 16

Se di lunga mi trovo vita mia vv) Primavera: 263 16; 272 16; 350 16 Se di penne giamai candide & belle (Svv) Taglia: 292 7; 356 7 Se di tanto tropheo se d’honor tanto (Svv) Clerico: 208 |

Se dimostrarv’a pieno Verdelot: 14 4; 54 41; 85 41; 115 41; 146 41 Se dov’é ’I sol che sol te Flor’alluma (8vv) Rossetto: 312 9

Se é ’] ver quel che si legge che |’amante Lando: 155 15

Se e ver quel che si legge La Martoretta: 70 14

Se egli @ pur mio destino (2p. of Chiare fresch’e dolci acque) Arcadelt: 204 |]

Se egli é pur mio destino (2p. of Chiare fresch’e dolci acque) (3vv) Mazzone: 324 13

Se egli ¢ pur mio destino (2p. of Chiare fresch’e dolci acque) Palestrina: 172 25

Se el foco de vostr’occhi mi distrugge (Svv) Romano, A.: 371 12 Se foss’inchiostro il mar [a terra carta (3vv) Troiano: 309 9

Se fosse dolce il canto (Svv) Vinci: 380 3

Se fosse haimé de marmoro sto core (5vv) Ferretti: 368 20 Se fosse haimé de marmoro sto core (3vv) [no attribution]: 279 7

Se fra le rupi cave Wert: 203 2 Se fra quest herb’e fiori (Svv) Baccusi: 384 6

Se fra quest’herb’e fiori (Svv) Palestrina: 358 5

Se giamai temp’o loco (6vv) Monte: 347 7 Se giorn’e notte mi consumo in pianto Veggio: 12 38

Se glie pur mio destino Aretino: 81 4 Se glie pur mio destino vv) Ghibel: 110 24

Se gl’occhi non temprate ov’entr’io ardo Arcadelt: 17 27; 37 9; 56 9; 119 46; 151 46

Se gl’occh’ond io tutt’ardo Verdelot: 14 60

Se grand’e l’amor mio Veggio: 12 17

Se grato o ingrato amor te Arcadelt (C. Festa): 1 10 Se grav’il peso fu che dal gran Mauro (5vv) Clerico: 208 13 Se Grecia si fe tanto nominare Corteccia: 39 18 Se haver altrui piu caro (2p. of S’una fed’amorosa) (Svv) Donato: 73 6 1094

Italian Texts

Se haveste mai desire Lando: 155 10

Se honest’amor puo meritar mercede (Svv) Rore: 73 3; 214 6

Se i bei crin vostri d’oro Duce: 341 9

Se il Bembo, il Molza, il Tasso Veggio: 12 23

Se il ben donna crudel m’havete tolto Gero: 77 26 Se il ciel d’ogn’altra v’ha fatta piu bella Martinengo: 42 12 Se il ciel la terra e gl’elementi e stelle Perego: 143 $

Se il ciel la terra e l’acqua il foco ei venti (Svv) Ferretti: 321 12; 367 12 Se il ciel la terra e Pacqua il foco ei venti 3vv) Troiano: 309 18

Se il ciel sopra di me piovess’eterno (3vv) Troiano: 309 21 Se il desir a mirarvi m’assicura (2p. of Nasce da gl’occhi) (Svv) Vergelli: 220 12

Se il dolce sdegn’e l’ira (3vv) Gero: 113 16

Se il dolce sguardo de! divin tuo volto (Svv) Ferretti: 283 3; 305 3; 334 3; 366 3

Se il dolce sguardo di costei m’ancide (5vv) Adriani: 335 3

Se il dolce sguardo di costei m’ancide Gero: 1177

Se il dolce sguardo di costei m’ancide (Svv) Perissone Cambio: 49 10 Se 1] dolce sguardo di costei m’ancide (3vv) Scotto: 22 36; 83 36; 216 11

Se il dolce sguardo di costei m’ancide (Svv) Vinci: 380 13

Se il dolor che io sento !o sentisse Primavera: 329 28 Se il foco in cui sempre ardo fosse foco Mazzone: 324 7

Se il foco in cui sempre ardo fosse foco (Svv) Verdelot (Arcadelt): 15 16

Se il fuoco qual riscalda (3vv) Gero: 113 6

Se il mio bel sole é spento Arcadelt: 2 1

Se il mio bel sole é spento (2vv) Scotto: 23 24; 111 24; 159 24: 224 24 Se il mio sempre per voi donna languire Rore: 130 15 Se il nodo con che m’hai legat’ Amore Ragazzo: 252 28 Se il pastor frigio havess’a far giuditio Gvv) Venturi: 379 28

Se il pensier amoroso Arcadelt: 118 Se il sguardo in cui mirai fu si possente Primavera: 329 13

Se il sol si scosta e lascia i giorni brevi (Svv) Dalla Viola, A.: 220 3 Se il sol si scosta e lascia i giorni brevi (5p. of Son simil’all’ avar) Lando: 155 12

Se il sol si scosta e lascia i giorni brevi (Svv) Pesciolini: 235 6 Se il sol si scosta e lascia i giorni brevi Ruffo: 53 14; 150 20; 184 20 Se il tempo invola ogni mortal bellezza (Svv) Nasco: 358 3

Se il tuo partir mi spiacque Arcadelt: 17 25; 37 1; 56 1; 119 43; 151 43;

165 31; 191 31; 299 34; 337 34 :

Se il veder voi m’ancide (3vv) Willaert: 95 16; 173 1; 281 |

Se il vostro empio desire Martinengo: 42 21 Se in breve non m’accorglie o non mi smorsa (2p. of Questa humil) Fiesco: 229 11

Se in quest’humane spoglie (Svv) Clerico: 208 16

Se in voi puo dirsi haver posto corte [no attribution]: 222 12 Se infinita bellezza e leggiadria (Svv) Arcadelt: 223 18

Se infinita bellezza e leggiadria Veggio: 129 Se invidia nol consente Ghibel: 123 12 Se io cant’ s’10 sospiro amarome (3vv) Califano: 282 26 Se io cercasse fa guerra con lo spruoco (3vv) Nola: 280 17

Se io credessi per morte essere scarco Gero: 117 21

Se io credessi per morte essere scarco Reulx (Naich): 35 26; 65 14; 107 8; 116 8; 163 8; 188 8; 293 8

Se io credessi per morte essere scarco (2vv) Scotto: 23 19; 111 19; 159 19; 224 19; 395 19

Se io dico il vero non ti corrucciare Bonizzoni: 315 10 Se io dissi mai che !’honorata fronde Rufilo: 237 18

Se io dormo haggio gran male (3vv) Meo Fiorentino: 361 2; 363 2 Se io esca vivo de dubbiosi scogli (Svv) Adriani: 335 9

Se io esca vivo de dubbiosi scogli Wert: 203 11 Se io fuss’in cielo fra l’anime beate Perego: 143 24

Se io giungo viv’ad un tranquillo porto (2p. of Andra la nave) (5vv) —Rufilo: 198 8

Se io havesse tant’ ardire (3vv) Gero: 113 11

Se io havesse tantillo di speranza (3vv) [no attribution]: 352 25 Se io ’! dissi amor I’aurate sue quadrilla (2p. of Se i’l dissi mai ch’i Ruffo: 131 13 venga in odio a quella) (Svv) Se io ’! dissi coi sospir quanto mai fei (4p. of Se i’l dissi mai ch’i Ruffo: 1314 13 venga in odio a quella)

1095

Index of First Lines , Se io ’] dissi mai ch’i venga in odio a quella (Svv) Ruffo: 131 13

Se io ’] dissi mai di quel ch’i men vorrei Aretino: 81 5 Se io *] dissi mai di quel ch’i men vorrei (3p. of Se io °I dissi mai Ruffo: 131 13 ch’i venga in odio a quella) (3vv)

Se io ’! dissi mai fortun’a me superba (Svv) Rore: 46 26; 129 16; 168 16; 215 4

Se io mir’ho male e s’io non mir’ho peggio Nola: 349 22

Se io moro ahime hor del mio error m’avveggio (Svv) Striggio: 354 21; 377 21

Se io non lodo madonna il vostro volto Arcadelt: 1 19

Se io non v’amo & adoro (3vv) Rossetto: 297 7

Se io pensassi madonna che mia morte (2vv) Scotto: 23 26; 111 22; 159 22: 224 22; 395 22

Se io pensassi madonna che mia morte Verdelot: 13 20; 14 17; 54 17; 85 17; 115 17; 146 17

Se io piango & mi lamento alta cagione (Svv) Contino: 179 18

Se io potesse fermar’al mio desio (Svv) Perissone Cambio: 49 6 Se io potesse per mort’amor fugire (3vv) Califano: 282 2 Se io potessi lodar vostre bellezze (5vv) Dattari: 303 25

Se io potessi mirar quell’ occhi belli Nolet: 40 14 Se io potessi narrar le pene & doglie Martinengo: 71 27 Se io potessi vorria donna cantare (3vv) Venturi: 379 35

Se io son lontan da voi dolce ben mio (3vv) Candido: 364 8 Se io stesse in pregionia condennato (3vv) Gorzanis: 370 25

Se io tal’hor muovo gli occhi a mirar voi (Svv) Lasso: 167 16; 180 16; 211 16; 285 16

Se io t’ho ferito non t’ho pero morto (Svv) Striggio: 354 22; 377 22 Se io t’involassi, o bella, uno sol bascio (Svv) Converso: 388 14 Se io v’amo piu che ’1 cuor che g]’occhi miei Martinengo: 42 28

Se io veggi’in altra donn’una beltade Donato: 304 9

Se io vi mento madonna (3vv) Gero: 113 24 Se io vi potess’aperto il cor mostrare (3vv) Scotto: 375 13 Se io vi son importun’ad’hora (2p. of Veggio ben quanto) (Svv) Ruffo: 132 7

Se io vi potessi dire (3vv) Arcadelt: 173 30; 281 8

Se la bellezza fusse persa al mondo (3vv) Bonardo: 359 3; 398 3

Se la candida fe hor fatt’un ghiaccio Martinengo: 71 15

Se la dura durezza Arcadelt (Willaert): 17 20; 37 43; 56 43; 119 34; 151 34; 241 17 Se la durezz’in voi fosse men dura Arcadelt: 2 25

Se la figlia de Jove e di Latona Arcadelt: 1 16 Se la fortezz’in me fusse si forte (Svv) Clerico: 207 16 Se la gratia divina (Svv) Willaert: 73 14; 215 12

Se la mia donna dorme Tudino: 133 14 Se la mia donna miro Berchem: 139 5

Se la mia donna miro (5vv) Vicentino, N.: 59 13

Se la mia vita da l’aspro tormento Gvv) Scotto: 22 5; 83 5; 216 20 Se la mia vita da l’aspro tormento (5vv) Vinci: 199 8; 240 8; 275 12

Se la natur’amor, e ’| ciel vi danno Veggio: 12 13

Se la pieta per me gia fosse spenta (Svv) Ferretti: 283 16; 305 16; 334 16; 366 16 Se la pieta per me gia fosse spenta (vv) [no attribution]: 226 31; 266 31

Se la pietade che lontana stassi Veggio: 12 14

Se la presentia vostra [no attribution]: 65 15; 107 12; 116 12; 163 12; 293 12 Se la tua figlia fosse grandicella Nasco: 154 12; 197 12; 260 12 Se I’alme luci o donna anzi due stelle Perego: 143 20 Se l’alto duol m’ancide (5vv) Barré: 15 4 Se l’alto grido ch’in sin qui si stende Ragazzont: 45 17

Se lamentar augelli o verdi fronde (5vv) Palestrina: 358 16 Se lamentar augelli o verdi fronde (vv) Primavera: 262 3 Se lamentar augelli o verdi fronde (3vv) Scotto: 22 48; 83 48 Se l’ardor ch’io nel cor tu lo sapisse (3vv) Troiano: 309 14

Se |’ ardor foss’equale Verdelot: 14 62; 54 21; 85 21; 115 21; 146 21 Se le lacrime mie gli miei sospiri Primavera: 329 20

Se l’estremo dolore Martinengo: 71 10 Se lo sdegno vi piace Schaffen: 94 25; 118 25 Se madonna non e nata da dei Veggio: 12 3

Se mai candide rose con vermiglie (Svv) Vicentino, N.: 59 6 1096

Italian Texts

Se mai foco per foco non si spense Ghibel: 123 2 Se mai fu crud’a miei dolci pensieri Donato: 101 2; 109 25; 152 24 Se mai fuoco per fuoco non si spense Gero: 78 15 Se mai fuoco per fuoco non si spense Nola: 51 12 Se mai fuoco per fuoco non si spense Reulx: 35 20

Se mai fuoco per fuoco non si spense (Svv) Roussel: 205 10

Se mai gustar dolcezza (2p. of Se pit fiera durezza) (Svv) Striggio: 354 18; 377 18

Se mai pianser per te quess’occhi miei (3vv) Tastavino: 383 8 Se mai provasti donna qual sia amore Verdelot: 13 10; 14 37, 54 15; 85 15; 115 15; 146 15

Se mai quest’occhi tra boschetti’o piaggie (Svv) Portinaro: 236 14

Se mai vedet’amanti Gvv) Festa, C.: 66 5; 112 5; 1745 Se m’ami come dici 0 cianciariella (Svv) Romano, A.: 371 9 Se mi pensasse cha tu mi voi morto (S5vv) Romano, A.: 371 2 Se mi vuoi male e voi mi far morire (vv) Candido: 364 12 Se mort’in me potesse quanto puo tl duolo Festa, C.: 2 15

Se ne la mente mia (2p. of Donna felic’& bella) (5vv) Striggio: 185 6; 186 13; 274 13

Se nel leggiadro viv’et vital nido Veggio: 12 15

Se nel mirarmi un tratto il mio bel viso (3vv) [no attribution]: 383 18

Se non e finto *] fuoco che v’accende Martinengo: 42 26

Se non fosse il sperar che mi conforta [1] (vv) Festa, C.: 66 18; 112 20; 174 20 Se non fosse il sperar che mi conforta [2] Gvv) Festa, C.: 66 25; 112 21; 174 21

Se non fosse nel volto di costei Arcadelt: 27 Se non fuss’il pensier crudel’ & empio Pont: 157 28

Se non mi fosse nata Spontone: 160 14 Se non nV ingann’ amore (3vv) Merulo: 297 }

Se non parlass’ Amore (5vv) Clerico: 207 1

Se non vuoi esser mia come solevi (Svv) Fiesco: 229 23 Se ogn’hor dite signore (2p. of Donna se *! mio dolore) (Svv) Monte: 373 12 Se ogn’hor lieto vi cant’o canzonette (Svv) Converso: 388 29 Se ogn’hor ti veggio donna tanto bella Bonizzoni: 315 12

Se ogni mio ben havete Adriani: 298 8 Se ogni mio ben havete Casulana: 301 6

Se ogni mio ben havete (6vv) Striggio: 206 14; 273 14

Se pansa che castica tante gente (3vv) Gorzanis: 370 23 Se pensand’al partir pens’al morire (3vv) Scotto: 375 14

Se pensand’al partir pens’al morire (3vv) [no attribution]: 226 32; 266 32 Se per colpa del vostro fiero sdegno Arcadelt: 17 53; 37 53; 56 53; 119 53; 151 53; 165 39; 191 39; 299 36; 337 36

Se per colpa del vostro fiero sdegno (3vv) Gero: 173 5; 281 20 Se per farmi lasciar la bella impresa (6vv) Monte: 347 9 Se per farmi lasciar la bella impresa (Svv) Roussel: 205 9

Se morire Melfio:Schaffen: 149 17 Seper perfarmi farmi morire Se per grave dolor si puo morire Ragazzoni: 45 3

82 25 .

Se per honesti preghi a l’altrui fianco Corteccia: 117 9 Se per mirarvi dolc’anima mia (3vv) Zappasorgo: 382 21 Se per mostrarv’ogn’hor piu crud’& ria Perego: 143 9 Se per te mal s’adombra (7p. of Ai pid soavi accenti) (6vv) Falcidio: 384 1 Se per un sguard’& un sol rider finto Anville: 276 15

Se per voi donna le lagrim’el pianto Gero: 77 29

Se pid fiera durezza (Svv) Striggio: 354 18; 377 18 Se preso da i bei rai del vostro lume (5vv) Aretino: 156 2

Se pur di saettarme Hoste da Reggio: 127 12 Se pur mai van desio piegomm’imparte (7p. of Dal di che conobb’io) —_ Hoste da Reggio: 126 20

Se pur ti guardo dolce anima mia [no attribution]: 109 13; 1522 Se pur ti voi cavar sa fantasia (3vv) Bonagiunta: 279 | Se quand’ il vago’aspetto (6p. of S’io non v’amo & adoro) (3vv) Rossetto: 297 7 Se quando voi tal’hora (3p. of S’io non v’amo & adoro) (3vv) Rossetto: 297 7

Se quante stelle ha il cielo (Svv) Chamaterd: 318 4 Se quel che regge l’amoroso choro Bonizzoni: 315 2 Se quel dolor che va’innanz’al morire Donato: 304 13 Se quel lieto e gentil vostro sembiante (5vv) Contino: 277 4 1097

Index of First Lines

Se quel Turco crudel ci move guerra (3vv) Fiorino: 369 25 Se questa crudelta questi tormenti (Svv) Romano, A.: 371 13

Se quest’almo pastore Candido: 364 21 Se regnasse pieta quant’é bellezza (vv) Gorzanis: 370 16 Se ricchez’e beltade Hoste da Reggio: 127 5 Se ritornasser le Roman’antiche (3vv) Venturi: 379 29

Se sai ch’io t’amo & piu che me t’honoro Donato: 101 7; 109 5; 152 5

Se schiva sete donna del mio amore Nasco: 154 21; 197 21; 260 21

Se sciogli ’l mazzo de bei fior adorno Ragazzoni: 4§ 25

Se sciolt’io ved’il laccio che mi strinse (Svv) Ferretti: 342 10; 390 10

Se scior si ved’ il laccio a cui dianz’io Casulana: 276 18; 301 18 Se scior si ved’il laccio a cui dianz’io (6vv) Monte: 347 12

Se scior si ved’il laccio che mi strinse (3vv) Mazzoni: 343 17

Se scior si ved’il laccio che mi strinse (3vv) Turturino/Anonymous: 363 31 Se scior si ved’il laccio che mi strinse (3vv) [no attribution]: 361 10

Se senza cuore non si pud campare (vv) [no attribution]: 352 13 Se si alto pon gir mie stanche rime (Svv) Lasso: 232 17; 287 17

Se si vedessi fuore (3vv) Fiorino: 369 21 Se sol’il char’e bel sguardo soave Menon: 79 13 Se sovr’ogn’uso humano in dure tempre (Svv) Barré: 15 5 Se subito non facci’o vita mia Gvv) Nola: 349 9

Se tanta gratia el ciel mi concedesse vv) Tiburtino: 84 19

Se ti duoli augelino Flori: 295 11

Se ti lascio ahime cor mio (3vv) Pinello: 374 17 Se ti nascondi tu mi fai morir vv) Primavera: 351 5

Se ti piace madonna ascolta un poco Nasco: 154 14; 197 14; 260 14 Se tu con tanti stratti che mi fai (3vv) [no attribution]: 279 18 Se troppo alto desir mi punge il core (Svv) Monte: 182 5; 345 5 Se tu m’uccidi e ben raggion che deggi (2p. of Dunque baciar) Meifio: 149 15 Se tu m’uccidi e ben raggion che deggi (2p. of Dunque baciar) Wert: 203 6

Se tu non voi che mora disperato (3vv) Bonagiunta: 279 13

Se tua belta infinita (3vv) Fiorino: 369 8 Se tutta ghiaccio sete (Svv) Spontone: 311 7 | Se tutto ’} bell’in questa sol accolse (2p. of Se la durezz’in voi) Arcadelt: 2 25

Se un miracol d’Amore (5vv) Aretino: 156 16

Se un miracol d’Amore Martinengo: 71 13 Se una fed’amorosa un cor non finto (vv) Donato: 73 6 Se vi fur’ & vi son’ & saran sempre Lockenburg: 222 11

Se vi piace Signora il mio dolore Arcadelt: 17 14; 37 39; 56 39; 119 30: 151 30; 165 26; 191 26; 299 25; 337 25

Se vi potess’apert’il cor mostrare (3vv) Ascanio Bolognese: 361 16 Se vi spiace ch’io v’ami, o mia guerriera (Svv) Converso: 388 21

Se viver non si pud senza lo core (3vv) Pinello: 394 16

Se voi non soccorrete o Nina mia Troiano: 329 21

Se voi per me sentiste quel ch’io sento (Svv) Monte: 182 15; 345 15 Se voi porgesti una sol fiata donna Verdelot: 14 12; 54 23; 85 23; 115 23; 146 23

Se voi potesti per turbati segni (Svv) Rore: 73 16; 214 10 Se voi potesti per turbati segni (2vv) Scotto: 171 17

Se voi set’il mio cor la vit’e l’alma Casulana: 301 4 Se vostra crudelta de l’alt’impresa Nola: 51 14 Secchi vedransi tutti i verdi boschi vv) Lasso: 221 4

Secchi vedransi tutti i verdi boschi (3p. of Non ha tante serene) (3vv) Lasso: 232 2; 287 2 Seco si stringe e dice a ciascun passo (2p. of Fresc’ombroso) (Svv) Chamatero: 319 6

Segretario t’ho fatto come sai (3vv) Laudis: 267 13; 296 13 Segua quest’alma luc’ognun che vuole Corteccia: 39 19 Seguir mi piace amor ne mat ribella Bonizzont: 315 21 Seguite amor donna gentil e bella (3vv) Nola: 271 7 Seguite amor donna leggiadra e bella Taglia: 315 20

Sei sguardi dit costei fan bell’il sole Festa, C.: 2 18

Sei tanto gratiosa e tanto bella (Svv) Ferretti: 283 5; 305 5; 334 5 Sei vostri bei sembianti e *! vago volto Arcadelt: 2 11 Se’l breve suon che sol quest’aer frale (Svv) Perissone Cambio: 49 2

Se’l ciel non dess’aita a far’ogn’anno (3vv) Tudino: 271 20 1098

Italian Texts

Selva di lauro selva di ginepri Menon: 79 14

Selve sassi compagne fiumi e poggi (5p. of Alla dole’ombra) Adriani: 298 1

Selve sassi compagne fiumi e poggi (Sp. of Alla dolc’ombra) (5vv) Berchem: 40 18; 204 2

Selve sassi compagne fiumi e poggi (Sp. of Alla dolc’ombra) Lasso: 130 1 Selve sassi compagne fiumi e poggi (Sp. of Alla dolc’ombra) (Svv) Mazzone: 323 13

Selve sassi compagne fiumi e poggi (Sp. of Alla dolc’ombra) Romano, A.: 128 2

Semo bel’e desperai (3vv) Bellavere: 359 11; 398 11

Semplice pastorello ove t’agiri (Svv) Cottone: 389 4

Sempre ch’io veggio sa faccia lucente (3vv) [no attribution]: 226 34; 266 34

Sempre ho fuggito amore (3vv) Primavera: 263 18; 272 18; 350 18 Sempre madonn’avant’io vadi al letto Gvv) Mazzoni: 343 1

Sempre mi ride sta donna da bene Willaert: 74 |

Sennuccio to vo che sappi Gero: 779

Sento in quest’un romore (3p. of Una legiadr’e bella) Werrecorre: 103 4

Sento tal foc’ ardente (3 vv) Primavera: 351 24 Sento tal foco e flamma (3vv) Primavera: 263 7; 272 7; 350 7 Sento tal foco e fiamma (3vv) Scotto: 376 5 Sento un pensier in me d’amor che dice (Svv) Ruffo: 169 24

Sento venir per allegrezza un tuono (2p. of Hor se mi mostra) (6vv) Striggio: 378 24

Sentomi la formicula Azzaiolo: 189 14; 250 14

Senza di voi veder nulla mi piace Nasco: 154 5; 197 5; 260 5 Senza fin’ardo e son di speme privo (2p. of Ver’ inferno) Arcadelt: 299 39; 337 39

Senza ’| mio sol in tenebr’e martiri (Svv) Pesciolini: 235 3 Serbat’anchor’una leggiadra fiera (Svv) Aretino: 156 11

Seria pur tempo hormai madonna mia Scotto: 29 11

Sfrondate o sacre dive (Svv) Rore: 223 5

Sgombra signor la nebbia ch’en me adhugge (2p. of Signor Hoste da Reggio: 1279

svilupp’homai quest’ afflitta alma)

Si alzin onde signor’in ogni parte (2p. of Che fatt’occh’ infelici) Flori: 276 13

Si bella vi formo donna natura vv) Gero: 113 34

Si ben voltasse l|’oro con la pala (3vv) Nola: 280 18 Si che s’io vissi in guerra et in tempesta (2p. of lo vé piangendo) Chamatero: 318 8 (S5vv)

Si che s’io vissi in guerra et in tempesta (2p. of lo vd piangendo) Gabrieli: 220 4

(vv) Si che s’io vissi in guerra et in tempesta (2p. of Io vd piangendo) Primavera: 262 11 (6vv)

Si che s’io vissi in guerra et in tempesta (2p. of Io vd piangendo) Ruffo: 243 12 (S5vv)

Si che s’io vissi in guerra et in tempesta (2p. of Io vd piangendo) Scotto: 29 3 Si che s’io vissi in guerra et in tempesta (2p. of Io vo piangendo) Vidue: 277 13 (Svv)

Si che s’io vissi in guerra et in tempesta (2p. of Io vO piangendo) Vinci: 381 11 (6vv)

Si che s’io vissi in guerra et in tempesta (2p. of Io vd piangendo) Wert: 201 8; 202 8

(Svv) (Svv)

Si che s’io vissi in guerra et in tempesta (2p. of Io vd piangendo) Zarlino: 219 4 (Svv)

Si ch’io ho detto sempre (2vv) Gero: 16 7; 50 5; 114 5; 210 5 Si ch’io mi credo homai che monti e piagge (2p. of Sol’e pensoso) Lasso: 167 19; 180 19; 211 19; 285 19 (S5vv)

Si ch’io mi credo homai che monti ¢ piagge (2p. of Sol’e pensoso) Monte: 327 3 Si ch’io mi credo homai che monti e piagge (2p. of Sol’e pensoso) Nasco: 205 5

Si ch’io mi credo homai che monti e piagge (2p. of Sol’e pensoso) Portinaro: 307 8 (6vv)

Si ch’io mi credo homai che monti e piagge (2p. of Sol’e pensoso) Rufilo: 237 25 Si ch’to non veggia il gran publico danno (2p. of L’aura che "Il verde Chamaterd: 318 6 lauro e l’aureo crine) (Svv) Si ch’io non veggia il gran publico danno (2p. of L’aura che ‘Il verde —- Vinci: 199 11; 240 11; 2759 lauro ¢ l’aureo crine) (Svv)

Si ch’ove prim’i puri incensi ardendo (3p. of Questo si ch’é felic’e Zarlino: 357 6 lieto giorno) (Svv)

1099

Index of First Lines

Si chiar’e dolce fiamma Casulana: 301 11 Si com’al chiaro giorno oscura notte Lasso: 276 8 Si come chiar si vede (2vv) Scotto: 171 4 Si come chiar si vede (Svv) Verdelot: 15 9

Si come dit’ogn’hor bella vi paio Arcadelt: 2 39 Si come d’ogni donna sei piu bella Arcadelt: 2 35 Si come in acquistar qualche altro dono Cataldo: 170 37 Si come la dove ’] mio buon Romano Pont: 157 7 Si come stell’al tramontar del giorno Perego: 143 25 Si com’: ftori da l’ardente sole (Svv) Lasso: 357 | Si con sua cetr’Orpheo [1] (3vv) Gero: 113 39 Si con sua cetr’Orpheo [2] (3vv) Gero: 113 40 Si conferme fu quel ch’apparve fuora Ghibel: 123 25 Si da tue treccie d’or legato io sono Taglia: 315 17

Si di gioir io bramo Veggio: 12 19 Si dira poi ciascun movendo I’ali (2p. of O voi che sotto) (Svv) Rore: 186 31; 274 29

Si dolc’é d’amar voi Jo mio desio (5vv) Striggio: 185 26; 186 22; 274 22

Si dolc’ombr’e suave (Svv) Wert: 162 7; 200 7

St dolcement’amor del tuo morire Monte: 294 22 Si é debil’il filo a cui s’attiene (Svv) Rufilo: 198 10 Si é debil’il filo a cui s’attiene (Svv) Wert: 162 4; 200 4 Si ergon per tutt’i colli (2p. of Sdegna l’idalio verde) (5vv) Contino: 179 17 Si esca vivo de dubbiosi scogli Aretino: 81 3; 156 24

Si esca vivo de dubbiosi scogli (6p. of Chi é fermato) (Svv) Vinci: 380 9

Si fa mio cor sovente fiamm’e ghiaccio (Svv) Portinaro: 236 10 Si fe christallo il fium’e’n tale stato (4p. of Del freddo Rheno) Lasso: 222 5 Si ferma ’! ciel con ogni sua dolcezza (2p. of Quando fuori) (Svv) Comis: 311 8

Si gioioso mi fanno i dolor miei (Svv) Aretino: 156 5 Si giotoso mi fanno i dolor miei Ruffo: 53 24; 150 11; 184 11 Si grand’é la pieta c’ho di me stesso Arcadelt: 294 24

Si grand’é la pieta c’ho di me stesso (Svv) Aretino: 156 10 Si grand’é la pieta c’ho di me stesso (Svv) Vicentino, N.: 59 16 Si havessi tantillo di speranza (3vv) Burno: 263 14; 272 14; 350 14

Si lieta e grata morte (2vv) Scotto: 171 8 Si lieto alcun giamai Arcadelt (C. Festa): 2 28

Si lieta e grata morte Verdelot: 13 15; 141; 54 1; 85 1; 115 1; 146 1 Si m’e dolce il tormento e ’*! pianger gioco (3p. of Per pianto) Gvv) Ghibel: 110 22 Si m’e dolce il tormento e *! pianger gioco (3p. of Per pianto) (Svv) Ruffo: 204 3

Si mi parto poi di lasciarm’harai (4p. of La figliola d’ Amon) Volpe: 147 2

Si perventura farmi morir 4 Si per veggioLando: Aretino:155 81 13 Si profondo era et di si larga vena (2p. of I’ piansi hor canto) (Svv) Monte: 348 10

Si profondo era et di si larga vena (5vv) Perissone Cambio: 49 17

Si rubella d’amor ne si fugace Ragazzoni: 45 6

Si tosto come il di col sol vien fuori (Svv) Chamatero: 319 9

Si travagliat’é *I folle mio desio (Svv) Rore: 73 18; 2149 Si travagliat’é ’1 folle mio desio (3vv) Scotto: 353 2 Si traviato é °| folle mio desio Gvv) Zappasorgo: 382 14

Si troppo bella masimitiata Waelrant: 265 10 Si una fed’amorosa un cor non finto Reulx: 35 5

Si vaga Pastorella Dalla Viola, F.: 72 22 Si vario ’| mio pensiero Berchem: 139 14

Si veder poi ratto affrettare il passo (2p. of Mentre ch’il cielo) Chamatero: 320 14

Si vedra prima |’acqua tornar sasso Primavera: 329 15 Si veggio sotto l’uno & I’altro ciglio Aretino: 81 11

Si vivo e lo splendore (no attribution]: 94 28; 118 28

Sia benedetto amore (3vv) Gero: 1139 Sia benedetto amore (5vv) Mazzone: 323 12 Sia benedetto amore (6vv) Ruffo: 131 8

Sia benedetto amore Veggio: 12 24

1100 ,

Sia benedetto chi trové l’amore Gvv) Califano: 282 25 Sia benedetto chi trovd Pamore (3vv) Troiano: 309 2

Sia benedetto l’hora il giorno e ’| ponto (3vv) Pinello: 374 1 |

Italian Texts

Sia (3vv) Gero: 149 113 10 Sia maledetto maledettoamore amore Meifio: 22

Sia maledetto amore Veggio: 12 25 Sia vil a gl’ altri e da quel sol amata Alessandrino: 164 17 Sia vil a gl’ altri e da quel sol amata (3p. of La verginella e simile Wert: 162 19; 200 19 alla rosa) (Svv)

Siami tu scort’e guida (Svv) Guami, G.: 333 6

Siamo voi donn’et io quelli dot fonti Gvv) Fiorino: 369 30 Siat’avertiti o voi cortesi amanti (Svv) Ferretti: 342 18; 390 18

Siate pur contra me spietata e dura Scotto: 29 8

Siegui fido pastor il tuo camino (2p. of Leggiadra Ninfa) (Svv) Cottone: 389 3

Siepi che ’| bel giardin chiudet’in torte Dalla Viola, F.: 72 27 Siglia di Giov’e voi lucenti stelle (Svv) Clerico: 208 5

Signor che d’Este et San Martino’il nome Martinengo: 71 6 Signor d’amor in le piu degne schiere Lupacchino: 32 20 Signor gentil’in voi fortuna e °! cielo Martinengo: 71 1

Signor il grido de l’altier tuo nome Volpe: 147 1 Signor !a vostra fiamma (Svv) Monte: 346 7 Signor mio caro ogni pensier mi tira Rore: 130 2 Signor quella pieta che ti costrinse Melfio: 149 21

Signor svilupp’homai quest’ afflitta alma Hoste da Reggio: 127 9 Signor tanto tuo dono (3p. of Mio pan’anzi mia vita) (3vv) Nasco: 243 |

Signora dolce io te vorrei parlare Willaert: 14 45; 241 10 Signora mia voi sete tanto bella (3vv) Zaramella: 351 29 Signora par ch’el ciel v’ha fatt’a posta Gvv) Primavera: 3§2 21

Signorella gioia mia quanto sei bella (3vv) Nola: 349 13 Signori & cavaglieri [La Battaglia Taliana] Werrecorre: 103 |

Simili’a questi smisurati monti (Svv) Perissone Cambio: 49 15 Sinistra pianta’indegnamente offesa (4p. of Destra di quel amor Courtois: 243 2 ch’ogn’altr’ amore) (Svv) Sio see Se io

Smarriss’il cor ghiaccioss’il sangue quando (6vv) Portinaro: 307 9 So ben che tanta gratia el ciel ti diede (3vv) Fogliano: 66 34; 112 27; 174 27

So che voimi non sete Festa, Volpe:C.: 147 So ben che nissun crede 2 20 14 So che tropp’alt’aspiro Martinengo: 42 5 So come i di come i momenti e l’ore (2p. of Lasso ben so che Monte: 346 2 dolorose prede) (S5vv)

So come sta tra fiori ascoso l’angue (2p. of Dura legge d’Amor)(Svv) Wert: 201 5; 202 5

Soffian spesso tra lor rabiosi venti (2p. of Simili’a questi smisurati Perissone Cambio: 49 15 monti) (Svv)

Sol di lei ragionando viva e morta (2p. of Ite rime dolenti) (Svv) Monte: 346 9 Sol di lei ragionando viva e morta (2p. of Ite rime dolenti) (Svv) Rufilo: 198 21

Sol d’una pensa, e se medesmo oblia Berchem: 139 8 Sol nel mio petto ogn’hor lasso si serra (2p. of Hor che l’aria) (Svv) Rore: 28 19; 129 20; 168 20; 215 2 Sol te bramo o mia luna anz’io mio sole (2p. of Piu non e sol) (6vv) Pesciolini: 235 16

Sola la donna mia Corteccia: 39 22

Sola mi fai languire (3vv) Ascanio Bolognese: 361 24

Sola soletta andava (3vv) , Gero: 113 15 Sola soletta andava (5vv) Mazzone: 323 6 Sola soletta i’ me ne vd cantando (S5vv) Converso: 388 6

Solea lontana in sonno consolarme (Svv) Rore: 28 5; 46 16; 129 9; 168 9; 213 8 Solea lontana in sonno consolarme Roussel: 107 10; 116 10; 163 10; 188 10; 293 10 Soleva con desir in ver la sera (2p. of Qual falace sentier) Ciera: 121 6

Solinga Tortorella (Svv) Raimondo: 292 5; 356 5 Solingo augello che piangendo vai (5vv) Monte: 346 4 Solingo augello se piangendo vai (S5vv) Picenni: 220 11

Solingo augello se piangendo vai Scotto: 29 21 Solo e pensoso e fuor d’ogni sentiero (3vv) Bianco: 386 13 Solo e pensoso i piu deserti campi Arcadelt: 12 20 Solo e pensoso i piu deserti campi (Svv) Lasso: 167 19; 180 19; 211 19; 285 19 Solo ¢ pensoso i piu deserti campi Monte: 327 3 Solo e pensoso i piu deserti campi (Svv) Nasco: 205 5 1101

Index of First Lines

Solo e pensoso 1 piu deserti campi (6vv) Portinaro: 307 8

Solo e pensoso i piu deserti campi Rufilo: 237 25

Solo e pensoso i piu deserti campi (2vv) Scotto: 23 4; 111 4; 159 4; 224 4; 395 4

Solo fra mill’Amanti (5vv) Converso: 388 23 Solo n’andrd col mio mortale ¢ a voi (2p. of Ben convenne) (Svv) Lasso: 333 7

Somma belta infinita é cagion vera [1] Lupacchino: 32 2 Somma belta infinita ¢ cagion vera [2] Lupacchino: 32 $

Son certo di morire (Svv) Ruffo: 169 12

Son figlio a matre senza patre figlio Volpe: 147 31

Son gia molt’anni Amore (Svv) Willaert: 219 1

Son giont’al fin di miei si longhi affanni (2p. of Son gia molt’ anni Willaert: 219 1 Amore) (5vv)

Son i vostr’occhi archi bugett’a ruota Hoste da Reggio: 127 11 Son molti giorn’haime ch’ io pers’ il core Waelrant: 265 2 Son morto e moro e non posso morire Tudino: 133 19 Son morto e moro e pur credo morire Waelrant: 265 22 Son presa disse e a me rivolse in giro (2p. of Danzava con maniere) Monte: 327 14

Son quasi morto o donna e tu no ’| credi (S5vv) Dattari: 303 30

Son quesse Laura mia le bionde trezze (3vv) Pineilo: 374 8

Son quest’i capei biond’é l’aureo nodo (6p. of Quand’ il soave) Montagnana: 158 4

Son simil’all’avar ch’ha ’l cor si intento Lando: 155 12

Son stato cacciator cinque anni e un mese (3vv) Bonardo: 267 8; 296 8 Son stato cacciator ctnque anni e un mese (Svv) Ferretti: 368 21

Songo venuto a fare carnovale (3vv) [no attribution]: 226 51; 266 51

Son’ hoggi al mondo certi innamorati Bonizzoni: 315 5 Sono venuto a far le bone feste (3vv) Troiano: 290 29; 310 29 Sopra ’! bel verde di novelli fiori (4p. of Alla dolce ombra) Rufilo: 237 10 Sopra ’1] bel verde di novelli fiori (4p. of Alla dolce ombra) (Svv) Troiano: 333 4

Sopra una verde & dilettosa riva Aretino: 81 20

Sopra una verde et dilettosa riva (3vv) Festa, C.: 66 24; 112 32; 174 31 Sospir cessate homai che la vittoria (3 vv) Bianco: 386 15

Sospir profondi & voi dirotti pianti (3vv) Gero: 113 37

Sospira core che ragione n’hai (3vv) Nola: 360 8; 397 8 . Sospira core che ragione n’hai (3vv) Primavera: 352 16 Sospira core che ragione n’hai (3vv) Scotto: 376 |! Sospira core che ragione n’hai (3vv) Zappasorgo: 382 15

Sospiri miei d’oime dogliorirosi Willaert: 74 13

Sotto d’un negro vel’hoggi si vede (3vv) Venturi: 379 33

Sotto duoi negri & sottilissimi archi La Martoretta: 70 8

Sotto l’insegna del gran sdegn’un giorno 3vv) Troiano: 332 6

Sotto quel sta quasi fra due vallette Gp. of Sotto duoi negri) La Martoretta: 70 8

Soviemmi che cantare io vi dovea Cataldo: 170 32

Sovra il bel Tebro pallido & pensoso (Svv) Striggio: 354 13; 377 13

Sovra una verde riva (2vv) Scotto: 23 15; 111 15; 159 15; 224 15; 395 15

Sovra una verde riva [no attribution]: 222 17 Sparga la santa Astrea (6vv) Primavera: 262 12

Sparso d’or I’arenoso altero corno (5vv) Clerico: 207 10

Speme che gl’occhi nostri veli ¢ fasci Monte: 327 4

Speme che gl’occhi nostri veli e fasci (Svv) Monte: 373 7 Spent’é d’amor !a glori’e spent’ insieme (Svv) Lasso: 333 2

Spent’era gia l’ardor e rotto ’I laccio (Svv) Zarlino: 219 3 Spero anchor di purpureo e ricco velo (5vv) Ruffo: 169 20 Spesso convien che sospirando io dica (5vv) Adriani: 336 1 Spesso in parte del ciel lucent’e bella Rore (Ingegneri): 264 1; 330 1 Spesso in poveri alberghi e in picciol tetti Cataldo: 170 44

Spezza J’arco et li strali (Svv) Tortora: 355 18 Spinse amor et dolor ov’ ir non debbe Nola: 51 21

Spinse amor et dolor ov’ ir non debbe Reulx: 35 3 | Spira dalla dole’aria del bel viso Ragazzoni: 4§ 11 Spirav’a miei desir propitio il vento (Svv) Rufilo: 198 12

Splendean le stell’in ciel piu vag’ ardenti (Svv) Contino: 179 6

Splend’in ciel una stella Melfio: 149 16

Sta cianciosella mi vol far morire (5vv) Ferretti: 368 10 1102

Italian Texts

Sta constante cor mio che t’am’ogn’hora Waelrant: 265 25

Sta su sta su non mi far mal per dio Nola: 51 10 Sta vecchia quando passo di qua via (3vv) Gorzanis: 370 12 Stanco e solingo per disert’arene Ii Conte Briaco: 2519

Standomi un giorno sola alla fenestra Gero (Arcadelt/Rampollini): 94 12; 117 19; 118 12

Standomi un giomo sola alla fenestra (Svv) Lasso: 181 1; 212 1; 286 1

Stanott’io me sognava con dolcezza (Svv) Converso: 388 11

Stare mi voglio sempre in festa e gioco (3vv) Troiano: 290 17; 310 17

Stassi sovr’un’oliva (6vv) Tortora: 355 20 Stava felice il di al mi diporto Gvv) Nola: 349 11

Stavasi all’ombra d’un frondoso faggio Hoste da Reggio: 127 15 Stavasi amor ne la soave pioggia (2p. of Ohime che belle) (Svv) Monte: 182 7; 345 7

Stavasi il mio bel sol al sol assiso (3vv) Casulana: 297 4 Stavasi il mio bel sol al sol assiso Rossetto: 295 7 Ste vecchie maledette de sta terra 3vv) Troiano: 290 25; 310 25 Stella crudel perche fuor non mi guidi (5vv) Ferretti: 321 2; 367 2 Stella gentil nel volger de vostr’occhi Primavera: 329 19

Sterope Piramon Bront’e Vulcano Candido: 364 19 Stiamo Amor a veder la gloria nostra Tudino: 133 25

Sto amaro core mio e diventato Nola: 349 23

Sto core mio se fusse de diamante (3vv) [no attribution]: 226 9; 266 9 Stolto ¢ sciocco é ben ch’al grave (3p. of Dir si suol felicita) (Svv) Baccusi: 384 8

Stracciami donna e fammi pur stentare vv) Troiano: 309 22

Strali fiamme e catene (3vv) Bianco: 386 23

Strali fiamme e catene (3vv) Troiano: 290 23; 310 23

Strane rupi, aspri monti, alte tremanti (Svv) Rore: 28 7; 46 18; 129 4; 168 4; 213 4 Stringimi vita mia stringimi ’] core (2p. of O stelluzza d’amor dolce) Candido: 364 16

Strugger mi sento *] core (Svv) Aretino: 156 20 Struggomi et mi disfaccio (Svv) Palestrina: 358 15

Studisi ognun giovar altrui che rade Cataldo: 170 23 Su la fiorita riva Ruffo: 131 12 Su Pampia fronte i! cresp’oro lucente (Svv) Cavatoni: 387 12 Su per l’onde le fiere e per le piagge (13p. of Al dolce suon) Troiano: 333 |

Su rapidissim’ onda d’atro sangue (6vv) Striggio: 378 8 Su su presto presto presto a la caccia (2p. of Dalle gelate braccia) Striggio: 289 2; 331 2 (Svv)

Superbi colli e voi sacre ruine (5vv) Wert: 201 6; 202 6 Superna donna d’alto ciel discesa (3vv) Califano: 282 3 Surgon lherbette molli (3p. of Ecco pur riede il sole) Rossetto: 295 8

Svelt’ha di mort’invido colp’et fiero (Svv) Merulo: 313 |

Taccia l’ignaro vuolgo Gero: 117 18 Taci taci e non parlar de le citelle Gvv) Mazzoni: 325 8 Tal ch’io possa sprezzand’ogn altra luce (3p. of Si com’al chiaro) Lasso: 276 8 Tal che mi pascho de la dolce fiamma (2p. of Quelle fiamme) (Svv) Martinengo: 73 11 Tal che sparito il desiato sole (2p. of Come novello fior colmo)(5vv) ~~ Rufilo: 198 13

Tal guida fummi °] giovinil desio Manara: 72 34 Tal io ch’in questo mar di cieco errore (2p. of Qual timido) (Svv) Rufilo: 198 11

Tal la’v’é il bel Tesin le piagge infiora (2p. of Qual é a veder) Martinengo: 71 21 Tal m*ha’in prigion che non m’apre ne serra (2p. of Pace non trovoe Schiavetto: 238 3 non ho da far guerra) (Svv) Tal si trova dinanzi al lume vostro (2p. of Poggiand’al ciel) (Svv) Rore: 28 3; 46 14; 129 3; 168 3; 213 3

Talhor fra bei coral’e riche perle Menon: 79 36

Tal’hor m’assal’in mezz’a tristi pianti Manara: 72 9

Talhor tace la lingua e *! cor si lagna (2p. of Che fai alma) (Svv) Monte: 346 1

Tant’alto s’erge la tua chiara luce Casulana: 301 |

Tant’é !’amor ch’io port’a voi signora (3vv) Troiano: 309 24

Tant’é l’ardor la fe che meco porto Naich (Ivo Barry): 65 16; 107 13; 116 13; 163 13; 293 13

Tant’e l’assentio el fel ch’io rod’e’fuggo Pont: 117 28

Tant’e lo grand’ardore (3vv) [no attribution]: 278 14

Tant’e vostra beltade Veggio: 12 10 1103

Index of First Lines

Tant’era dolce’il pianto Gvv) Archangelo da Reggio: 361 7 Tanta beltad’e’n voi e leggiadra (3vv) Gero: 113 8

Tanti fontt in un giorno e tanti rivi Ruffo: 53 27; 150 13; 184 13 Tanti migliara di pen’e martire (3vv) Arpa: 263 25; 272 25; 350 25 Tant’in me forz’ha vostro dolce sguardo Volpe: 147 16

Tanto fu ’] tuo fallir anima ingorda (2p. of Deh spargi) 5vv) Ruffo: 243 8 Tanto mi piacque prima il dolce lume (6p. of Alla dolc’ombra) Adriani: 298 |

Tanto mi piacque prima il dolce lume (6p. of Alla dolc’ombra) (6vv) Berchem: 40 18; 204 2 Tanto mi piacque prima il dolce lume (6p. of Alla dolc’ombra) (S5vv) | Mazzone: 323 13

Tanto mi piacque prima il dolce lume (6p. of Alla dolc’ombra) Rore: 130 1!

Tanto mi si transuta ne lo core (vv) Scotto: 376 12

Tanto mi si transuta ne Io cuore (3vv) [no attribution]: 226 17; 266 17

Tanto piu grato e caro Layolle: 117 20 Tanto poté ’n me ’! suon de le parole (Svv) Fiesco: 229 22

Tanto sai fare con |’innamorati Azzaiolo: 189 13; 250 13

Tanto sai fare con I’innamorati (5vv) Romano, A.: 344 11; 391 11

Tanto t’adoro o donna (S5vv) Ferretti: 368 7

Tanto t’adoro o donna (3vv) Merulo: 267 3; 296 3

Te parlo tu me ridi & pur stai cito Donato: 161 8; 109 16; 152 15

Temo piu donn’il vostr’aspett’altero Gvv) Ascanio Bolognese: 361 14

Temo sol di morire (3vv) Ascanio Bolognese: 361 15

Temp’é da incominciar que! piant’homai (3vv) Scotto: 22 23; 83 23 Temp’é da incominciar quel piant’ homai [no attribution]: 163 40; 188 11; 294 12

Tempo fu che cantai per poggi e selve (Svv) Ruffo: 169 21

Tempo saria patrona mia gentile (Svv) Ferretti: 368 5 Tempo verra anchor forse (3p. of Chiare fresch’e dolci acque) (3vv) Arcadelt: 173 19; 204 1; 281 11

Tempo verra anchor forse (3p. of Chiare fresch’e dolci acque) Mazzone: 324 13 Tempo verra anchor forse (3p. of Chiare fresch’e dolci acque) Palestrina: 172 25

Temprar potessi in si soavi note (2p. of La ver l’aurora) Vicentino, D.: 158 5

Temprar potessi in si soavi note (5vv) Vinci: 199 4; 240 4; 275 13 Tengan dunque ver me I’usato stile (2p. of Cantai hor piango) (Svv) —_ Lasso: 167 1; 285 1 Tengan dunque ver me l’usato stile (2p. of Cantai hor piango) (Svv) — Perissone Cambio: 49 3

Tengan dunque ver me I’usato stile (2p. of Cantai hor piango) (Svv) = Wert: 201 7; 202 7 |

Tesin ch’al re de fiumi (5vv) Chamatero: 318 11

Ti dico il vero a fe ch’io ti daria (Svv) Romano, A.: 344 5; 391 5

Ti parl’e tu me rid’e poi stai cito (Svv) Ferretti: 283 10; 305 10; 334 10; 366 10

Ti parti cor mio caro Azzaiolo: 189 15; 250 15

Tichi toche o patalena zoia mia Gvv) [no attribution]: 226 75; 266 75

Timagora Parrassio Polignoto Cataldo: 170 33 Timor che d’ogni speme (5vv) Clerico: 207 6

Tira tira penster vatten da quella (3vv) Nola: 349 10 Tira tira penster vatten’a quella (3vv) Roiccerandet: 280 25

Tirrhena mia il cui color agguaglia (2vv) Gero: 16 15; 50 18; 114 18; 210 18 Tirrhena mia il cui color agguaglia (2p. of Phillida mia) Gvv) Ghibel: 110 8

Tirsi pastor assis’a un tronco d’acera Primavera: 329 2

Tolta m’e poi di que biondi capelli Volpe: 147 7

Torbido il Mincio corre, e piang’il mondo (5vv) Striggio: 185 17; 186 15; 274 15

Torna dolce el mio amore (Svv) Romano, A.: 344 10; 391 10 Torna torna ben mio non mi lasciare (3vv) Pinello: 394 13 Tornami avanti, s’alcun dolce mai (2p. of La vita fugge) Adriant: 298 13

Tornami avanti, s’alcun dolce mai (2p. of La vita fugge) (Svv) Rore: 28 8; 46 19; 129 5; 168 5; 213 5

Tomat’o mie speranz’al vechio nido Gero: 77 6 Tosto ch’ei sente la tua forza (2p. of Fiamma gentil) (Svv) Vicentino, N.: 59 8 Tosto ch’il sol si scopr’in oriente Nola: 164 16 Tosto ch’in don le chiesi 0 gigli’o rosa (2p. of Leggiadra Pastorella Gonzaga, S: 208 9 in treccie d’oro) (Svv)

Tra bei rubini e perle (6vv) Monte: 347 15 Tra bei rubini e perle (Svv) Ruffo: 205 15 Tra di leggiadre donne un lieto choro (5vv) Fiesco: 229 17

Tra freddi monti e luogh’alprestri e fiert (6vv) Pesciolini: 235 15

Tra le piu belle del regno d’Amore Ghibel: 123 5

Tra fe piu belle donn’e le piu rare (3vv) Venturi: 379 6 Tra piu beati e piu sublimi chori (Svv) Rore: 264 9; 330 10 1104

Italian Texts

Tra quantunque leggiadre donne & belle Ghibel: 123 8

Tra questi sacri, allori, olivi & pini Ghibel: 123 19 Tra se dicea sovente hor si part’ella 2p. of Ad ogni picciol moto) Lando: 155 20

Tra verdi campi ja stagion novella Gvv) Candido: 364 25

Tra verdi frondi d’un ginebr’ amato Mira: 339 16

Trasformo *! crudel sguardo Ragazzoni: 45 24 Tre cose son in terra (3vv) [no attribution]: 278 3

Tre donne belle fanno gran bataglia (3vv) Primavera: 263 15; 272 15; 350 15

Tre donne belle fanno gran bataglia Primavera: 329 12

Tre leggiadre ninfe (3vv) [no attribution]: 278 12 Tre pellegrini siamo noi madonna (3vv) Califano: 282 5 Tre villanelle belle Primavera: 329 5

Tre volte ha gia rotato a torno il sole Ghibel: 123 3

Trenta capilli da Castell’ amare (3vv) Londariti: 267 22; 296 22

Trinc e got é malvasie (3vv) Ino attribution]: 278 22

Trist’ Amarilli mia dunqu’e pur vero Verdelot: 14 $2; 54 9; 859; 1159; 1469 Tristo che gionge a cosi stretto passo (3vv) ) Tudino: 271 10 Troncasti invida parca il ricco stame (2p. of Occhio del ciel) (Svv) Lagudio: 231 4

Tronche son |’ale del pensier sublime Schaffen: 82 24 Troppo scarsa madonna Berchem: 107 36; 116 36; 163 36; 188 35; 294 9

Troppo scarsa madonna Ivo Barry (Berchem): 65 21

Troppo stratii mi fai donna crudelle (3vv) [no attribution]: 226 73; 266 73

Trovo ne gli occhi de la donna mia Gvv) Scotto: 22 37; 83 37 Trovomm’amor del tutto disarmato (2p. of Era ’| giorno) (Svv) Chamaterd: 318 12 Trovomm/’amor del tutto disarmato (2p. of Era ’l giorno) (Svv) Schiavetto: 238 1

Tu ch’ai di Giove la vitric’insegna (Svv) Contino: 179 16 Tu core mio si tanto saporita 3vv) [no attribution]: 226 46; 266 46 Tu cruda sei con chi ti adora & ama (Svv) Romano, A.: 371 7 Tu dormi et amor veglia e non mi senti Tudino: 133 23 Tu dormi et amor veglia e non mi senti vv) [no attribution]: 226 1; 266 1 Tu dormi et amor veglia per mio danno (3vv) Ghibel: 110 5

Tu intanto nel celeste almo soggiorno (2p. of Carlo ch’en tenerella Monte: 346 18 . acerba etade) (Svv)

Tu ’I sai mio caro & tec’il san coloro (2p. of S’aiut’in van) (Svv) Raimondo: 313 9

Tu m’arobast’al primo sguard’il core (3vv) [no attribution]: 226 20; 266 20 Tu m’hai crudel lassat’io te non voglio (3p. of Miser’a chi mai) Hoste da Reggio: 127 14

Tu m’hai lasciat’alla bon’ hora sia (Svv) Ferretti: 321 15; 367 15 Tu mv hai lasciat’alla bon’hora sia 3vv) Gradenico: 351 15 Tu m’hai lo stato mio sotto pretesto (14p. of Fra quanti amor) (6vv) — Rossetto: 288 |

Tu m’hai redut’a pettini de quindici (3vv) Nola: 24 6 Tu mi fai star scontient’& infelice (3vv) [no attribution]: 226 15; 266 15 Tu mi farai morir ch’io men’aveggio Donato: 101 18; 109 17; 152 16 Tu mi ponest’innanz’a gliocch’amore Animuccia: 172 22 Tu mi ponest’innanz’a gliocch’ amore (2p. of Qual donna canterase Scotto: 353 9 non cant’io) (3vv)

Tu mi rubasti al primo sguardo il core (vv) Bonagiunta: 279 5

Tu mi rubasti al primo sguardo il core (Svv) Ferretti: 283 19; 305 19; 334 19: 366 19

Tu mi rubasti al primo sguardo il core vv) Scotto: 376 18 Tu mi voi mal & io bene ti voglio Gvv) Califano: 282 27 Tu padre ne mandasti (3p. of Signor quella pieta che ti costrinse) Melfio: 149 21 Tu pensi donna ch’io t’habbi lasciato (3vv) Dattari: 303 2 Tu pensi ogn’hor crudel farmi dispetto (3vv) Mazzoni: 343 2

Tu piangi, & quella per chi fai tal pianto (Svv) Rore: 28 9; 46 20; 129 7; 168 7; 213 7

Tu ridi sempre mai (Svv) Ferretti: 321 7; 367 7 Tu sei la causa de la morte mia Waelrant: 265 6

Tu ti pensavi di farme morire (Svv) Romano, A.: 371 8

Tu tu caro ancor piang’il mio gioire (5vv) Renaldi: 313 11 Tu tu Caro sei morto & com’in vita (5vv) Bertoldo: 313 10 Tu vedi ben’hor come (2p. of Amor la bella face) (Svv) Barré: 204 5

Tu vedi pur che ’! mio torment’e tale (2p. of Dolce vista) (6vv) Monte: 347 2

Turco Giudeo ne Moro Gvv) Primavera: 263 1; 272 1; 350 | Tutt’ombre son l’amorose speranze (2p. of Alletandomi Amor) (Svv) [no attribution]: 357 11

Tutta la notte piang’e veglio in pene (3vv) Mazzoni: 343 24 1105

Index of First Lines

Tutta sarissi bella donna mia Donato: 101 17; 109 23; 152 22 Tutt’é amor’eccetto |’amor mio (3vv) Pinello: 374 15 Tutt’e paccia metterence amore (3vv) Troiano: 332 28 Tutte le donne portano le perle (3vv) Primavera: 352 7 Tutte le pene sopportar potria (Svv) Ferretti: 321 3; 367 3 Tutti corret’ad uno ad’uno a quella (5vv) Converso: 388 24 Tutti gl’altri animai che sono in terra Cataldo: 170 5 Tutti piangon tua morte et io mia vita Lando: 155 16 Tutto il di piango e poi la notte quando Adriani: 298 5

Tutto il di piango e poi la notte quando (Svv) Dalla Viola, F.: 219 13 Tutto il di piango e pot la notte quando (6vv) Monte: 326 13; 372 13 Tutto il di piango e poi la notte quando (6vv) Portinaro: 307 10 Tutto il di piango e poi Ja notte quando (3vv) Rore: 95 19; 173 3; 281 3 Tutto il di piango e poi la notte quando (Svv) Ruffo: 169 14 Tutto il di piango e poi la notte quando (2vv) Scotto: 171 30 Tutto il di piango e poi la notte quando Gvv) Scotto: 22 13; 83 13; 216 6

Tutto ’! di ti te spampoli (3vv) Bellavere: 359 17; 398 17

Tutto lo giorno piang’*haime meschino Waelrant: 265 19 Tutto lo mondo mai non bastaria (3vv) Califano: 282 21

Tutto lo giorno stento e poi [a sera Gvv) [no attribution]: 263 33 Tutto fo tempo mio spend’in amare (3vv) Zappasorgo: 382 20

Tutto quel che felice & infelice Monte: 327 8

Udran da le mie notte chi mi ascolta (Svv) Chamaterd: 317 9

Ultimi miei sospiri Gero: 77 21 Ultimi miei sospiri vv) Scotto: 22 2; 83 2 Un amante fedel che cerca ’] passo (S5vv) Aretino: 156 3 Un amante fedel che cerca °! passo (5vv) Mazzone: 323 14 Un amico pensier le mostr’il vado (2p. of Amor mi sprona) (6vv) Monte: 372 11

Un bel compass’un scanno con tre piede (8vv) Volpe: 147 32

Un dilieto lietogiamai giamaiCorteccia: Arcadelt: Un di 3912 35;31 1175

Un giglio d’or e due lucente stelle Menon: 79 24 . Un giorno mi prego una vedovella Willaert: 48 4; 74 8

Un giovinetto am’una donzella Ragazzo: 252 11 Un lauro mi difese all’hor dal cielo Gp. of Alla dolc’ombra) Adriani: 298 1

Un Iauro mi difese all’hor dal cielo (3p. of Alla dolc’ombra) (3vv) Berchem: 40 18; 173 14; 204 2; 281 14 Un lauro mi difese all’hor dal cielo 3p. of Alla dolc’ombra) (Svv) Mazzone: 323 13

Un lauro mi difese all’hor dal cielo 3p. of Alla dolc’ombra) Rore: 130 |

Un mutto si ritrov’al calandario (3vv) Nola: 24 5

Un ragazzo una rozz’una scopetta Gero: 77 19 Un si nuovo desio Manara: 72 15 Un temp’ogn’hor piangeva (3vv) [no attribution]: 271 28 Un tempo amor con dolce e felice aura (Svv) Cottone: 389 9

Un tempo sospirava (3vv) Bonagiunta: 279 15

Un temp’ in dolce foco Spontone: 160 11

Un temp’ogn’hor piangeva (3vv) Arpa: 263 21; 272 21; 349 7; 350 21 Un’amico pensier le mostra il vado (2p. of Amor mi sprona) (6vv) Monte: 326 11 Un’ asser vorreiMeifio: Mazzoni:149 325 228 Unaape bella fenice Una celeste Nube fu’il mio sole (2p. of Torbid’il Mincio corre) (Svv) Striggio: 185 17; 186 15; 274 15

Una donna laltrier fisso mirai (3vv) Festa, C. (Pisano): 66 28; 112 29; 174 29

Una fiamm’ un ardor un fuoco acceso Gero: 77 17 Una gran parte di mia vita breve La Martoretta: 70 10 Una lampuca 0 visto co na groya (3vv) Nola: 24 19

Una legiadr’e bella Werrecorre: 103 4 Una nova bellezza é appars’in terra (3vv) Venturi: 379 26

Una nova seren’in mezzo |’acque (5vv) Monte: 182 9; 345 9 Una sola saetta Corteccia: 39 30

Una strania fenice ambe due I’ale (5p. of Standomi un giorno) (Svv) —s Lasso: 181 1; 212 1; 286 1

Unica speme mia unico bene Schaffen: 82 6 Unir non puo natura (2p. of Ombra son io sepolto) (Svv) Monte: 348 7

Usciam nimphe hormai fuor di questi boschi (Svv) Vinci: 380 12 1106

Italian Texts Ut re mi fa sol la (2p. of Chin de dara la bose al solfizar ) (3vv) Gabrieli: 359 5; 398 5

Va c’haggio gia mutata fantasia (3vv) Troiano: 290 26; 310 26

Va fidate di donna capriciosa (3vv) Nola: 349 3

Va liet’a mort’il core Casulana: 301 12

Va rondinell’ alla nemica mia (Svv) Ferretti: 321 5; 367 5 Va via ca tu mi par’una fantasma (Svv) Ferretti: 342 14; 390 14 Va via ca tu mi par’una fantasma (3vv) Troiano: 332 27 Vado pensando e come posso fare Nasco: 154 13; 197 13; 260 13 Vaga bella soave e dolce imago (5vv) Monte: 346 8 Vaga d’udir come ogni donna suole (2p. of A caso un giorno) Gvv) — Bonagiunta: 267 5; 296 5

Vaga d’udir come ogni donna suole (2p. of A caso un giorno) Casulana: 301 15 Vaga d’udir come ogni donna suole (2p. of A caso un giorno) (Svv) _—‘ Ferretti: 321 19; 367 19

Vaga stella serena Corteccia: 39 7 Vagh’amorosi augelli Casulana: 339 10

Vag’ Angeletta e spirt’alm’e gentile (Svv) Baccusi: 384 7 Vag’ augelletti che tra belle fronde (3vv) Mazzoni: 325 1

Vaghe faville angeliche beatrici (Svv) Barré: 46 23; 223 8

Vaghi boschetti di soavi allori [no attribution]: 94 29; 118 29

Vaghi, e leggiadri fiori etade Tudino: 133 4

Vaghi lumi leggiadr’ & amorosi (Svv) Hoste da Reggio: 125 22

Vaghi pensier che cosi passo passo Arcadelt: 2 42 Vaghi pensier che cosi passo passo Donato: 101 1; 109 24; 152 23 Vaghi pensier che cosi passo passo [no attribution]: 117 2 Vaghi pensieri (Svv) Rore: 264 11; 330 11 Vago augelletto che cantando vai Berchem: 139 17 Vago augelletto che cantando vai (Svv) Cavatoni: 387 11 Vago augelletto che cantando vai Ghibel: 123 21 Vago augelletto che cantando vai Mazzone: 324 14

Vago augelletto che cantando vai (2vv) Scotto: 23 17; 111.17; 189 17; 224 17; 395 17

Vago augelletto che cantando vai (3vv) Zappasorgo: 382 |

Vago d’udir novell’oltre mi misi (2p. of Nel tempo che rinova) (7vv) Wert: 201 13; 202 13

Vago d’un alt’e faticoso preggio (2p. of Alla dolce ombra) (Svv) Guami, F.: 333 4

Vago d’un alt’e faticoso preggio (2p. of Alla dolce ombra) Rufilo: 237 10

Valle che de bei fior’il gremb’hai tinto (3vv) Venturi: 379 50 Valle che di lamenti miei sei piena (Svv) Chamatero: 317 13

Valle che di lamenti miei sei piena Reulx: 35 21

Valle che di lamenti miei sei piena (5vv) Ruffo: 132 15

Valle che di lamenti miei sei piena (2vv) Scotto: 23 16; 111 16; 159 16; 224 16; 395 16

Valle che di lamenti miei sei piena (Svv) Taglia: 205 13

Valle che di lamenti miei sei piena (Svv) Vinci: 199 9; 240 9; 275 5

Valle che spess’al riposar de venti Rufilo: 237 22

Valle d’ogni vaghezza ricca e piena (Svv) Chamaterd: 319 5

Valli Animuccia: 173 Valli vicini vicini ee rupi rupi vv) Gvv) Fiesco: 221 98

Valli vicini e rupi (3p. of Sovra una verde riva) [no attribution]: 222 17

Valor preggi’et honor in te s’informi (6vv) Ruffo: 131 5

Valor senno bonta desir’ honesti (2p. of Mirabil arte) (Svv) Comis: 313 4

Vane speranze humane (5vv) Cavatoni: 387 4

Vanne canzona mia carca di stento (3vv) Trotano: 290 8; 310 8

Vanne per cortesia (3vv) Bianco: 386 22

Vanne per cortesia Gvv) Troiano: 290 11; 310 11 Vanne vanne o pensiero (3vv) Bianco: 386 24 Vanne vanne 0 pensiero (3vv) Troiano: 290 3; 310 3

Vasse cantando °! biancho cign’a morte Ragazzoni: 45 7

Vattene ai lieti e fortunati amanti (2p. of Speme che gl’ occhi) Monte: 327 4; 373 7

Vattene liet’homai coppia d’amici Lasso: 222 16

Vattene pur cor mio (2p. of Vota scorza rest’io) (Svv) Portinaro: 236 4

Vattene va ca non te voglio piu (3vv) Troiano: 332 24

Vatten’in pace alma beat’e bella Menon: 79 12 Vecchia s’havessi n’arco co'na frezza Primavera: 329 | | Vecchie letrose non valete niente Willaert: 48 6; 747 Vechia ruina vechia traditora (3vv) Troiano: 309 6 1107

Index of First Lines

Vedesti amor giamai di si bel sole Casulana: 276 2; 301 10 Vedete quant’in me veracemente (2p. of Rime leggiadre che Adriani: 335 18 novellamente) (Svv)

Vedet’occhi quel coll’e chiaro lampo (Svv) Schiavetto: 238 10

Vedi signor cortese a dunque sia Chamaterd: 320 9 Vedra s’arriv’a temp’ogni virtute (2p. of Chi vol veder quantunque Portinaro: 307 4 puo natura) (Svv)

Vedra s’arriv’a temp’ogni virtute (2p. of Chi vol veder quantunque Rore: 28 14; 46 10; 129 13; 168 13; 213 12 puo natura) (5vv)

Vedrai biondi capei (2p. of Chi vol veder tutta raccolt’insieme) Rore (Ingegneri): 264 3; 330 3

Veggio ben quanto !’odio si rinforza (Svv) Ruffo: 132 7

Veggio ch’el fier desio Martinengo: 42 31 Veggio d’angelo il volto (Svv) Pratoneri: 308 10

Veggio quall’hor un’honorata gara (Svv) Cavatoni: 387 2

Veggio quess’occhi tanto risarielli (3vv) [no attribution]: 226 44; 266 44 Veggio senza occhi et non ho lingua et grido (2p. of Pace non trovo —_— Perissone Cambio: 49 9 et non ho da far guerra) (Svv)

Vel pud giurare amore (3vv) Ferro: 173 16; 281 13

Vel pud giurare amore Mazzone: 324 5 Vendim’o donne belle st’insalate (3vv) Nola: 24 33

Vener del terzo ciel lume benigno Corteccia: 39 9

Vener se per Adon fiamma d’ Amore (Svv) Dall Viola, A.: 220 10

Venga quel bel Narciso che nel fonte Bonizzoni: 315 23 Venga quel bel Narciso che nel fonte Nola: 349 24

Venga quel bel Narciso che nel fonte (3vv) [no attribution]: 278 19 Venit’amanti insieme a pianger forte (3vv) Festa, C.: 66 13; 112 13; 174 13

Veniteve a pigliar’ la cardelora (3vv) Nola: 24 39

Venut’é ’] Maggio ch’invit’a cantare (Svv) Ferretti: 283 18; 305 18; 334 18; 366 18

Venut’é ’] Maggio ch’invit’a cantare Gvv) Primavera: 351 25 Venut’era madonna al mio languire (3vv) Festa, C.: 66 12; 112 12; 174 12

Veramente in amore Ghibel: 123 6 Veramente madonna in me |’ardore (5vv) Rufilo: 198 16

Veramente madonna in me |’ardore (3vv) Tiburtino: 84 25 | Ver’e ch’esser non puot’un gentil cuore Ragazzoni: 4§ 27

Vergine a dir de tuoi celesti rai Ghibel: 123 10

Vergine bella che di sol vestita (6vv) Fiesco: 229 24 Vergine bella che di sol vestita (6vv) Portinaro: 307 7 Vergine bella che di sol vestita Romano, A.: 128 | Vergine bella che di sol vestita (Svv) Rore: 73 1; 214 1 Vergine bella che di sol vestita (6vv) Ruffo: 131 1

Vergine bella che di sol vestita (2vv) Scotto: 23 22; 111 20; 159 20; 224 20; 395 20 Vergine bella eletta (2p. of Perche I’usato stile) (Svv) Portinaro: 236 16

Vergine bella essempio a giorni nostri (Svv) Contino: 179 2

Vergine ben sai tu quant’aspra doglia (8p. of Vergine bella che) Romano, A.: 128 1 Vergine chiara e stabile in eterno (6p. of Vergine bella che) (6vv) Portinaro: 307 7

Vergine chiara e stabile in eterno (6p. of Vergine bella che) Romano, A.: 128 1 Vergine chiara e stabile in eterno (6p. of Vergine bella che) (Svv) Rore: 73 1; 214 1 Vergine humana & nemica d’orgoglio (10p. of Vergine bella) (6vv) —— Portinaro: 307 7

Vergine humana & nemica d’orgoglio (10p. of Vergine bella che) Romano, A.: 128 1 Vergine humana & nemica d’orgoglio (10p. of Vergine bella) (Svv) = Rore: 99 4; 214 1 Vergine in cui ho tutta mia speranza (9p. of Vergine bella che) (6vv) — Portinaro: 307 7

Vergine in cui ho tutta mia speranza (9p. of Vergine bella che) Romano, A.: 128 1 Vergine in cui ho tutta mia speranza (9p. of Vergine bella che) (Svv) Rore: 99 3; 214 1

Vergine pura d’ogni part’intera (3p. of Vergine bella che) (6vv) Portinaro: 307 7

Vergine pura d’ogni part’intera (3p. of Vergine bella che) Romano, A.: 128 1 Vergine pura d’ogni part’intera Gp. of Vergine bella che) (Svv) Rore: 73 1; 214 1 Vergine quante lagrime ho gia sparte (7p. of Vergine bella) (6vv) Portinaro: 307 7 Vergine quante lagrime ho gia sparte (7p. of Vergine bella che) Romano, A.: 128 1 Vergine quante lagrime ho gia sparte (7p. of Vergine bella che) Rore: 99 1; 214 1

Vergine saggia e del bel numer’una (6vv) Fiesco: 229 25 Vergine saggia e del bel numer’una (2p. of Vergine bella che) (6vv) —_— Portinaro: 307 7

Vergine saggia e del bel numer’una (2p. of Vergine bella che) Romano, A.: 128 1 Vergine saggia e del bel numer’una (2p. of Vergine bella che) (Svv) | Rore: 73 1; 214 1

1108

Italian Texts Vergine santa d’ogni gratia piena (4p. of Vergine bella che) (6vv) Portinaro: 307 7

Vergine santa d’ogni gratia piena (4p. of Vergine bella che) Romano, A.: 128 1 Vergine santa d’ogni gratia piena (4p. of Vergine bella che) (Svv) Rore: 73 1; 214 1

Vergine santa d’ogni gratia piena (Svv) Ruffo: 132 8; 243 6

Vergine santa immaculata e pia (Svv) Contino: 179 13 Vergine santa immaculata e pia (Svv) Grisostimo da Verona: 243 9 Vergine sola al mondo senz’esempio La Martoretta: 70 30 Vergine sola al mondo senz’esempio (5p. of Vergine bella)(6vv) Portinaro: 307 7 Vergine sola al mondo senz’esempio (5p. of Vergine bella che) Romano, A.: 128 1 Vergine sola al mondo senz’esempio (Sp. of Vergine belia) (Svv) Rore: 73 1; 214 1

Vergine sola al mondo senz’esempio (Svv) Ruffo: 132 9; 243 7 Vergine tal’e terra e post’ha in doglia (8p. of Vergine bella) (6vv) Portinaro: 307 7 Vergine tal’e terra e post’ha in doglia (8p. of Vergine bella) (Svv) Rore: 99 2; 214 1

Vergognando talhor, ch’anchor si taccia (3vv) Scotto: 22 40; 83 40; 171 15

Ver infern’e ’l mio petto Arcadelt: 17 56; 37 55; 56 55; 119 55; 151 55; 165 41; 191 41; 299 39; 337 39

Vestiva i colli e le campagne intorno (Svv) Palestrina: 277 6

Vestiva i colli ¢ le campagne intorno Raimondo: 183 4

Vezzosi fior’et vaghi Naich: 65 9; 107 5; 116 5; 163 5; 188 5; 293 5 Vi amo quando scompe sto catarro (3vv) Troiano: 309 29 Vidde lontano o le parve vedere Mazzone: 324 11 Vidde lontan’o le parve vedere (7p. of Fra quanti amor) (Svv) Rossetto: 288 1

Viddi fra Vherbe verde Corteccia (Arcadelt): 39 29 Viddi la donna mia [incipit only] Ghibel: 123 28

Viddi l’aitr’hier sedendo sti l’altana Gvv) Bianco: 386 10 Viddi stand’a giacer sott’un bel pino (3vv) Mazzoni: 325 16

Viddi speranz’un di sola soletta (3vv) Dattari: 303 8

Vidi una pastorella Gvv) Bianco: 386 12

Vid’io con gl’occhi miei il sol firmarse Romano, A.: 128 5 Vien meco Progne vieni a lamentarti (3vv) Perugino: 361 17 Vieni Himeneo, che gia-se ’n fugge ’! sole Spontone: 160 9

Vieni soave ¢ dilettoso maggto (Svv) Chamatero: 317 15

Vieni soave e dilettoso maggio Spontone: 160 10

Vieni vieni himeneo (6vv) Mira: 381 12

Vila vi vila vi quella crudele (3vv) Primavera: 351 2 Villanella ch’all’acqua vai (3vv) [no attribution]: 263 26; 272 26; 280 3; 350 26 Villanella crudel mi fai morire (3vv) Scotto: 375 17 Villanella crudel mi fai morire (3vv) [no attribution]: 278 8

Villanella quanto sei bella (3vv) Pinello: 394 11 Villanella quanto sei bella (3vv) Troiano: 332 14

Villanella villanella vv) [no attribution]: 271 22

Vinto dal grav’ardore Schaffen: 82 9 Vipera o basilisco che tu sia [1] 3vv) Venturi: 379 18

Vipera o basilisco che tu sia [2] vv) Venturi: 379 19 Virtt ch’in poch’il ciel si larg’aduna (Svv) Schieti: 313 3 Visetto d’Ariento angelicato (3vv) Candido: 364 6

Vissim’un temp’in dolce foc’ ardendo Ragazzo: 252 22 Visto ho piu volte in un soffiar di vento Berchem: 139 22 Vita de la mia vita e gli’e pur vero Lambertini: 251 13 Vita de la mia vita havete pur (5vv) Romano, A.: 344 1; 391 1 Vita de la mia vita quanto gran Verdelot: 13 16; 14 20; 54 50; 85 50; 115 50: 146 50

Vita de la mia vita vita mia (3vv) Policreto: 383 5 Vita del viver mio del morir morte Chamaterd: 320 12

Vita mia bella poi che tanto t’'amo (3vv) [no attribution]: 226 6; 266 6

Vita mia bella tu sei tanto bella (Svv) Ferretti: 342 9; 390 9

Vita mia bella tu sei tanto bella 3vv) Troiano: 332 9 Vita mia bella vita mia cara (3vv) Pinello: 394 8 Vita mia cara vita saporita (3vv) [no attribution]: 226 54; 266 54 Vita mia com’é spento quell’ Amore (vv) Nola: 271 24

Vita mia dolce poi che tanto t’amo (5vv) Ferretti: 283 6; 305 6; 334 6 Vittoria il vostro viso ha tanta gratia Gvv) Venturi: 379 34

Viv’ ardor viva fiamma Casulana: 339 13 1109

Index of First Lines

Viva fiamm’e vivo foco vv) Primavera: 351 20

Viva sempr’in ogn’etate Donato: 101 26; 109 30; 152 29

Vivace fiamma che con dubbia speme (7vv) Aretino: 156 27

Vivace fiamma che con dubbia speme Corteccia: 65 28 Vivea solo per voi lieta ¢ beata (2p. of Questo si ch’é felice) (Svv) Merulo: 357 6

Viver amando e morir disperato Gvv)} Tetis: 263 23; 272 23; 350 23 Vivo o morto io te saraggio appresso (3vv) {no attribution]: 278 1

Vivo sol contemplando i chiari rai.(3vv) Fiorino: 369 11 Vivo sol di sospir di piant’e doglia Ciera: 121 4 Vivo sol di speranz’o vita mia (Svv) Ferretti: 342 3; 390 3

Vivo sol di speranz’o vita mia Gvv) Troiano: 332 12 Vivo sol di speranza rimembrando Dalla Viola, F.: 72 23

Vivo sol di speranza rimembrando Lasso: 222 2

Vivo sol di speranza rimembrando (2p. of Aspro cor) (Svv) Wert: 162 5; 200 5

Vivo thesor’eterno (10p. of Mio pan’anzi mia vita) (3vv) Nasco: 243 |

Vivo’o morto io ti saraggio apresso (3vv) Scotto: 375 11

Voglia mi sprona amor mi guid’e scorge (6vv) Striggio: 206 8; 273 9

Voglio di me si dica in ogni loco (Svv) Ferretti: 342 17; 390 17 Voglio di me si dica in ogni loco Gvv) Primavera: 352 17 Voglio far doi molin’e una vitrera (3vv) Primavera: 352 18 Voglio far un gran mare col mio pianto (Svv) Ferretti: 342 21; 399 21

Voglio far un gran mare col mio pianto vv) Troiano: 332 3 Voglio far un gran mare del mio pianto 3vv) Zappasorgo: 382 9 Voglio pigliar sto cor’et abrusarelo (3vv) Troiano: 332 20

Voi altre donn’havete una natura Gvv) Fiorino: 369 24 Voi che ascoltat’in rime spars’il suono (5vv) Adriani: 336 10 Voi che ascoltat’in rime spars’il suono Gero: 77 1 Voi che ascoltat’in rime spars’il suono Hoste da Reggio: 127 10 Voi che ascoltat’in rime spars’il suono Montagnana: 158 10 Voi che ascoltat’in rime spars’il suono (Svv) Wert: 201 2; 202 2

Voi che del puro fiume (2p. of Porgetemi la lira) (Svv) Chamatero: 319 |

Voi che prendete gioia Arcadelt: 2 36 Voi ch’in vista di duol mesta & oscura (Svv) Padovano: 292 4; 356 4. Voi donne che cercate mill’amanti (3vv) Dattari: 303 12 Voi foste fatta da l’eterno Giove (2p. of II dolc’aspetto) (Svv) Merulo: 220 16

Voi la mia vita sete Arcadelt: 17 33; 37 21; 56 21; 119 11; 151 11 Voi lo vedere ingrata s’io t’adoro (3vv) Lando: 280 8

Voi m’accendest’il core Menon: 79 29 Voi mi ponest’in foco Palestrina: 172 1 Voi mi ponest’in foco (vv) Arcadelt: 281 9

Voi mi ponest’in foco (vv) Scotto: 22 53; 83 53 Voi pur odite & me tra quell’ahi, lassi Berchem: 139 3

Voi sapete ch’io v’amo, anzi v’adoro Arcadelt (Willaert): 17 21; 37 44; 56 44; 119 35; 151 35; 241 18

Voi sciolta sete io preso e ben mi pare (4p. of Danzava con maniere) Monte: 327 14

Voi se col raggio di virtute ardente (Svv) Striggio: 186 27; 274 27 Voi sola mi poneste (2p. of Quantunque a voi lontano) (6vv) Vinci: 381 8

Voi ve n’andat’al cielo Arcadelt: 17 6; 37 20; 56 20; 119 2; 151 2; 165 2; 191 2; 299 4; 337 4

Voi vit’e morte mia fost’il primero (2p. of Io arsi per voi) (Svv) Rufilo: 198 4

Voi, voi provedete Amore (2p. of Siepi che ’| bel giardino) Dalla Viola, F.: 72 27

Voi volete ch’io moia Hoste da Reggio: 126 10 Voi volete ch’io moia (Svv) Rufilo: 198 3 Voless’Iddio che de si nobil selva Menon: 79 34 Volete voi saper donna gentile (3vv) Dattari: 303 3 Volgend’al ciel le luci lagrimose (5vv) Rore: 215 14

Volgendo gli occh’al mio nuovo colore (Svv) Berchem: 15 31

Volgendo gl’occhi miei per remirare Gvv) Venturi: 379 7

Volgetevi occhi miei Lando: 155 14 Volgi cor mio fa tua speranza homai (5vv) Adriani: 335 15; 336 6 Volgi cor mio la tua speranza homai (Svv) Baccusi: 384 3

Volgi cor mio la tua speranza homai (Svv) Lasso: 167 28; 181 7; 212 7; 286 7

Volgi gli occhi seren’in quella parte (3vv) Gero: 173 15; 281 22 1110

French and Spanish Texts

Volse natura far na bella donna (3vv) Pinello: 374 19 Volsi hor non voglio e del voler ch’io volsi (Svv) Monte: 373 13

Volsi hor non voglio e del voler ch’io volsi Nola: 51 18

Voria crudel tornare (3vv) Arpa: 360 27; 397 27

Vorta per art’o per natur’havere (3vv) Primavera: 352 20 Vorrei che tu cantassi una canzone Azzaiolo: 189 12; 250 12

Vorrei 1418 61 Vorrei tlil mio mio martire martire Palazzo: Scotto: 29

Vorrei madonna dirti pur il vero (Gvv) Mazzoni: 343 19

Vorrei morire poi che m’é crudele Gvv) Mazzoni: 343 11 | Vorrei mostrar madonna (5vv) Romano, A.: 344 21; 391 21 Vorria che tu cantassi una canzona (5vv) Ferretti: 342 20; 390 20

Vorria che tu cantassi una canzona Nasco: 154 4; 197 4; 260 4

Vorria madonn’in gabbi’esser cardillo (vv) Jno attribution]: 278 16

Vorria madonna fare vv) [no attribution]: 266 56

Vorria madonna fareti a sapere 3vv) [no attribution]: 226 56 Vorria morire per uscir di guai (3vv) [no attribution]: 278 4 Vorria saper da voi belle zitelle (3vv) [no attribution]: 226 53; 266 53 Vorria sapere dessi tanti guai (3vv) Joan Dominico Fior.: 280 27 Vorria sto mondo fatt’a voglia mia Gvv) [no attribution]: 226 23; 266 23 Vostra fama real ch’altiera vola (Svv) Portinaro: 307 2 Vostra fui e saro mentre ch’io viva Arcadelt: 17 19; 37 42; 56 42 Vostra fui e saro mentre ch’io viva Berchem: 119 33; 151 33

Vostra merce madonna Arcadeit (Corteccia): 65 30 Vostra merce madonna Corteccia (Arcadelt): 39 3

Vostre dolce parole Jacquet of Mantua (Verdelot): 14 56; $4 19; 85 19; 115 19; 146 19

Vostr’e |’alto thesoro (11p. of Mio pan’anzi mia vita) (Svv) Nasco: 243 |

Vostro fui vostro son & sard vostro (Svv) Lasso: 167 24; 181 3; 212 3; 286 3

Vota scorza rest’io (Svv) Portinaro: 236 4 : Vu se la vita mia la mia allegrezza (3vv) Vinciguerra: 359 21; 398 21

Vulcan donn’e i Ciclopi siamo noi (3vv) Candido: 364 4

Zefiro spira e il bel tempo rimena Lupacchino: 32 9

Zefiro torna e *! bel tempo rimena (6vv) Baccusi: 385 6 Zefiro tornae °| bel tempo rimena (Svv) Chamaterd: 317 2 Zefiro tornae ’| bel tempo rimena (5vv) Monte: 182 1; 345 |

Zerbin la debil voce rinforzando Martinengo: 71 26 Zoia zentil che per secreta via Willaert: 74 2; 241 26

Zucharo porti dentro assa buccucia Perissone Cambio: 109 4; 152 4 [no attribution]: 153 34 FRENCH AND SPANISH TEXTS

A Pelayo que desmayo

A tous jamais d’ung voloir immuable (8vv) Buus: 40 27

A toy Seigneur sans cesser crie Buus: 100 12 A tu point veu la viscontine (3vv) Willaert: 217 2! Alga la nifia los oyos (3vv) [no attribution]: 153 21 Allons allons gay gayement (3vv) Willaert: 217 2

Allons ung peu plus avant demorrons nous Le Heurteur: 98 6

Alta estava la pefla (3vv) [no attribution]: 153 19

Alta Reyna soberana [no attribution]: 153 40

Amor tu es par trop cruelle (3vv) Janequin: 113 53 Amour me voyant sans tristesse (3vv) Janequin (Gosse): 113 46 Andaran siempre mis osos (2vv) [no attribution]: 153 8 Ariere maistre coqu sortes de mon chapitre (4p. of Resveillez vous) Janequin: 104 6 Au joli son du sansonnet (2vv) Gero: 16 44; 50 47; 114 47 Aupres de vous secretement demeure (3vv) Janequin (Sermisy): 113 69 Ay demi quen tierra agena (3vv) [no attribution]: 153 22

Ay luna que reluzes [no attribution]: 153 27

Baises moy tant tant [1] (3vv) Willaert: 217 16 Baises moy tant tant [2] (vv) Willaert: 217 20 111]

Index of First Lines

Bastien et Bastienne vous avez change d’amis (3vv) Janequin: 113 59

Bon pastoreau garde bien ta houlette (3vv) Janequin: 113 61

Ce sont gallans qui s’en von resjouir Janequin: 98 4 Celle qui m’a tant pourmene (3vv) Janequin (Sermisy): 113 47 C’est bien raison que facions penitence Buus: 100 9 C’est donc pour moy (3vv) Janequin (Ninot le Petit/Willaert): 113 66 C’est grand pitié quant argent fault Certon: 98 24 C’est malencontre que d’aimer (3vv) Janequin: 113 44 C’est une dure despartie (3vv) Janequin (Sermisy): 113 48 Changeons propos c’est trop chante damours (3vv) Janequin (Sermisy): 113 62

Chanter je veux la gente damoyselle (Svv) Lasso: 333 8

Chantons de cuer tous en grand joye Buus: 100 1

Christ souffrit peine tout pour l’amour de moy . Buus: 100 3

Como puedo yo bivir (2vv) (no attribution]: 153 1

Con que la lavare [no attribution]: 153 29 Contre raison vous m’estes fort estrange (3vv) Janequin (Sermisy): 113 56 Dadme albricias hyos d’Eva [no attribution]: 153 43 Desdefiado soy de amor (3vv) [no attribution]: 153 16 Desposastes os sefiora (3vv) [no attribution}: 153 15

Dessus dessus nostre treille de may (3vv) Willaert: 217 9 Dessus son asne bouduin tout charge (3vv) Willaert: 217 17

Deul double deul renfort de desplaisir (2vv) Gero: 16 2; 50 6; 114 6; 2106 Dezilde al Cavallero que non se quexe (Svv) Gombert: 153 49

Dictes vous que ne scay faire Des Fruz: 98 21

Dime robadora que te mereci (2vv) [no attribution]: 153 3 Dime robadora que te mereci (3vv) [no attribution]: 153 20 Dizen a mi que os Amores he (Svv) [no attribution]: 153 50

Ela don don don verges Maria {no attribution]: 153 45 Elle craint cela sur tout rien qu’on Janequin: 98 17

En ce temps salutaire nous fault tous resjouyr Buus: 100 19

En disant une chansonette vv) Janequin: 113 64 En escoutant le chant melodieulx [Le rossignol] Janequin: 104 5

En l’ombre d°ung buissonet (3vv) Josquin: 217 12 En soulas & liesse je finiray mes jours Buus: 100 i4 En voz adieux dames cesses voz pleurs Rore: 130 19

Escoutez tous gentilz galloys [La Guerre] Janequin: 104 1

Esjouis toy esjouis jeune enfans Buus: 100 16

Estas noches atan largas [no attribution]: 153 26

Fa la la lan fa la la lera de la guarda riera [no attribution]: 153 33 Falai meus ollos si me quereis befiy (Svv) [no attribution]: 153 54 Fan fan fan feyne fre re le (2p. of Escoutez tous gentilz galloys) Janequin: 104 1

Fringotes jeusnes filletes & fringotes Pont (Payen): 98 2 Fuyez fuyez fuyez fuyez fuyez gens merencolieux (3p. of En Janequin: 104 5 escoutant le chant melodieulx)

Gozate virgen sagrada [no attribution]: 153 41

Grace & vertu bonté beaulté noblesse (3vv) Janequin (Le Heurteur): 113 43 Hartaos oyos del llorar [B: Que hare triste vida] (Svv) {no attribution]: 153 53

Hau de par Dieu hau m’amye Pont (Payen): 98 3

He diu Helayne la layne my fault (vv) Willaert: 217 24

Hellas coment voules vous Rore: 130 20

Hellas je suis marry de ces maulditz jaleux Gvv) Janequin (Févin): 113 42

Il n’est plaisir ne passe temps Janequin: 98 5

Ii y ade lognon Payen: 98 22 Incessament mon povre coeur lament (2vv) Gero: 16 10; 50 16; 114 16; 210 16

Jan jan quant tu teniras (3vv) Willaert: 217 13 J’ay contenté ma volunté vv) Janequin (Sermisy): 113 65 1112

French and Spanish Texts

J’ay le desir content & le faict resolu (3vv) Janequin (Sermisy): 113 51

Jay mis mon cueur en ung lieu seulement (2vv) Gero: 16 36; 50 24; 114 24: 210 24

Jay veu le regnart et le loup et le lievre Gvv) Willaert: 217 18

J’ayme par amours (3vv) Willaert: 217 4 Je chanteray a voix haulsée Buus: 100 11 Je l’ai aimee (2vv) Gero: 16 4; 50 2; 114 2; 210 2

Je mi complains de mon ami (2vv) Gero: 16 48; 50 28; 114 28; 210 28 Je ne fais rien que requerir (3vv) Janequin (Sermisy): 113 49 Je ne me puis tenir d’aimer (Qvv) Gero: 16 12; 50 8; 114 8; 210 8 Je ne scaroys chanter ne rire Gvv) Willaert: 217 15 Je n’en diray mot bergiere m’amye Passereau (Janequin): 98 9 Je recommence mes doleurs (2vv) Gero: 16 6; 50 4; 114 4; 210 4 Je scay ma condition toute plaine de malice Buus: 100 17

Je suis trop jeunette pour faire ung amy (vv) Janequin (Gascogne/Gombert): 113 45

Jeunette Marion sen vont jouer vv) Janequin: 113 41 La la maistre Pierre (2vv) Gero: 16 20; 50 19; 114 19; 210 19 La loy d’amours est tant inique & dure (3vv) Janequin: 113 55

La rouse du moys de may m’a gaste (3vv) Willaert: 217 7

La tres doulce plaisant velue (3vv) Janequin: 113 57

Le bergier & la bergiere (3vv) Reuez: 217 10

Le cueur de vous ma presence desire (3vv) Janequin: 113 54

Le grant desir d’aymer my tient (3vv) Mouton: 217 5

Le temps qui court requiert que l|’on se taise (2vv) Gero: 16 16; 50 12; 114 12; 210 12

Mais ma mignone aux tetins descouvers Janequin: 98 18 Mal se cura muyto mal (2vv) [no attribution]: 153 9 Martin menoit son porceau au marché Janequin: 98 14

Mauldicte soit la mondaine richesse (3vv) Janequin (Cosson): 113 50

Mi levay par ung matin Janequin: 98 8

Mon coeur sera tousjours soubz ta puissance (2vv) Gero: 16 40; 50 21; 114 21; 210 21

Mon mari est alle au guet (2vv) Gero: 16 32; 50 25; 114 25; 210 25

Mort & fortune pour quoi m’aies vos laisses (2vv) Gero: 16 14; 50 10; 114 10; 210 10

Ne le refuse mye son le donne ma seur Havericq: 98 16 Ne scai pourquoi votre grace ai perdu (2vv) Gero: 16 42; 50 48; 114 48 No la devemos dormir la noche sancta Ino attribution]: 153 37

No me las amuestras mas (2vv) [no attribution]: 153 5 No so yo quien veis bivir (3vv) [no attribution]: 153 17 No soy yo quien bivir (2vv) [no attribution]: 153 4 No tienen vado mis males (2vv) [no attribution]: 153 7 Nostre bon Pere tout puissant Buus: 100 21 Nous sommes en tres grand’ennuy Buus: 100 20

O passo se sparzidos (3vv) Troiano: 332 29 Oios garcos a la nifia [no attribution]: 153 25 On en dira ce qu’on vouldra mais m’amye (3vv) Sermisy: 217 25 Or suis je bien au pire (3vv) Willaert: 217 3 Or sus vous dormez trop madame jolyette [L’alouette] Janequin: 104 2

Par fin despit je m’en iray seulette vv) Janequin (Sermisy): 113 60

Par ton amour tu m’apprens a aymer Buus: 100 8

Par ton parler me fais en toy fier Buus: 100 7 Par ton regard tu me fais esperer Buus: 100 6 Para verme con ventura (2vv) [no attribution]: 153 10

Perot Perot viendras tu aux nopces (3vv) Willaert: 217 23

Pour m’esloygner e changer de contree (Svv) Striggio: 354 24; 377 24

Pour reparer le grand forfaict commis Buus: 100 2 Pour ung plaisir qui tousjours dure Buus: 100 10 Pourquoy donc ne fringuerons nous Passereau: 98 20

Pourquoy voules vous cousturier aultre Passereau: 98 10 Povre coeur tant il mennoie (2vv) Gero: 16 28; 50 23; 114 23; 210 23 1113

Index of First Lines

Prenes le galland coupes luy les chausses Janequin: 98 12

Prince du quel tout bien distile Buus: 100 5

Quand j’ay bien a mon cas pensé Buus: 100 13

Quant je boi du vin claret (2vv) Gero: 16 46; 50 46; 114 46 Quant je boi du vin claret vv) Janequin (Le Heurteur): 113 70 Quant j’estoie a marier (2vv) Gero: 16 24; 50 32; 114 32; 210 32 Quant le joly robinet entricote la bergiere (3vv) Willaert: 217 19

Que farem del pobre Joan {no attribution]: 153 35 Que todo se passan en flores (2vv) [no attribution]: 153 12 Qui est celuy qui a dit mal du con (3vv) Willaert: 217 8 Qui la dira la petne de mon cueur (3vv) Willaert: 217 6 Qui veult avoir liesse & avecques Dieu part Buus: 100 15 Qui veult aymer i! fault estre joyeulx (3vv) Willaert: 217 14

Regretz soucy & peine m’ont faict de villain tours Gvv) Janequin (Le Heurteur): 113 68

Resjouyssons nous trestous amateurs Buus: 100 18

Resveillez vous cueurs endormis [Le chant des oyseaux— Janequin: 104 3

]-part version] |

Resveillez vous cueurs endormis [Le chant des oyseaux— Janequin: 104 6 4-part version]

Rey a quien reys adoran [no attribution]: 153 38

Rossignol du boys ioly a qui la voix ressonne (3p. of Resveillez) Janequin: 104 6

Rui rui chiu la guarda ribera [no attribution]: 153 46 Saincte Barbe mon compere que vostre chose Janequin (Passereau/Maillard): 98 13

Senores el ques nascido (3vv) [no attribution]: 153 47 Serrana donde dormistes [no attribution]: 153 32 Si amores me an de matar (5vv) [no attribution]: 153 51 Si de vos mi bien me aparto (Svv) [no attribution]: 153 52

Si d’ung petit de vostre bien Janequin: 98 |

Si j’ay eu du mal ou du bien par oubli (3vv) Janequin (Gosse/Ysoré): 113 67

Si la noche haze escura (3vv) [no attribution]: 153 14 |

Si mi vida es vuestra vida Zarlino: 295 4

Si mon malheur my continue (3vv) Janequin (Sermisy): 113 58

Si nos huviera mirado (3vv) [no attribution]: 153 13

Si te vas abafiar Juanilla [no attribution]: 153 31 Siette milagros dexo |’ art’ humana (Svv) Portinaro: 277 17

Sire don dieu tant ilz sont ayses (3vv) Willaert: 217 11

Soleta so yo agi (3vv) [no attribution]: 153 23 Soy serranica y vengo [no attribution]: 153 30

Soyons de Dieu amateurs Buus: 100 4

Sur la rousee fault aller (2vv) Gero: 16 30; 50 31; 114 31; 210 31 Sur le joly joly jonc ma doulce amye Passereau: 98 15 Sur le joly joly jonc ma doulce amye (3vv) Willaert: 95 18; 217 1

Sur tous regres les mens plus piteulx pleurs (2vv) Gero: 16 22; 50 27; 114 27; 210 27

Tant est gentil plaisant & gracieulx Gvv) Janequin: 113 52

Tant que vivrai en aige florissant (2vv) Gero: 16 34; 50 30; 114 30; 210 30 Tartelletes friandes & la belle gaufre (2p. of Voulez ouyr) Janequin: 104 4

Teresica hermana de Ia fararirira [no attribution]: 153 36 Tous tous tous tous tous veuillez estre songneulx (2p. of En Janequin: 104 5 escoutant le chant melodieulx)

Toutes les nuict que sans vous je me couche (5vv) Lasso: 232 18; 287 18 Trefves d’amours c’est une paix fouree (2vv) Gero: 16 26; 50 39; 114 39; 210 39

Triste & pensif suis pour la noie (2vv) Gero: 16 8; 50 14; 114 14; 210 14

Un dolor tengo en eli alma (2vv) [no attribution]: 153 11

Un nifio nos es nacido [no attribution]: 153 42 Ung compaignon gallin galland Passereau: 98 23

Ung jour Colin la Collet acolla (2vv) Gero: 16 18; 50 22; 114 22; 210 22

Ung laboureur au premier chant du coq Certon: 98 19 1114

Instrumental Music

Ung petit coup m’amye Janequin: 98 7

Ung peu plus hault ung peu plus bas Passereau: 98 11

Vella de vos son amoros (3vv) [no attribution}: 153 24

Vesame y abracame (3vv) [no attribution]: 153 18

Vi los barcos madre (no attribution]: 153 28

Vignon vignette qui te planta (3vv) Janequin (Sermisy): £13 63 Vos Virgen soys nuestra madre (3vv) [no attribution]: 153 48

Voulez ouyr [Les cris de Paris] Janequin: 104 4

Vous marchez du bout du pie (vv) Willaert: 217 22 Vous orres a mon advis une doulce musique (2p. of Resveillez) Janequin: 104 6

Vrai Dieu d’amour mauldict soit la journee (2vv) Gero: 16 38; 50 26; 114 26; 210 26

Y dezid serranicas he (2vv) Ino attribution]: 143 2

Yendome y viniendo me fuy (2vv) [no attribution]: 153 6

Yo me soy la morenica [no attribution]: 153 44 INSTRUMENTAL MUSIC

untexted (2vv) Galilei: 306 3

Lupacchino: 190 1, 4, 5, 9, 11, 13, 17, 19, 23, 26, 32, 33; 268 1, 5, 13, 15-17, 21,

26-28, 33 Scotto: 159 41-46; 225 13-18 Tasso: 190 3, 7, 8, 15, 16, 18, 21, 24, 25, 27, 29-31, 35; 268 9-11, 19, 22, 25, 29-31 Vinci: 187 3

(no attribution]: 190 2, 6, 10, 12, 14, 20, 22, 28, 34, 36, 38; 268 3, 4, 7, 8, 18, 20, 32

A bien gran tort Barbertis/Anonymous: 61 4 A cui piu ch’altri mai Galilei/Pont: A Paventure Borrono: 227306&33

A l’aventure l’enterpris cuidant Francesco da Milano/Willaert: 68 20

A Pultimo bisogno (Sp. of La ver |’ aurora) Galifei/Lasso: 306 66

A Pumbra al caldo al gello Barberiis/Anonymous: 61 24 A quando a quando havea Abondante/Willaert: 67 24

A qualunque Animale Galilei/Padovano: 306 25

A questo confortando Galilei/Pont: 306 35 A qui me doibz je retirer Rotta: 64 14

Agnus Dei Barberiis/Le Heurteur: 60 5 Agnus Dei Barberiis/Lupus: 60 4 Al fin ud’io (6p. of Standomi un giorno) Galilei/Lasso: 306 65 AlVapparir dell’ alba la mia diva Turturino/Perugino: 363 | Alla Alla dole’ombra dolc’ombraGalilei/Padovano: Galilei/Rore: 306306 1877

Allons allons gay gayement Giovanni Maria da Crema/Willaert: 58 31 Alma perche t’affliggi a tutte l’hore Gorzanis: 362 14

Alma Susanna Galilei/Rore: 306 63 Altro non é el mio amore Barberiis/C. Festa: 61 20 Amor che vedi ogni pensiero aperto Abondante/Rore: 67 2

Amor mi strugge il cor Galilei/Lasso: 306 70

Amor non ved! Barberiis/Maistre Jhan: 61 7 Amor tu m’hai ferito co ’| tuo strale (Ovv) Gorzanis: 362 10

Amours ont changé de facgon Giovanni Maria da Crema/Mahiet: 58 20

Amy souffrez que je vous ayme Giovanni Maria da Crema/Moulu (Le Heurteur/Sermisy): 58 23

Anchor che col partire Becchi/Rore: 300 32 Anchor che col partire Galilei/Rore: 306 19

Anchor ch’io possa dire Galilei/Striggio: 306 90

Ancidetemi pur grevi martiri (2vv) Ino attribution]: 268 2 Andand’un giorn’a spasso ful chiamato (Ovv) Turturino/[no attribution]: 363 7 Appariran per me le stelle in cielo Galilei/Lasso: 306 23

Aspro core e selvaggio a 6 Galilei/Willaert: 306 87 1115

Index of First Lines

Aupres de vous secretement demeure Bianchini/Sermisy (Jacotin): 228 6

Ave Ancilla trinitatis Barberiis/deSilva: 62/2

Ave cuius conceptio (2p. of Ave Ancilla trinitatis) Barberiis/deSilva: 62 2

Ave Maria a 6 (6vv) Francesco da Milano/Josquin: 245 2 Ave sanctissima Maria Bianchini/Gombert: 228 14

Ave virgo singularis Barberiis/La Fage: 62 3 Bachiglione, Passo e mezo detto il Barbetta: 314 20

Baises moy tant tant Giovanni Maria da Crema: 58 27

Bal Todesco Gorzanis: 230 15 [Bal Todesco], La sua padoana Gorzanis: 230 15

Barbarina, Pavana prima detta la Barbetta: 314 |

Barbetino, Gagliarda seconda detta il Barbetta: 314 10

Barressi e scalissi (2vv) Vinci: 187 8

Battaglia, Passo e mezo sopra la Barbetta: 314 18

Battaglia, Sopra la (2vv) Lupacchino: 190 37; 268 34

Battaglia, Sopra la (2vv) Tasso: 190 39; 268 35 Battaia, Pass’e mezo / Saltarello della Barberiis: 97 18 Beati omnes qui timent Barberiis/Gombert: 62 1

Bel fior, Saltarello ditto Giovanni Maria da Crema: 58 42

Bella Andronica, Pavana detta la Borrono: 68 1; 227 1 [Bella Andronica], Saltarello della Borrono: 68 1

{Bella Andronica], Saltarello primo della Borrono: 68 1; 227 1 [Bella Andronica], Saltarello secondo della Borrono: 68 1; 227 | {Bella Andronica], Saltarel [sic] terzo della Borrono: 227 | Bella Bianca Margarita, [Pavana detta] la Borrono: 68 4; 227 4 [Bella bianca Margarita], Saltarello primo della Borrono: 68 4

Bella bianca Margarita, Saltarello secondo detto la Borrono: 227 4 [Bella bianca Margarita], Saltarello secondo detto se Borrono: 68 4; 227 4 la passasse della

[Bella bianca Margarita], Saltarello terzo della Duchessa della Borrono: 68 4; 227 4

Bella che tieni li capigli d’oro Turturino/Anonymous: 363 19

[Bella donna], la sua gagliarda Becchi: 300 14 |

Bella donna, Pass’e mezzo della Becchi: 300 14 Bella Ugazzotta, Pavana novissima detta la Borrono: 63 7 [Bella Ugazzotta], Saltarello Primo della Borrono: 63 7

Bella zudea, Pavana nova detta la Borrono: 63 8 [Bella zudea], Saltarello Primo della Borrono: 63 8

[Bella zudea], Saltarello secondo detto El Verceleso della Borrono: 63 8 {Bella zudea], Saltarello terzo detto De leva su Brunetta Borrono: 63 8

Beloncina, Pavana Quinta detta la Barbetta: 314 5

Belta si com’in mente Galilei/Rossello: 306 96 Benedictus qui venit Barberiis/[no attribution]: 60 3

Ben veggio di lontano il dolce lume (2p. of Amor che vedi) Abondante/Rore: 67 2

Bertoncina, Saltarello ditto la Giovanni Maria da Crema: 58 43

Biviendo sin amar Galilei/Guerrero: 306 2 Bolognesa, Pass’e mezo a la Giovanni Maria da Crema: 58 45 Biduanis ac triduanis (2p. of Cantantibus organis) Abondante/Rore: 67 16

[Bolognesa], Saltarello alla Giovanni Maria da Crema: 58 45 Bon jour m’amye Borrono: 227 10 Bon jour m’amye bon jour et bon an Francesco da Milano/Anonymous: 68 22 Borgognona, Pavana seconda detta la Barbetta: 314 2

Borroncina, Pavana detta la Borrono: 63 | [Borroncina], Saltarello Primo della Borrono: 63 |

[Borroncina], Saltarello secondo della Duchessa della Borrono: 63 | [Borroncina], Saltarello terzo detto la Barbarina della Borrono: 63 |

Bramo morir per non patir piu morte Rotta: 64 23 Brando Franzese Barberiis: 97 13

Candid’e richa vela Galilei/Portinaro: 306 73 Cantai mentre ch’io arsi Galilei/Rore: 306 56 Cantai mentre ch’io arsi del mio fuoco Abondante/Rore: 67 5

Cantantibus organis Abondante/Rore: 67 16 1116

Instrumental Music

Canzon Barberiis: 96 24 Canzon francese Barberiis: 61 3; 61 9; 96 12 Rotta: 64 12

[Cara cosa], Padoana della Gorzanis: 230 6 Cara cosa, Passo e mezzo della Gorzanis: 230 6 [Cara cosa], Saltarel della Gorzanis: 230 6

Caro dolce ben mio Galilei/Striggio: 306 75 Caro fier homo, Passo e mezo detto Gorzanis: 230 8

[Caro fier homo], Saltarel del Gorzanis: 230 8

Cassandra mia gentil Cassandra bella Turturino/[no attribution]: 363 28

Castro Ioanni & muxa (2vv) Vinci: 187 4

Cela sans plus Barberiis/Pope Leo X: 61 26 Centoria, Pavana novissima detta la Borrono: 63 4 [Centoria], Saltarello primo della Borrono: 63 4

[Centoria], Saltarello secondo novissimo detto el Borrono: 63 4 Scharavelino della

C’est grand pitie quant argent fault a bon Bianchini/Certon: 228 16 Che gentil pianta (2p. of Se voi potessi per turbati segni) Galilei/Rore: 306 58

Che giova far morir un che t’adora Gorzanis: 362 11

Che vaghi suoni (2p. of Tanto co’ lieti suoni) Galilei/Merulo: 306 82

Chi passa per questa strada, Padoana detta Gorzanis: 230 16

Chi puo fuggir amor Galilei/Striggio: 306 74 Chiara fontana (4p. of Standomi un giorno) Galilei/Lasso: 306 65 Chiara piu che ’| chiar sol Gorzanis: 362 17

Chiucia (2vv) Vinci: 187 10

Christi Corpus Ave Barberiis/[{no attribution]: 96 5

Coccocino (2vv) Vinci: 187 9

Come haran fin le dolorose tempre Galilei/Rore: 306 20 Come non conosco io (3p. of La notte che segui |’horribil caso) Galilei/Lasso: 306 2

Con lacrime & sospir negando porge Barberiis/Verdelot: 61 14

Con lacrime & sospir negando porge Giovanni Maria da Crema/Verdelot: 58 37

Con lei fuss’ io Abondante/Arcadelt (Corteccia/Pont): 67 9 Con lei fusse to Bianchint/Arcadelt (Corteccia/Pont): 228 5 Con lei fuss’io (6p. of A qualunque animale) Galilei/Padovano: 306 25

Contre raison vous m’estes fort estrange Barberiis/Sermisy: 61 5

Correte tutti quanti Turturino/Arpa: 363 6 Cosi le chiome mie (2p. of Vestiva i colli) Galilei/Palestrina: 306 5

Cosi mi guida amor Abondante/Arcadelt: 67 7 Cosi sol d’una chiara (2p. of Hor ch’il cielo e la terra) Galilei/Rore: 306 57

Cosi vuol mia chiara stella Turturino/[no attribution]: 363 13

Crainte & spoir Galilei/Guerrero (Baston): 306 16 Crucifixus in duo Carpentras: 60 9 _ Da Da bei rami scendea Abondante/Arcadelt: 67 8 ; cantar Becchi: 300 8 Da che si part’il sol tutta la notte Gorzanis: 362 1

Da indi in qua (2p. of Guidommi in parte i! ciel) Galilei/Rosello: 306 83 Da lei ti vien (2p. of Quando fra l’altre donne) Galilei/Rore: 306 60 Da Jei ti vien (2p. of Quando fra |’altre donne) Galilei/Willaert: 306 54

Da quei bei crini Galilei/Donato: 306 72 Dal laccio d’oro Galilei/Porta: 306 26

Da poi ch’io viddi la tua gran bellezza Turturino/Mazzone: 363 5

Date la strad’o voi che cosi armati Turturino/[no attribution]: 363 8

De mon triste displaisir Francesco da Milano/Richafort: 247 7

De, Pass’e mezo ditto el Rotta: 64 11

De vous servir m’est prens envie Barberiis/Sermisy: 61 2

De vous servir m’est prens envie Giovanni Maria da Crema/Sermisy: 58 19

Deh hor foss’io Galilei/Rore: 306 64

Deh lasciatemi star tanti pensieri Turturino/Primavera: 363 27 Deh porgi mano alla mia fragil barca Galilei/Ruffo: 306 80

Despetata, Pavana dettala - [no attiribution]: 246 8 Di berettino mi voglio vestire Gorzanis: 362 5

Dignare me laudare te Barberiis/Gombert: 62 9 1117

Index of First Lines

Doeul double doeul renfort desplaisir Barberiis/Hesdin: 96 2

Dolce ritorno amor Galilei/Striggio: 306 93

Dolci colli fioriti a me si cari Turturino/[no attribution]: 363 15

Domine quis habitabit Barberiis/Courtois: 62 6 Dominus custodit te (2p. of Levavi oculos meos) Rotta: 64 21

Donna gentil non so perche mi brami Gorzanis: 362 4 Donne leggiadr’e voi vaghe citelle Turturino/Primavera: 363 26

Duca vi voglio dir una novella Gorzanis: 362 7

Duo Barberiis: 60 6

Dun spiritu triste Galilei/Guerrero: 306 4 Duo tutto di fantasia Galilei: 306 14 E la dolc’armonia si fa serena |’ aria (2p. of Qual dolcezza) Abondante/Willaert: 67 |

E qual cervo ferito (2p. of I dolci colli) Galilei/Striggio: 306 88 E se qualche pieta (2p. of Ite rime dolentt) Galilei/Rore: 306 62

El buratto Bianchini: 228 13

El n’est plaisir ne passe temps au monde Giovanni Maria da Crema/Janequin: 58 29

Elisabeth Zacharie magnum virum genuit Barberiis/La Fage: 62 10

En veulx de non Galilei/Jhan 306581516 Entre mesquibras Giovanni Mariade daLatre: Crema:

Et d’en bon soir j’avais tousjours Giovanni Maria da Crema/Anonymous: 58 26

Et io da che comincia (2p. of A qualunque Animale) Galilei/Padovano: 306 25

Fa mi fa re ut (3vv) Tiburtino: 95 4 Faccia mia bella Becchi/Nola: 300 28 Fare mi re sol mi fa mi Gvv) Tiburtino: 95 3

Fantasia Albutio: 246 4, 10

Barberiis: 60 7, 8, 10; 61 10-13; 96 6-11; 96

19, 23; 97 27, 28, 30, 32 Becchi: 300 38—40; 63 10, 12, 14; 68 14, 17; 227 5; 246 5, 13 Dall’ Aquila: 246 3, 9 Francesco da Milano: 63 9, 11, 13, 15, 16; 68 5—13, 15-16; 244 8-11; 245 4~—10; 246 1,

11, 12, 14; 247 1-3, 5, 6, 9-12, 16, 18, 19 Perino Fiorentino: 247 4, 13, 15 Ripa: 246 2 Tiburtino: 95 13

Fantasia, Sal[tarello] dito la Rotta: 64 7

Fantasia di mon triste Francesco da Milano: 247 8

Fantasia discordata Barberiis: 96 22 Fantasia discordata per sonare solo uno Barberiis: 96 21

Fantasia ottava, & ultima Galilei: 306 52 Fantasia per accordar il lauto in altro modo Becchi: 300 41

Fantasia per sonar un Lauto,& farsi Tenor & Soprano Barberiis: 96 20

Fantasia per sonare con dui Lauti in ottava Barberiis: 96 18

Fantasia Prima a 3 Barbetta: 314 23 Fantasia prima per sonar sopra la Chitara da sette corde Barberiis: 96 25 Fantasia Prima. Sopra, Nasce la pena mia Galilei: 306 45 Fantasia a 4Galilei: Barbetta:306 31448 26 Fantasiaquarta, Quarta Fantasia quarta per sonar sopra la Chitara da sette corde Barberiis: 96 28

Fantasia Quinta Galilei: 306 49

Fantasia Quinta, ficta. a 4 Barbetta: 314 27

Fantasia seconda a 4 Barbetta: 314 24 Fantasia seconda per sonar sopra la Chitara da sette corde Barberiis: 96 26

Fantasia sesta Galilei: 306 50 Fantasia Sesta, ficta Barbetta: 314 28 Fantasia Seconda. Sopra, Ancor che col partire Galilei: 306 46

Fantasia settima Galilei: 306 51

Fantasia sopra Se mai provasti donna Barberiis: 96 15

Fantasia a 4Galilei: Barbetta:306 31447 25 FantasiaTerza Terza 1118

Instrumental Music

Fantasia terza per sonare sopra la Chitara da sette corde Barberiis: 96 27 Fantinella aria da cantar Becchi: 300 10 [Favorita], La sua Rotta Becchi: 300 6 Favorita, Pavana Ottava detta la Barbetta: 314 8

Favorita Becchi: 300 6

Fedeli miei Galilei/Pont: 306 36 Fiamengina, Pavana Quinta detta la Barbetta: 314 4 Fiera stella Galilei/Lasso: 306 69 Fontana di chiazza (2vv) Vinci: 187 5

Formigoto, Saltarello del: Madonna Tenerina Barbertis: 97 24

Fors seulement [Francesco da Milano]/Josquin (Févin):

247 22 Fortune alors Francesco da Milano: 244 5

Fortune alors que n’avoys congnoissance Francesco da Milano/Certon: 63 22

[Francesa], La sua gagliarda Beccht: 300 15 Francesa, Pavana della Becchi: 30033 15 Francese Becchi: 300

Franctia, Gagliarda Ottava de Barbetta: 314 16 Franctia Settima, Gagliarda di Barbetta: 314 15 Fringotes jeunes fillettes Abondante/Payen: 67 12 Franctia, Gagliarda quarta detta la Barbetta: 314 12

Fringotes jeunes fillettes Rotta: 64 17

Fu tempo, gia Arcadelt: 65 37 Fuit homo missus a deo (2p. of Inter natos mulierum) Barberiis/Layolle: 62 8

Gagliarda Barberiis: 97 3 Gagliarda de Passo e mezo antescritto [detto il moderno] Barbetta: 314 2]

Gagliarda [del de] Rotta: 64 11 Gagliarda del Passo e mezo antescritto [detto ]’anticho] Barbetta: 314 22

Gallina con locorvo ratto rattonis (2vv) Vinci: 187 18

Gemi mon cur Borrono: 2273 7 Gientil madonna | Rotta: 64 Gombertina, Pavana detta la Borrono: 246 7 [Gombertina], Saltarello della Borrono: 246 7 [Gombertina], Saltarello detto Antonola della Borrono: 246 7 [Gombertina], Saltarello detto che glian strazza Ja socha della Borrono: 246 7

Gorgio, Saltarello ditto el Giovanni Maria da Crema: 58 44 Gorzanis, Passo e mezzo detto il Gorzanis: 230 3

[Gorzanis], Saltarel del (1) Gorzanis: 230 3 [Gorzanis], Saltarel del (2) Gorzanis: 230 3

Gratiosa se mai Becchi: 300 26

Grave, Gagliarda Sesta detta la Barbetta: 314 14 Guerra non ho da far ne trovo pace Gorzanis: 362 2

Guidommi in parte il ciel Galilei/Roussel: 306 83 Helas ma mere helas maman Abondante/Willaert: 67 10 Hola hé par la vertu Giovanni Maria da Crema/Anonymous: 58 25 Hor ch’il cielo e la terra | Galilei/Rore: 306 57 Hors envieulx retires vous Francesco da Milano: 244 3

Hellas mon dien Rotta: 64 13

Hors envieux retires vous d’ ici Francesco da Milano/Gombert: 63 19

Huomini, & Dei (4p. of La ver l’aurora) Galilei/Lasso: 306 66

I begli occhi ond’io fui a 5 Galilei/Willaert: 306 53 Il bianch’& dolce cigno cantando more (2vv) [no attribution]: 268 14

II chiaro solGalilei/Striggio: Galilei/Porta: 306 28 IIl dolci colli 306 883 est bel & bon Barberiis/Passereau: 96

Il Formigoto Barberiis: 97 24 Il gambaro con denaretto (2vv) Vinci: 187 26

Il me suffit de tous mes maulx Bianchini/Sermisy: 228 18

Il traditore Barberiis: 97 25 Il vecchio da Conegian Barberiis: 97 22 1119

Index of First Lines

Il vostro gran valore Galilei/Ruffo: 306 11

Il y a de lognon Abondante/Payen: 67 11 Imperiale, Gagliarda quinta detta Barbetta: 314 13

In bianco letto Galilei/Nasco: 306 31 In conspectu angelorum (2p. of Michael Arcangele paradisi) Barberiis/Jacotin: 62 7 In me donna il desio Rotta: 64 25 In rete accolgo Il’aura (7p. of La ver I’ aurora) Galilei/Lasso: 306 66 In un boschetto adorno . Rotta: 64 22

In un boschetto novo (3p. of Standomi un giorno) Galilei/Lasso: 306 65

Indi per alto mar (2p. of Standomi un giorno) Galilei/Lasso: 306 65

Inter natos mulierum Barberiis/Layolle: 62 8

Inter natos mulierum (2p. of Elisabeth Zacharie magnum virum Barberiis/La Fage: 62 10 genuit)

Invidioso amor Galilei/Striggio: 306 769 Io mi son Giovinetta Galilei/Ferrabosco: 306

Io mi son Giovinetta Galilei/Palestrina: 306 13 Io piango Galilei/Padovano: 306 78 Io son ferito hai lasso Galilei/Palestrina: 306 84

Ite rime dolenti Galilei/Rore: 306 62

Jamais je n’aymeray grant homme Giovanni Maria da Crema/Anonymous: 58 24

J’atens secours de ma seule pensée Barberiis/Sermisy: 61 8 J’ay mis mon cueur Borrono: 227 7 J’ay mts mon cueur en ung lieu seulement Francesco da Milano/Anonymous: 68 19

J’ayme le cueur de m’amye Giovanni Maria da Crema/Sermisy: 58 18

Je le laray Giovanni Maria da Crema/[no attribution]: 58 22 La barca del mio Amore Gorzanis: 230 13

[La bataille] La bataglia francesa Francesco da Milano/Janequin: 244 2

La Bertonzina Barberits: 97 1221 , La cara cosa Barberiis: 97 La cara cosa Bianchini: 228 12

[La bataille] Seconda parte de la bataglia [Fan frere le le lan fan] Francesco da Milano/Janequin: 244 2

La danzulina E lu chia peri (2vv) Vinci: 187 28

La dolce umbra Barberiis: 61 25 La marencha (2vv) Vinci: 18717 | La Moretta Becchi: 300 La murada (2vv) Vinci: 187 2] La notte che segui Il’horribil caso Galilei/Lasso: 306 67

La guerre Francesco da Milano/Janequin: 63 26 La manza mia si chiama Madalena Gorzanis: 362 22

La pastorella mia che m’inamora Abondante/N. Vicentino: 67 3 La pavana del Duca Barberiis: 97 6 La qual in somma e questa Galilei/Pont: 306 34 La rocha ’!fafuso Rotta: 64 10 La sol fa mi (3vv) Tiburtino: 95 2 La sol fa mi re ut (3vv) Tiburtino: 95 1 La sol fa re mi (3vv) Tiburtino: 95 12 La turturella piang’e si lamenta Gorzanis: 362 23 La vaccarra con le buscaglie (2vv) Vinci: 187 19 La ver |’aurora Galilei/Lasso: 306 66 La ver l’aurora ) Galilei/Striggio: 306 91 La volunté si longtemps endormie Barberiis/Sandrin: 96 9

Lacrimosa, Pavana detta la Borrono: 68 2; 227 2 [Lacrimosa], Saltarello primo della Borrono: 68 2; 227 2

[Lacrimosa], Saltarello secondo detto la Laurina della Borrono: 68 2; 227 2

[Lacrimosa], Saltarello terzo detto il Penono della Borrono: 68 2; 227 2

Laetare nova Syon Giovanni Maria da Crema/Josquin (De Silva): 58 33

Lasciar il velo o per sol’o per ombra Giovanni Maria da Crema/Layolle: 58 36

Lassai d’amar un tempo quest’ingrata Gorzanis: 362 9

Lasso dal primo giorno ch’io mirai Gorzanis: 362 8 1120

Instrumental Music

Le content est riche Borrono: 227 6

Le content est riche en ce monde Barberiis/Sermisy: 96 13

Le content est riche en ce monde Francesco da Milano/Sermisy: 68 18 Le content est riche in ce monde Giovanni Maria da Crema/Sermisy: 58 21

Le cortegiane se ne vane via Becchi: 300 25

Le donne belle ch’a Venetia stanno Turturino/[no attribution]: 363 14

Le dur travail ou mon coeur Bianchini/Willaert: 228 20 Le forze d’ercule Bianchini: 228 9 Le gorre con lo paschiero (2vv) Vinci: 187 14

Le plus gorgias du monde Francesco da Milano/Anonymous: 245 11

Le poletine (2vv) Vinci: 187 29 , Levavi oculos meos Rotta: 64 2] Lieticanallotto felici spirti Galilei/Ruffo: 306 10 Lo (2vv) Vinci: 187 2 Lo cayordo (2vv) Vinci: 187 11 Lo fior che mi donasti’anchora I’ haggio Gorzanis: 362 6

Lodesana Bitanchini: 228 10 Louetta, Pass’e mezo ditto Giovanni Maria da Crema: 58 46

Louetta, Saltarello della Giovanni Maria da Crema: 58 46 Lucretia, Pavana novissima detta la Borrono: 68 3; 227 3 [Lucretia], Saltarello primo della Borrono: 68 3; 227 3 [Lucretia], Saltarello secondo detto la bella bianca ha hauto Borrono: 68 3; 227 3 torto della

[Lucretia], Saltarello terzo detto O che ‘I me tira il brazo della Borrono: 63 3; 68 3; 227 3

Ma di che debbo lamentarmi hai lassa Galilei/Ruffo: 306 24

Ma ’I bel pensier (2p. of Scarco di doglia) Galilei/Rore: 306 61 Ma tu prendi a diletto (2p. of Fiera stella) Galilei/Lasso: 306 69

Madama mi domanda Becchi: 300 7

Madonna io non lo so perche lo fat Abondante/Willaert: 67 26 Madonna io non lo so perche lo fai Bianchini/Willaert: 228 7

Madonna io sol vorrei Barberiis/De Silva (Verdelat): 61 15

Madonna mi consumo Barbertis/C. Festa: 61 19

Madonna mia fami bona offerta Abondante/Willaert: 67 23

Madonna qual certezza Barberiis/Verdelot: 61 17; 96 16

Madonna s’io v’amai Galilei/Willaert: 306 55

Madonne se volete doi sorti de lemosine farete Becchi: 300 24 Mais ma mignone aux tetins descouvers Abondante/Janequin: 67 13

Mais que ce Giovanni Maria da Crema/[no attribution]: 58 30

Mal portuso (2vv) Vinci: 187 15 Mala Senea (S5vv) Borrono/Josquin: 227 9

Mala Senea Francesco da Milano/Josquin: 68 21 Malheur me suit fortune me porchasse Rotta: 64 16

Martin menoyt son porceau au marché Francesco da Milano/Janequin: 63 24; 244 4 Martin menoyt son porceau au marché Francesco da Milano/Sermisy: 63 23

Maton, Saltarello ditto el Giovanni Maria da Crema: 58 41 Mazocho, Gagliarda terza detta il Barbetta: 314 11

Mentre che il cor Galilei/Lasso: 306 71 Meza notte Bianchini: 228 11 Mi [without text] vv) Scotto: 110 28 Mia mare e anda al merco per comprarme un pignolo Barberiis/Casanuova: 97 26 Michael Arcangele paradisi Barberiis/Jacotin: 62 7 Milanesa, Pavana Borrono: 63 6 Milanesa, Pavana a duy Lauti Borrono: 63 6 — [Milanesa], Saltarello della, a duy Lauti Borrono: 63 6

[Milanesa], Saltarello primo della Borrono: 63 6 [Milanesa], Saltarello secondo novissimo detto non dite mai ch’io Borrono: 63 6 habbia il torto della

[Milanesa], Saltarello terzo novissimo detto le pur bono Borrono: 63 6 ruschina della

[Millanesa (1)], I] suo saltarello Becchi: 300 | [Millanesa (2)], Il suo saltarello Becchi: 300 2 1121

Index of First Lines

[Millanesa (3)], II suo saltarello Becchi: 300 3 [Millanesa (4)], Il suo saltarello Becchi: 300 4 Millanesa, Pass’e mezzo alla [1] Becchi: 300 1 Millanesa, Pass’e mezzo alla [2] Becchi: 300 2 Millanesa, Pass’e mezzo alla [3] Becchi: 300 3 Millanesa, Pass’e mezzo alla [4] Becchi: 300 4

{Missa Ave Maria] Barberiis/Févin: 60 1

Mon ami n’a plus que faire Giovanni Maria da Crema/Gascogne: 58 28 Moniardina, Pavana novissima detta la Borrono: 63 2

[Moniardina], Saltarello primo della Borrono: 63 2 Moresca Becchi: 300 16

Nasce la gioia mia Galilei/Animuccia: 306 8 Nasce Ja pena mia ; Becchi/Striggio: 300 29

Nasce la pena mia Galilei/Striggio: 306 7 Nel’odorato e lucido oriente Galilei/Pont: 306 32

Nicola mia gentil Becchi: 300 20 Nobile, Paso e mezo, detto if Barbetta: 314 19

Noe noe noe psalite noe Hierusalem Francesco da Milano/Mouton: 68 23

Noe noe noe puer nobis nascitur Borrono/Mouton: 227 11

Noe noe noe puer nobis nascitur Francesco da Milano/Mouton: 68 24 Non credo che pascesse (4p. of A qualunque Animale) Galilei/Padovano: 306 25

Non fu mai donna si crud’e superba Gorzanis: 362 16

Non mi date tormento Turturino/Anonymous: 363 21

Non mi pensava mai Becchi/Celano: 300 27 Non mi tolga il ben mio Galilei/Rore: 306 22 Non scorse occhio gia mai Galilei: 306 37

Non vid’il mondo (2p. of Alla dolc’ombra) Galilei/Padovano: 306 77 Non vide il mondo (2p. of Alla dolc’ombra) Galilei/Rore: 306 18

Nous bergiers Francesco da Milano/Anonymous: 245 14

Novo consiglio (2p. of S’amor la viva flamma) Galilei/Rore: 306 59

O d’amarissim’ onde Becchi/Lasso: 30030 —

O dolci sguardi Galilei/Ruffo: 306 81

O felicit occhi miei felici voi Giovanni Maria da Crema/Arcadelt: 58 39

O felici occhi miei felici voi Perino Fiorentino/Arcadelt: 247 17 [O perfida che sei], Padoana Gorzanis: 230 4 O perfida che sei, Passo e mezo detto Gorzanis: 230 4 [O perfida che sei], Saltarel del Gorzanis: 230 4 O quant’affann’o quanti aspri martiri Gorzanis: 362 21 O regina poli (2p. of Dignare me laudare te) Barberitis/Gombert: 62 9

O s’io potessi donna Barberiis/Berchem: 61 6 O s’io potessi donna Bianchini/Berchem: 228 23 O virtute, o beltate (2p. of Regal donna cortese) Galilei/Porta: 306 27

O voi che in mille in mille pene sete Becchi: 300 22 Occhi che date al sole & alle stelle Becchi: 300 19

Occhi facci d’amor Becchi: 300 31 Occhi mei lassi mentre ch’io vi giro Giovanni Maria da Crema/Arcadelt: 58 40 Occhi miei lassi mentre ch’io vi giro (2vv) [no attribution]: 268 24 Ond’all’estremo passo pianto (2p. of Se I’alto duol m’ancide) Abondante/Barre: 67 4

Ottavo tono [de canto de organo] (2vv) [no attribution]: 153 70

Padovana gaiarda Rotta: 6413 9 Panuso (2vv) Vinci: 187 Par ton regard tu me fais esperer Bianchini/Sermisy: 228 19 Paravola (2vv) Vinci: 187 16 Pas de mi bon compagni Barberiis/[no attribution]: 96 17 Passo ee mezzo Barberiis: 97 1, 82 Passo mezzo Bianchini: 228 Passo e mezzo [antico] Barbertis: 97 11 Passo e mezzo detto |’anticho Barbetta: 314 22 Passo e mezzo anticho primo Gorzanis: 230 |

Passo e mezzo [antico] / Gagliarda / Padovana Rotta: 64 2 . [122

Instrumental Music

[Passo e mezzo anticho], Padouana del Gorzanis: 230 |

Passo e mezzo [antico] / Saltarello Barberiis: 97 7 [Passo e mezzo anticho}, Saltarel del Gorzanis: 230 1

Passo € mezzo bellissimo Gorzanis: 230 9

Passo € mezzo bellissimo sopra i contralti Gorzanis: 230 11 Passo e mezzo bellissimo sopra i soprani Gorzanis: 230 10

Passo e mezzo bellissimo sopra il quarto tuono Gorzanis: 230 12

Passo € mezzo, ficto Barbetta: 314 17

Passo e mezzo mo[derno] Gorzanis: 230 2 Passoe mezzo, detto il moderno Barbetta: 314 2!

Passo e mezzo [moderno] / Gagliarda / Padovana Rotta: 64 5

[Passo e mezzo moderno], Padouana del Gorzanis: 230 2

[Passo e mezzo moderno], Saltarel del Gorzanis: 230 2

[Passoe mezzo e mezzo], La suaBarberiis: padoana97Bianchini: 228 8 Passo / Saltarello 8 Passo e mezzo / Gagliarda / Padovana Rotta: 64 1, 3,4

Pater noster Abondante/Willaert: 67 17 Pater noster a 6 Francesco da Milano/Josquin: 245 1

Pavana [1] Becchi: 300 11 [Pavana (1)], La sua gagliarda Becchi: 300 11 Pavana [2] Becchi: 300 12 [Pavana (2)], La sua gagliarda Becchi: 300 12 [Pavana del Duca], Saltarello della Barberiis: 97 6

Pavana gagliarda / Saltarello Barberiis: 97 20

Pavana nova [no attribution]: 246 6 [Pavana nova], [Saltarello della] [no attribution]: 246 6

[Pavana Nova], Saltarello detto la traditorella della [no attribution]: 246 6 Pavana / Saltarello 97 16, Pe Martino (2vv)Barberiis: Vinci: 187 1717

Perche bramo morire Barberiis/[no attribution]: 61 23 Pero piu ferm’ogn’hor (4p. of Alla dolc’ombra) Galilei/Rore: 306 18 Peschatore che va cantando [de la Pavana Nova] [no attribution]: 246 6

Philipin, Saltare! detto il Gorzanis: 230 14

Piacciati com’i tuoi (2p. of Candid’e richa vela) Galilei/Portinaro: 306 73

Piangete occhi miei lassi Barberiis/Gabrieli?: 97 29

Pianzolenta, Pavana detta la Borrono: 63 5 [Pianzolenta], Saltarello Primo della Borrono: 63 5 [Pianzolenta], Saltarello secondo detto la rocha el fuso della Borrono: 63 5 [Pianzolenta], Saltarello terzo novissimo detto che le el martello Borrono: 63 5 che tel fa dire della

Pien d’un vago pensier Galilei/Lasso: 306 97 [Pigna], Padoana della Gorzanis: 230 7 Pigna, Passo e mezzo della Gorzanis: 230 7

[Pigna], 2307 7 Piro con Saltarel lo furnodella (2vv)Gorzanis: Vinci: 187

Piva Barberiis: 97 10 Planzuni (2vv) Vinci: 187 25 Poi che pieta non ha di me pietade Becchi: 300 21

Pon freno al gran dolor , Galilei/Lasso: 306 68 Porcelina, Pavana Terza detta la Barbetta: 314 3 Postquam consumati sunt Barberiis/Lupus: 62 4

Pour avoir paix Francesco da Milano: 244 6

Pour avoir paix avecque mon desir Francesco da Milano/Layolle: 63 18

Pour quoi voules vous Becchi/Janequin (Passereau): 300 35 Pourtant si je suis brunette Francesco da Milano: 244 12

Pourquoy alles vous seullette Francesco da Milano/Anonymous: 24§ 13

Pourtant si je suis brunette Francesco da Milano/Sermisy: 63 21

Prenes le galand couppez luy les choses Abondante/Sohier (Janequin): 67 14 Prima ch’io torni a voi (Sp. of A qualunque Animale) Galilet/Padovano: 306 25

Primus tonus [de canto de organo] (2vv) [no attribution]: 153 63

Propter hoc dimittet (2p. of In illo tempore accesserunt ad Jesum) Rotta: 64 19

Pungente dardo Bianchini/Berchem: 228 25 Pungente dardo che ’] mio cor consumi (2vv) [no attribution]: 268 6 1123

Index of First Lines

Quae est ista quae processit Giovanni Maria da Crema/Gombert: 58 34 | Quaeramus cum pastoribus Barberiis/Mouton: 96 4 - Quaeramus cum pastoribus Giovanni Maria da Crema/Josquin (Mouton): 58 32

Qual anima ignorante over pill saggia Abondante/Nollet (Berchem): 67 6

Qual dolcezza giamai Abondante/Willaert: 67 1 Quand’io penso al martire Francesco da Milano/Arcadelt: 247 21 Quando fra l’altre donne Galilei/Rore: 306 60 Quando fra l’altre donne Galilei/Willaert: 306 54 Quando la sera (3p. of A qualunque animale) Galilei/Padovano: 306 25 Quando vede 11 pastor Galilei/Striggio: 306 92

Quando vostri belli occhi Barberiis/[no attribution]: 61 22

Quanta belta quanta gratia e splendore Francesco da Milano/Arcadelt: 247 14

Quante lagrime (3p. of La ver |’ aurora) Galilei/Lasso: 306 66

Quanti travagli e pene Perino Fiorentino/Arcadelt: 247 20

Quanto sia lieto il giorno Giovanni Maria da Crema/Verdelot: 58 38 Quarto tono [de canto de organo] (2vv) [no attribution]: 153 66 Que voles vous dire de moy Francesco da Milano: 247 23 Quel! fuoco e morto (2p. of Mentre che il cor) Galilei/Lasso: 306 71

Questa questa crudel Becchi: 300 23

Questi capelli d’or’e quesse treccie Gorzanis: 362 3

Questi ch’inditio fan del mio tormento Galilei/Striggio: 306 6

Questi son que begli occhi (2p. of I begli occhi ond’ io fui a 5) Galilei/Willaert: 306 53

Qui tollis peccata Barberiis/Richafort: 60 2

Quinto tono [de canto de organo] (2vv) [no attribution]: 153 67

Ragion’e ben ch’jo canti (2vv) [no attribution]: 268 12 Re fa mi re la Gvv) Tiburtino: 95 10 Re ut fa re sol fa mi (3vv) Tiburtino: 95 7

Re [without ut re fa mi re (3vv) Tiburtino: 95278 Re text] (3vv) Scotto: 110 Recercada / Fantasia Barberiis: 96 1 : Regal donna cortese Galilet/Porta: 306 27 Resveillez moy mon bel amy Francesco da Milano/Garnier: 63 17 Reveilles moy mon bel amy Becchi/Garnier: 300 37 Reveillez moy Francesco da Milano: 244 13

Reveillez vous cueurs endormis [Le chant des oyseaux| Francesco da Milano/Janequin: 63 25; 244 | [Reveillez vous] Quarta pte [Arriere maistre Cocu] Francesco da Milano/Janequin: 244 | [Reveillez vous] Seconda parte [Vous orrez a mon advis] Francesco da Milano/Janequin: 244 1 [Reveillez vous] Terza pte [Rossignol du boys joli] Francesco da Milano/Janequin: 244 1

Ricercar Becchi: 300 42-46

Bianchini: 228 1-4, 17, 21 Giovanni Maria da Crema: §8 1-15 Francesco da Milano: 75 1-13; 244 14-17 Galilei: 306 17, 38-44 Gorzanis: 230 17-20 Rotta: 64 28-33 Segni: 75 14-25 Willaert: 95 22-29

Riconosce colei (2p. of La notte che segui Vhorribil caso) Galilei/Lasso: 306 2

Ridon hor per le piagge (6p. of La ver I’aurora) Galilet/Lasso: 306 66

Rinoldina, Pavana detta la Borrono: 63 3 {Rinoldina], Saltarello Primo della Borrono: 63 3

Romanesca Rose e violeBecchi: Rotta: 300 64 85 [Rinoldina], Saltarello secondo detto la mezza gamba della Borrono: 63 3

Sabioncelo: SalJtarello], il Rotta: 64 6

Saltarel cioé gagliarda Rotta: 64 9 Saltarel del detto [bellissimo] Gorzanis: 230 11

Saltarello Barberiis: 97 4, 5, 9, 19 Saltarello [del Pass’e mezo] Bianchini: 228 8 1124

Instrumental Music

Saltarello gagliardo Barbertis: 97 15 Salve regina Barberits/Josquin: 62 5

S’amor la viva fiamma Galilei/Rore: 306 59 San Basilli (2vv) Vinci: 187 23 Sancte Paule apostole Rotta: 64 20 Santo erculano Bianchini: 228 15 Saprest’indovinar quel ch’io vorria [no attribution]: 362 25 [Saracena], I! suo saltarello Becchi: 300 13 Saracena, Pass’e mezzo della Becchi: 300 13

Sasinata, Pass’e mezo ditta la Giovanni Maria da Crema: 58 47

Sasinata, Saltarello della Giovanni Maria da Crema: 58 47 Scarco di doglia Galilei/Rore: 306 61 Schiavonetta, Pavana sesta detta la Barbetta: 314 6 Sdegno regge il timon (2p. of Deh porgi mano) Galilei/Ruffo: 306 80 Se ben mi parto donna de sta terra Gorzanis: 362 19 Se ben non veggion g!’occhi Galilei/Palestrina: 306 85

Se fra quest’herb’e fiore Galilei/Palestrina: 306 12 Se io vegli’o dormo sempre pens’ atene Gorzanis: 362 13 Se l’alto duol m’ancide Abondante/Barre: 67 4 Se mai provasti donna qual sia amore Barberiis/Verdelot: 96 14 Se ogni mio bene havete Galilei/Striggio: 306 89

Se 230 Se pur purtitiguardo guardoGorzanis: Rotta: 64 2721 Se scior si ved’il laccio che mi strinse Santucci: 362 24

Se voi potessi per turbati segni Galilet/Rore: 306 58 Secundus tonus [de canto de organo] (2vv) [no attribution]: 153 64 Seguit’amor donna gentil’e bella Becchi: 300 18

Selve sassi campagne (Sp. of Alla dolc’ombra) Galilei/Rore: 306 18 Senza octava (2vv) Vinci: 187 24 Septimo tono [de canto de organo] (2vv) [no attribution]: 153 69

Sexto tono [de canto de organo] (2vv) [no attribution]: 153 68

Si bona suscepimus de manu Domini Giovanni Maria da Crema/Sermisy: 58 35 Si ch’io mi credo homai (2p. of Solo, e pensoso) Galilei/Nasco: 306 79

Si dung petit de votre bien Abondante/Janequin: 67 15

Si j’ay aymé legierement | Rotta: 64 15 Si puor bivir ardiendo Galilei/Guerrero: 306 |

Si je regrette et my complains Barberiis/Anonymous: 61 |

Si 619518 Sol suave sol sol utBarberiis: (3vv) Tiburtino: 5

Solo, € pensoso Galilei/Nasco: 306 79 Sospira core che ragione n’hai Turturino/Nola: 363 4 Spatta folco con lo gobbetto (2vv) Vinci: 187 20 Sper lingua E presti paulo Bono (2vv) Vinci: 187 22

Spesso in parte del ciel Galilei/Rore: 306 21 Spinello cundo e Don Antonino d’allena (2vv) Vinci: 187 12 Spontando lieto fuora Galilei/Porta: 306 29

Sta vecchia canaruta Gorzanis: 362 15 Standomi un giorno Galilei/Lasso: 306 65 Stradiot, Gagliarda ditta Rotta: 64 11 Super flumina babilonis Barbertis/Gombert: 62 11 Sur toutes fleurs Francesco da Milano: 244 7

Stabat mater a 5 (Svv) Francesco da Milano/Josquin: 245 3 Sur toutes Jayme la Marguaritte Francesco da Milano/[no attribution]: 63 20

Tant que vivrai en age florissant Bianchini/Sermisy: 228 24

Tanto co’ lieti suoni Galilei/Merulo: 306 82

Tanto mi piacque (6p. of Alla dolc’ombra) Galilei/Rore: 306 18

Tanto piu grat’e caro Rotta: 64 24 Tanto v’ha fatt’il ciel cortesa e bella Turturino/[no attribution]: 363 16 Temprar potes’io in si (2p. of La ver |’ aurora) Galilei/Lasso: 306 |

Tertio tono [de canto de organo] (2vv) [no attribution]: 153 65

Ti parti e qui mi lasci amor mio bello Gorzanis: 362 20

[Todeschin], Padouana del Gorzanis: 230 5 1125

Index of First Lines

Todeschin, Passo e mezzo detto il Gorzanis: 230 5 [Todeschin], Saltarel del Gorzanis: 230 5 Todeschina, Pavana Settima detta la Barbetta: 314 7

Torza Bianchini: 228 22

Tre damme alla Francesa Becchi: 300 9

Tu disoys que j’en mourroys Francesco da Milano/Sermisy: 245 12 Tu m’amast’un temp’affe Gorzanis: 362 18 Tu m’hai gabbato col tuo dolce viso Gorzanis: 362 12 Tutta sei bella donna mia gentile Turturino/(no attribution]: 363 11 Ubi pascas ubi cubes (2p. of Quaeramus cum pastoribus) Barberiis/Mouton: 96 4 :

Ultimi miei sospiri Galilei/Verdelot: 306 95

Un gai bergier Becchi/Crecquillon: 300 34 Un lauro mi difese (3p. of Alla dolc’ombra) Galilei/Rore: 306 18

Una strania fenice (Sp. of Standomi un giorno) Galilei/Lasso: 306 65 Une bergere Becchi: 300 36 Unum cole Deum Rotta/Jacquet of Mantua: 64 18

Ut fa mi ut mi re ut Gvv) Tiburtino: 95 9

Ut mi fa ut fa mi re ut Gvv) Tiburtino: 95 6 Ut re mi ut [fa mi re ut] Gvv) Tiburtino: 95 11

Ut [without text] (vv) Scotto: 110 29, 30 Vechie retrose Abondante/Willaert: 67 25

Valle Rotta: 64 26 Veramente madonna Barberiis/[no attribution]: 61 21

Vesentino Barberiis: 97 14 Vestiva i colli Galilei/Palestrina: 306 5 Vignone vignette qui te planta Francesco da Milano/Anonymous: 247 24

Vilanella, Saitarello la Barberiis: 97 23 Villana, Rotta: 649 61 16 Vita de la Pass’e mia vita mezo Barberiis/Verdelot: Viva fiamma d’amor Galilei/Porta: 306 30

Vivo sol di speranza (2p. of Aspro core e selvaggio a 6) Galilei/Willaert: 306 87 |

Vivre ne puis content sans sa presence Giovanni Maria da Crema/Sermisy: 58 17 Voglia mi sprona Galilei/Striggio: Voi caduci ligustri Galilei: 306 306 86 94

Voi ven’andat’al cielo (2vv) (no attribution]: 268 23

Vray dieu d’amours confortez moy Barbertis/Josquin (Anonymous): 97 31

Xiri che senza Xiri stamo male (2vv) Vinci: 187 27

Xumo sauzo Con Mastro Ioanni & Mastro Antoni (2vv) Vinci: 187 6

Zacarij, Gagliarda prima detta ol [sic] Barbetta: 3149

1126

INDEX OF COMPOSERS

Abondante, Giulio: 67 Ascanio Bolognese: 361 13-16, 24 Adriani, Francesco: 298; 311 11; 313 6; 335; 336 Azzaiolo, Filippo: 189; 250; 251 Adriano. See Willaert, Adrian

Alart: 90 6; 218 6 Baccusi, Ippolito: 338; 384; 385 Alberti, Gasparo: 76 Baldesar d’ Imola: 15 36

Alberti, Innocentio: 291 7 Barberiis, Melchiore de: 60; 61; 62; 96; 97 Alberto da Mantoa. See Ripa, Alberto da Barbetta, Giulio Cesare: 314

Albutio, Io. lacomo: 246 4, 10 Barges, Antonino: 242 12, 13

Alessandrino: 164 17 Bargonio, Tomaso: 40 11

Alfonso. See Dalla Viola, Alfonso Barré, Antonio: 14 68; 15 3-5, 38; 31 17-20; 46 3, 23; Ameyden, Christian: 232 12; 287 12 54 51; 67 4; 85 51; 115 51; 146 51; 164 1, 7; 172 3, Animucctia, Giovanni: 164 28; 172 4, 13, 22; 173 8; 181 16, 19; 181 5; 204 5, 6; 212 5; 221 8, 10, 12, 17, 21;

10; 212 10; 219 8; 232 8; 242 10; 277 1; 286 9; 287 223 8; 286 5

8; 306 8: 357 6 Barry. See Ivo Barry

Anselmo. See Reulx, Anselmo Bartolomeo da Ravenna: 361 12 | Anville, Adriano: 264 17; 276 5, 14-17; 313 5; 357 9, Bassano, Giovanni: 376 22, 23

13 Baston, Josquin: 88 7; 306 16

Arcadelt, Jacques: 1; 2; 12 20, 21, 28-31; 1453-55;15 = Becchi, Marc’ Antonio di: 300 15-21, 33; 17; 37; 39 2, 3, 5, 12, 13, 26-29; 40 4, 5, Bellavere, Vincenzo: 279 26; 313 8; 359 10-19; 398

26; 56; 58 39, 40; 65 3, 6, 7, 24, 30, 34, 37; 67 7-9; 10~19 90 11; 94 12, 13, 21-23, 27; 107 6, 24, 26, 32; 116 Benedictus: 135 15 6, 24, 26, 32; 117 1, 19, 23; 118, 12, 13, 21-23; 119; Benvenuti, Lorenzo: 292 10 142 14; 151; 163 6, 24, 26; 164 2; 165; 173 19, Berchem, Jacquet de: 2 41; 5 8, 21; 10 4; 14 65; 15 28, 26-30; 188 6, 23, 25, 31; 191; 204 1; 218 11; 223 31, 34, 35; 20 1, 2; 25 5, 6; 40 18; 47 4; 61 6; 65 1, 18; 228 5; 247 14, 17, 20, 21; 251 11; 257 19; 258 21, 24, 36; 67 6; 93 12; 102 1, 2; 107 1, 25, 28-30, 14; 281 4-6, 8, 9, 11; 293 6, 23, 25; 294 5, 16, 19, 36; 116 1, 25, 28-30, 36; 119 3, 4, 16, 32, 33, 37:

20, 24; 299; 337 139; 151 3, 4, 16, 32, 33, 37; 163 1, 25, 28-30, 32,

Archangelo da Reggio: 361 5, 7 36; 165 3, 4, 21, 24; 172 7; 173 14; 188 1, 24,

Aretino, Paolo: 44; 65 11; 81; 117 8, 32; 156; 234; 248 27-29, 35; 191 3, 4, 21, 24; 204 2, 4; 223 7; 228 23, Arpa, Giovanni Leonardo dell’: 263 6, 9, 13, 21, 22, 25; 25; 232 6; 258 17, 18; 281 14; 287 6; 293 1, 24; 294 271 1-6; 272 6, 9, 13, 21, 22, 25; 349 2, 6, 7; 350 6, 1—3, 9, 17; 299 2, 6, 22, 26; 337 2, 6, 22, 26 9, 13, 21, 22, 25; 3607, 12, 13, 19, 22, 23, 27; 363 6, Bertoldo, Sperindio: 313 10 24, 29, 32, 33; 369 27; 397 7, 12, 13, 19, 22, 23, 27 Bianchini, Domenico: 228 1127

Index of Composers

Bianco, Pietro Antonio: 386 151 9, 14, 48; 165 8, 12; 191 8, 12; 228 5; 299 9;

Buillon, Jean du: 88 5; 90 12: 218 12 3379

Bonagiunta, Giulio: 267 1, 5, 26-28; 277 2; 279 1-4, Cosson: 113 50

12—15; 296 1, 5, 26, 27 Cossuvino, Antonio. See Gosswin, Antonius

Bonardo, Francesco: 267 2, 6-8; 296 2, 6-8: 297 6; 359 Cottone, Giovanni Pietro: 389

3, 4; 398 3, 4 Courtois, Lambert: 34 14; 62 6; 221 20; 243 2

Bonizzoni, Eliseo: 315 Crecquillon, Thomas: 88 13; 134 2-4, 11, 15; 135 5; Borghese, Camillo: 297 5; 311 10 136 4, 5, 8—11; 300 34 Borrono, Pietro Paolo: 63 1-8, 10, 12, 14; 68 1-4, 14, 17; Crema. See Giovanni Maria da Crema 227; 246 5, 7, 13

Bouteillier: 7 12 Dalla Viola, Alfonso: 117 3; 220 3, 10

Boyleau, Simon: 38 Dalla Viola, Francesco: 72 1, 3, 7, 10, 12-14, 16, 17, 19, Bracharaio, Pietro.: 65 27; 107 37; 116 37: 163 37; 188 21-23, 25-27, 29, 33; 88 15; 219 13

36; 294 10 Dall’ Aquila, Marco: 246 3, 9

Briaco, Il Conte: 251 9 Damianus. See Havericq, Damien Bucca, Ferrante: 231 5 Danckerts, Ghiselin: 164 4 Burlamacchi, Tomaso: 340 2 D’ Angelo, Paolo: 349 29 Burno, Rinaldo: 263 14; 272 14; 350 14 Dattari, Ghinolfo: 303; 361 6 Buus, Jacques: 40 27; 65 32; 100; 107 33; 116 33; 163 De Latre, Petit Jean: 306 15

33; 188 32; 294 6 De Silva, Andreas: 14 24: 54 7; 58 33; 61 15; 62 2, 5; 85

7; 88 3; 91 19, 20; 93 10, 11, 13, 17; 115 7; 1467 Caldarino, Giovanni Francesco: 164 27; 172 24; 18922; Des Fruz: 98 21

250 21; 251 10 Desprez, Josquin. See Josquin Desprez

Califano, Michele: 282 Donato, Baldassare: 73 6; 88 10; 95 14; 101; 109 1, 5-7,

Cambio. See Perissone Cambio 9,11, 12, 14, 16-30; 152 1, 5-29; 173 13; 281 15:

Candido, Serafino: 364 304; 306 7, 72; 357 6; 359 1; 398 1

Canis, Cornelius: 135 10-15 Doni, Antonfrancesco: 40 12, 15

Carli, Girolamo: 120 Dorati, Nicolao: 166; 340

Carpentras [Genet, Elzéar]: 60 9 Duc, Filippo: 341 Cartolaio, Giovanni: 358 4

Casanuova, Paolo: 97 26 Egidio, Lorenzo di: 325 24, 26 —

Castellino, Bartolomeo: 361 8 Escobedo, Bartolomé de: 18 22; 34 15 Casulana, Maddalena: 276 2, 3, 4, 18; 295 9; 297 4; Essenga, Salvatore: 205 11; 361 29 301; 339

Cataldo, Salvatore di: 170 Fabrianese, Tiberio: 109 3; 152 3 Cavatoni, Pietro: 387 Falcidio, Giovanni Battista: 384 1; 385 1, 9 Celano, Francesco: 271 11, 12; 280 10, 12—14, 19; Ferrabosco, Domenico: 65 26, 33; 107 16, 31, 34; 116

300 27 16, 31, 34; 163 16, 31, 34; 188 15, 30, 33; 223 19; 218 18; 228 16 Ferrarese, Don Paolo: 261

Certon, Pierre: 63 22; 90 20; 92 2, 4, 7, 13; 98 19, 24: 293 16; 294 4, 7; 3069

Chamaterd, Ippolito: 316; 317; 318; 319; 320 Ferrello, Giovanni Antonio: 271 29; 280 4, 9

Ciccarelli, Giulio: 302 Ferretti, Giovanni: 283; 292 13; 305; 321; 334; 342; 356 Ciera, Ippolito: 121; 136 16; 148 3 13; 366; 367; 368; 390

Claudin. See Sermisy, Claudin de Ferro, Vincenzo: 94 14, 23, 24; 118 14, 23, 24; 164 3, 5, Clemens (non Papa): 88 11; 134; 135 1~9; 136 1-7 6, 11, 22; 173 16; 221 5, 13; 281 13

Clerico, Paolo: 207; 208 Festa, Costanzo: 1 6, 9-11, 20; 2 10, 12-15, 17-20, 27, Comis, Michel de: 291 6; 292 9; 311 8, 9; 312 4, 5; 313 28; 3 20; 14 46-48, 50, 57; 15 22-24, 40; 54 8, 10,

4: 356 9 48: 61 19, 20; 65 2; 66; 85 8, 10, 48; 91 2, 4, 5, 22; 94

Conseil, Jean: 5 2; 19 24: 86 7; 89 7, 8: 93 14 17-19; 107 3, 9; 112; 115 8, 10, 48; 116 3, 9; 117 10, Contino, Giovanni: 175; 176; 177; 178; 179; 192; 193; 12; 118 18, 19; 119 22; 122 1-8; 146 8, 10, 48; 151

194; 219 16; 220 6, 8; 277 4; 357 6 22; 163 3, 9; 174; 188 3; 221 1; 241 20; 281 10; 293

Converso, Girolamo: 388 3,9

Corfini, Jacopo: 358 19; 365 Festa, Sebastiano: 54 57: 85 57; 115 57; 146 57

Cornazzani, Phileno Agostino: 333 | Févin, Antoine de: 60 1; 91 15, 113 42; 247 22

Corona, Giovanni: 317 8 Fiesco, Giulio: 221 9; 229; 361 26 Corteccia, Francesco: 1 25; 2 22, 38, 43; 15 25-27; 39; Fiolo, Don: 280 6, 20, 21 65 28-31, 34; 67 9; 1175, 9, 15, 22, 23; 119 9, 14,48; Fiorino, Gasparo: 369

1128

Index of Composers Flori, Giovanni: 276 13; 277 5, 15; 279 10, 11; 295 11 Hellinck, Lupus: 20 18; 33 4, 5; 47 1, 2; 102 18 Fogliano, Giacomo: 66 27, 32—34; 112 23, 26, 27; 174 Hesdin, Nicolle des Celliers de: 47 5; 96 2

23, 26, 27 Heurteur. See Le Heurteur, Guillaume

Francesco da Lucca. See Guami, Francesco Hieronimo Tast. See Tastavino, Girolamo Francesco da Milano: 63 9, 11, 13, 15, 16; 68; 75; 244; Hoste da Reggio: 94 27; 125; 126; 127 245; 246; 247 1-3, 5-12, 14, 18, 19, 21, 24

Franzosino: 361 21 Than. See Maistre Jhan

Fuligno, Paulo da. See Paolo da Fuligno Ingegneri, Marc’ Antonio: 264 1, 3, 4 Isnardi, Paolo: 357 7

Gabrieli, Andrea: 97 29; 132 17; 220 4, 5;2778,9;291 Ivo Barry: 15 30; 18 19, 20; 65 8, 11, 16, 17, 21, 36;

15; 297 6; 312 1; 313 2; 357 6; 359 5—9; 398 5-9 81 29; 89 19

Galilei, Vincenzo: 306 Ivo de Vento. See Vento, Ivo de Galletti, Alvise: 312 2 Galli, Antonio: 135 4 Jacotin: 34 14; 62 7; 91 16; 92 10; 228 6

Ganassi, Alfonso: 251 12 Jacquet of Mantua: 5; 6; 10 3, 5; 11 2, 5, 7; 14 56; 18 21; Gardane, Antonio: 87 17; 90 13; 218 13 19 5, 9, 18, 19, 25; 25 1, 5, 6; 26 5; 27 3, 9; 30 3, 18,

Garnier: 63 17; 90 17; 300 37 19, 21; 41; 54 19; 85 19; 86 4, 12; 87 1, 2, 4, 8, 14; 88 Garugli, Bernardino: 209; 220 17 1, 6, 8, 10; 90 1, 24; 91 21, 24, 25; 106 3, 18; 108 5, Gascogne, Mathieu: 58 28; 113 45 9, 19, 21, 22; 115 19; 124 1-3, 5; 136 12-14; 137

Gatto, Simon: 333 1 7-20; 146 19; 148 1, 2; 195; 196; 218 1; 242 20; 256;

Gero, Jhan: 16; 34 11-13; 50; 77; 78; 89 1-3, 9, 11, 12; 257; 258; 269; 284 113 1-40; 114; 117 7, 11, 16-19, 21, 24-27, 30-33; Janequin, Clément: 58 29; 63 24-26; 67 13-15; 98 1, 4, 140; 141; 173 5, 11, 12, 15, 20-22, 24, 25; 210; 5, 7-9, 12-14, 17, 18; 104; 113 41-70; 244 1, 2, 4;

281 20-24 300 35

Ghibel, Heliseo: 57; 66 1; 69; 110; 123; 173 17; Jarsins, G.: 86 7

311 3; 313 7 Josquin Desprez: 58 32, 33; 68 21; 97 31; 217 12; 247 22

Ghirardo. See Pinello di Ghirardi, Giovanni Battista Julio da Modena. See Segni, Julio Giannetto. See Palestrina, Giovanni Pierluigi da

Gioseppo da Lucca. See Guami, Gioseffo Kohc, Luca: 386 16 Giovan Antonio, Don: 271 25

Giovan Thomas Bolognese. See Lambertini, Giovan La Fage, Jean de: 62 3, 10

Tomaso La Martoretta, Giandominico: 66 31; 70; 216 23

Giovanni Battista da Cremona: 333 1, 4 Lagudio, Paolo: 231 Giovanni Domenico Fiorentino: 280 27 Lahaya, lo. de: 91 9

Giovanni Maria da Crema: 58 Lambertini, Giovan Tomaso: 251 13; 322 Giulio. See Bonagiunta, Giulio Lamberto: 117 4, 13; 164 18 Gombert: 3; 4; 11 3; 18; 19 1-4, 6-8, 11, 12; 20; 21; 25 Lando, Stefano: 155; 271 27; 280 1, 8; 360 17, 18; 397

2—4: 58 34; 62 1, 9, 11; 63 19; 86 1, 2, 9, 10, 13, 16; 17, 18 87 5, 13, 15, 16; 89 5, 8; 90 2; 102; 108; 113 45; 153 ~~ Lasso, Orlando di: 167; 172 12, 14; 180; 181; 211; 212;

49: 218 2; 228 14 221 4; 222 1, 2, 4-7, 9, 15, 16, 19, 20; 226 58; 232;

Gonzaga, Scipione: 208 9, 10, 14 259; 266 58; 270; 276 8; 285; 286; 287; 291 1-3, 13; Gorzanis, Giacomo: 230; 362; 370 292 12; 295 1-3; 300 30; 306 1-6, 23, 65-71, 97; Gosse, Maistre: 90 14; 92 11; 113 46, 67; 218 14 333 1-3, 7, 8; 356 12; 357 1; 358 1, 10, 17

Gosswin, Antonius: 333 1, 4 Lasson, Mathieu: 90 10; 93 15; 218 10 Gradenigo, Paolo: 351 15 Laudis, Francesco de: 267 4, 13; 296 4, 13

Gramsyre: 19 11 Layolle, Francesco de: 1 3; 58 36; 62 8; 63 18;

Greco, Antonio: 297 6 117 20; 119 17, 28; 151 17, 28; 165 27; 191 27; Grisonio, Daniele: 297 6; 313 13, 15 299 12; 337 12 Grisostimo da Verona: 243 5, 9 Le Brung, Jean: 5 8

Guami, Francesco: 333 1, 4 Le Heurteur, Guillaume: 58 23; 60 5; 98 6, 113 43, 68, Guami, Gioseffo: 220 13; 267 23; 279 17; 296 23; 70

333 1, 4-6 Le Roy, Bartolomeo. See Roy, Bartolomeo Guarnier. See Garnier Leo X, pope: 61 26 Guerrero, Pedro: 306 1, 2, 4, 16 Lerma: 172 2; 221 6

Lhéritier, Jean: 90 3, 16, 22, 23; 91 7; 142;

Havericq, Damien: 92 17; 98 16 218 3, 16, 19, 20 Havuille. See Anville, Adriano L’intrico: 277 11

1129

Index of Composers

Lockenburg, Johannes: 205 4; 222 8, 10, 11, 13 24; 277 10; 280 2, 11, 17, 18, 23; 300 28; 349; 358 Londariti, Francesco: 267 16, 22; 277 7; 291 12: 14; 360 6, 8, 24, 28, 33-35; 363 4, 10; 397 6, 8, 24,

296 16, 22 28, 33-35

Lupacchino, Bernardino: 32; 164 14, 15; 172 21;173 4, Nollet: 15 29, 41; 40 14; 65 1; 676 23; 190 1, 4, 5, 9, 11, 13, 17, 19, 23, 26, 32, 33, 37;

268 1, 5, 13, 15-17, 21, 26-28, 33, 34; 281 25, 26 Olivier: 173 7; 281 19 Lupi, Johannes: 19 11; 20 1; 33 4, 5; 87 6, 7, 12; 90 8;

102 1; 218 8; 233 4, 5; 257 18 Padovano, Annibale: 219 12; 292 4; 295 14; 306 12, 13,

Lupus: 60 4; 62 4; 142 16. See also Hellinck 25, 77, 78; 356 4; 357 4, 5

Lusitano, Vicente: 221 11 Palatio. See Palazzo, Paolo Giacomo Palazzo, Paolo Giacomo: 14 61, 63, 64; 40 10

Mahiet: 58 20 Palestrina, Giovanni Pierluigi da: 172 1, 23, 25 186 30; Maillard, Jean: 98 13 205 3; 277 6; 306 5, 12, 13, 19, 20, 84, 85; 313 12; Maistre Jhan: 1 1; 31; 34 23, 24; 61 7; 86 8, 9, 11; 90 4, 358 5, 6, 8, 11, 13, 15, 16; 393

7; 92 18; 218 4, 7; 243 11; 257 15 Palestrina, Angelo da: 393 12 Manara, Francesco: 72 2, 6, 9, 15, 18, 20, 28, 31, 32, Palestrina, Rodolfo da: 393 15

34, 35 Palestrina, Silla da: 393 14, 25

Manchicourt, Pierre de: 134 10 Paolo da Fuligno: 172 20

Martinengo, Gabriele: 42; 71; 73 11, 15; 357 6 Parabosco, Girolamo: 40 8, 9, 17, 20

Mathias: 91 8 300 35 Mattee: 280 28, 29 Payen, Nicolas: 3 8; 67 11, 12; 98 2, 3, 22

Matelart, Ioanne: 172 15; 221 15 Passereau, Pierre: 96 3; 98 9, 10, 11, 13, 15, 20, 23;

Mazzone, Marc’ Antonio: 323; 324; 360; 363 5, 22, Pelestina: 357 6

30; 397 Perego, Camillo: 143

Mazzoni, Francesco: 325; 343 Perino Fiorentino: 247 4, 13, 15, 17, 20

Meldaert, Leonardo: 333 1 Perissone Cambio: 40 16, 23; 49; 73 4, 12; 88 18; , Melfio, Gioan Battista: 149 109 2, 4; 152 4; 206 20; 221 14; 357 6 Menon, Tuttovale: 27 8; 79; 117 12 Perugino, Anselmo: 361 4, 9, 11, 17, 18, 20, 27, 28; Meo Fiorentino: 361 1, 2, 25; 363 2 363 I, 3 Merlo. See Romano, Alessandro Pesciolini, Biagio: 235

Merulo, Claudio: 206 19; 220 14-16, 18; 267 3, 9; Pesenti, Michele: 66 21 . 273 18, 19; 292 1; 296 3, 9; 297 1, 6; 306 17, 82; Phinot, Dominique: 19 21; 36 7; 87 3, 9-11; 89 14, 15,

313 1; 356 1; 357 6; 359 2; 398 2 18; 90 19; 92 15; 138; 144; 218 21

Micheli, Domenico: 357 8 Picenni, Alessio: 220 11

Migret, Giacomo: 291 11 Piéton, Loyset: 27 10; 86 5; 90 18; 218 17

Milano. See Francesco da Milano Pinello di Ghirardi, Giovanni Battista: 189 18; 250 18; Mira, Leandro: 291 9; 297 6; 339 16; 381 9, 10, 12 374; 394

Montagnana, Rinaldo da: 158 Pionnier, Joannes: 132 16 Montanaro, Giovanni Battista: 221 19 Pisano, Bernardo: 66 28

Monte, Philippe de: 172 11; 182; 294 22, 23; 311 4, 5; Policreto, Giuseppe: 383 312 6; 326; 327; 345; 346; 347; 348; 372; 373; 392 Pont, Jacques du: 6§ 34; 67 9; 90 5; 98 2, 3; 107 21; 116 Morales, Cristébal de: 6 16; 10 1, 2; 11 1; 18 4, 10-12; 21; 117 28; 157; 163 21; 188 20; 218 5; 228 5; 293

19 13, 14; 26 1-3; 27 1, 2, 4, 6, 7; 33 1-3; 34 1, 3, 4, 21; 306 32-36 6, 7, 8, 15, 20, 22, 25; 43; 55; 86 6, 14-16; 88 11; 91 Pordenon, Marc’ Antonio da: 236 17, 19 [, 3, 6; 92 16, 19; 93 16; 108 13, 14; 233 1-3; 249 Porta, Costanzo: 163 39; 188 13; 205 12; 219 15; 222 21;

Moulu, Pierre: 58 23 242 15--17, 22; 294 14; 295 12; 306 26-30; 357 6 Mouton, Jean: 11 6; $8 32; 68 23, 24; 96 4; 1244;2175 Portinaro, Francesco: 173 18; 236; 277 17; 281 12; 291 8; 306 8, 73; 307

Nadal: 95 20, 21; 173 7 Pratoneri, Gaspero (Spirito da Reggio): 276 6, 7; 308; Naich, Hubert: 65 5, 9, 10, 12-14, 16, 18, 20, 23, 25; 311 12; 328 107 5, 11, 17, 35; 116 5, LI, 17, 35; 117 1; 163 5,11, Primavera, Giovan Leonardo: 262; 263; 272; 276 10;

17, 35; 188 5, 9, 16, 34; 223 6, 10, 11, 17, 20, 21; 329; 350; 351; 352; 363 17, 18, 20, 26, 27 293 5, 11, 17, 22; 294 8, 18

Nasco, Jan: 154; 173 6; 197; 205 5, 16-18; 219 14, 17; Ragazzo, Paolo: 252 221 3; 242 11, 21; 243 1; 260; 281 18; 295 6; 306 14, Ragazzoni, Pietro Paolo: 45

31, 79; 358 3, 12 Raimondo, Vettor: 183; 292 5, 6; 313 9; 356 5, 6

Ninot le Petit: 113 66 Rampollini, Mattio: 65 2, 24; 117 19; 221 2, 16, 18, 22 Nola, Giovanni Domenico del Giovane da: 24; 51; 80; 94 Renaldi, Giulio: 313 11 15; 118 15; 164 16; 172 17; 222 14; 271 7, 8, 13, 23, Reuez, N.: 217 10

1130

Index of Composers Reulx, Anselmo de: 35; 65 14; 107 8; 116 8; 163 8; Taglia, Pietro: 205 13; 292 7; 315 17, 19, 20; 356 7

164 12; 188 8; 293 8 Tasso, Gioan Marita: 190 3, 7, 8, 15, 16, 18, 21, 24, 25, Riccio, Pre Maria: 40 3 27, 29-31, 35, 39; 268 9-11, 19, 22, 25, 29, 30, 31, 35

Ripa, Alberto da: 246 2 Tastavino, Girolamo: 383 8

Richafort, Jean: 27 5; 60 2; 91 23; 2477 Tetis, Carlo: 263 23; 272 23; 350 23

Rodio, Rocco: 360 14, 25; 397 14, 25 Tiburtino, Giuliano: 84; 95 Roiccerandet, Nicolo: 280 15, 22, 24-26 Tortora, Marcello: 355 Romano, Alessandro: 128; 344; 371; 391 Tostolo, Julio: 164 10 Romano, Gio. Battista: 333 1 Troiano, Massimo: 290; 309; 310; 325 27; 329 21; 332;

Romano, Marc’ Antonio: 361 19 333 1, 4; 363 25

Rore, Cipriano de: 28; 40 24; 46; 52; 67 2, 5, 16; 72. 4,5, Tudino, Cesare: 133; 271 9, 10, 14, 15, 18, 20, 26;

8, 11, 24, 30; 73 1-3, 5, 9, 10, 16, 18; 88 2, 4, 12, 14; 280 5, 7; 325 10 95 15, 17, 19; 99 1-8; 129; 130; 137 1-6; 148 4; 168; | Turturino, Il (Cornelio Antonelli): 363 173 2, 3; 186 31; 213; 214; 215; 223 1, 2, 5, 12-16;

242 1-8; 264; 274 29; 276 1; 281 2, 3; 2893; 2914; | Varoto, Michele: 239

300 32; 306 18-22, 56-64; 312 3; 330 Veggio, Claudio: 12; 40 1, 13, 25, 28 Rossetto, Stefano: 288; 291 10; 295 7, 8; 297 7; Vento, Ivo de: 107 15; 116 15; 163 15; 188 17; 267 18;

312 7,9 277 16; 293 15, 18; 296 18; 333 1, 4

Rosso, il: 172 8, 9 Venturi, Pompilio: 379

Rotta, Antonio: 64 Verdelot, Philippe: 11 4; 13; 14; 15 6-16, 32; 47 3; 54; Roussel, Francois: 107 4, 10; 116 4, 10; 132 14, 18; 58 37, 38; 61 14-17; 65 22; 85; 89 20; 90 9, 15; 163 4, 10; 172 5; 188 4, 10; 205 2, 6, 7, 9, 10; 221 7; 92 20; 93; 96 14, 16; 107 38; 115; 116 38; 146; 222 18; 293 4, 10; 306 18, 31, 83, 96; 358 2, 7, 9, 14 163 38; 188 37; 218 9, 15; 294 11; 306 30, 95

Roy, Bartolomeo: 271 17; 280 16; 386 14 Vergelli, Giulio: 220 12 Ruffo, Vincenzo: 19 10, 15—17, 20, 23; 26 7; 40 2; 53; Vicentino, Daniele: 158 5

65 35; 94; 118; 131; 132; 145; 150; 164 20; 169; Vicentino, Nicola: 59; 67 3 173 9, 10; 184; 204 3; 205 15; 220 2; 243 6-8, 12: Vidue, Hettor: 181 8; 212 8; 232 15; 277 13, 14; 286 8;

281 16, 17; 306 10, 11, 15, 16, 24, 80, 81 287 (5; 357 12

Rufilo, Matteo: 198; 237 Vinci, Pietro: 161; 187; 199; 240; 275; 380; 381; 396

| Vinciguerra, Gasparo: 359 20-22; 398 20-22

Salvadore di Cataldo. See Cataldo, Salvadore di Volpe, Mare’ Antonio: 147 Sandrin, Pierre: 96 9

Santuccio, Sulpitio: 362 24; 369 28 Waelrant, Hubert: 265 Schaffen, Henri: 82; 94 16, 17, 19-21, 25, 30; 118 16, Werrecore, Matthias Hermann: 103

17, 19-21, 24, 25, 30; 253; 254 Wert, Giaches de: 162; 172 18; 200; 201; 202; 203; 242

Schiavetto, Giulio: 220 7, 9; 238; 255 9; 357 6

Schieti, Cesare: 219 7, 9-11, 14; 292 11, 16; 311 6; 313 Willaert, Adrian: 7; 8; 9; 14 41-45, 58, 59, 66; 15 1, 2;

3: 356 11, 16 19 26; 20 20; 29 32-35; 30; 40 22; 46 22; 48; 54 36,

Scotto, Girolamo: 18 5, 17; 22; 23; 29; 83; 92 5; 110 43, 46, 47, 54; 58 31; 65 4; 67 1, 10, 17, 23-26; 68 27-30; 111; 159; 171; 216; 224; 225; 353; 375; 20; 73 7, 8, 12, 14, 17; 74; 85 36, 43, 46, 47, 54; 89

376; 395 13, 17; 91 12-14, 18; 92 21, 23, 26, 28, 31, 32; 93 16;

Segni, Julio: 58 5; 75 14-25 95 16, 18, 22-29; 102 20; 105; 106; 107 27; 115 36,

Sermisy, Claudin de: : 6 6; 58 17-19, 21, 23 35; 61 2, 5, 43, 46, 47, 54; 116 27; 146 36, 43, 46, 47, 54; 133 66; 8; 63 21, 23; 68 18; 88 9; 90 21; 92 1, 3, 6, 8, 9, 12, 146 36, 43, 46, 47, 54; 163 27; 173 1; 188 26; 205 1; 14, 30; 96 13; 113 47-49, 51, 56, 58, 60, 62, 63, 65, 215 12, 13, 17; 217; 219 1; 223 3, 4, 9; 228 7, 20;

69; 217 25; 228 6, 18, 19, 24; 245 12 241; 243 3; 281 1; 306 22, 53-55, 87 Severino, Giulio: 199 13, 14; 240 13, 14; 275 7; 311 13

Silva, Andreas de. See De Silva, Andreas Ysore, Guillaume: 113 67 Silvestrino, Francesco: 74 9

Sohier, Mathieu: 67 14 Zappasorgo, Giovanni: 382

Spirito da Reggio. See Pratoneri, Gaspero Zaramella: 35129

Spontone, Bartolomeo: 160; 297 2, 3; 311 1, 7; 357 10 Zarlino, Gioseffo: 73 13; 86 17; 88 16, 17; 219 2-6; Striggio, Alessandro: 185; 186; 205 8; 206; 262 9; 273; 220 1; 242 18, 19; 291 5; 295 4, 5, 13; 313 14; 357 6 274; 277 3; 289 1, 2; 292 2, 3, 14, 15; 300 29; 3066, Zelanno. See Celano, Francesco

7, 9-11, 23-29, 74-76, 88-94; 311 2; 331; 354; Zoilo, Annibale: 295 10

356 2, 3, 14, 15; 357 2, 3; 377; 378 Zolini Bolognese: 361 22

113]

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, 1158

GENERAL INDEX

This index comprises subjects and names (including composers) in the historical study and the commentaries to each entry. See also appendixes A-E and the indexes to the catalogue.

Aaron, Pietro, 38 Acque Morte route, 124 Abbate, Antonio dell’, 119, 171, 598 Agee, Richard, 157

Abondante, Giulio, 180, 188 Agostinio, Scipione, 631 Accademia degli Elevati (Padua), 146, Aichinger, Gregor, 137

629 Alamanni, Luigi, 209

Accademia degli Infiammati (Padua), Albano, Gian Girolamo (count), 309, 373

19, 20, 39, 170 Alberti, Gasparo: Primo libro delle Accademia degli Invaghiti (Mantua), messe, 61

569 Alberto, Nicol6, 168

Accademia degli Occulti (Brescia), Albrecht V (duke of Bavaria), 200, 205,

146, 200, 542 536; as collector of music, 135;

Accademia dei Moderati (Verona), 879 Musica de’ Virtuosi, 209, 794; as Accademia dei Novelli (Verona), 879 patron of music, 145 Accademia Filarmonica (Verona), 146, Alcala, duke of, 499 184-85, 309, 365, 455, 497, 810, Aldine press, 12, 19, 183; printer’s

879; account books of, 117, 136; mark, 79; specializations, 21. See

dedications to, 460, 770, 876 also Manuzio, Aldo and Paolo Accademia of Rossano, 146; madrigal Aldobrandini, Pietro (cardinal), 148

for, 848 Amadino, Ricciardo, 119

Accademia Olimpica (Vicenza), 146 Amadoro, Marco de, 122 Accademia Ortolana (Piacenza), 166, Amorosi concenti (Gli), 209

303 Angelini, Orazio, 149

Accademia Pellegrina, 19, 20 Anguissola, Federico (count), 247 Accademia Veneziana (Accademia Animuccia, Giovanni, 205, 210

della Fama), 19 Anonimo Morelliano, 346 1159

General Index . anthology publications, 164, 213. See 242, 399, 419, 598; as source for

also edizione collettiva Scotto, 478

Antico, Andrea, 4, 14, 44, 163, 264; Augsburg, 126, 136, 137, 210, 211; Arcadelt, Secondo libro de madrigali Convent of St. Anna, music collec-

a 4, 168, 223; and Brandino and tion of, 136; Monastery of Saints Ottaviano di Amadio Scotto (IV), 50, Ulrich and Afra, music collection of,

172, 238, 240; La couronne et fleur 136 des chansons a 3, 119, 598: and Auricola, Alessandro, 334 Ottaviano Scotto II, 41, 63, 111-12, Avalos, Alfonso d’ (marquis of Vasto), 171; and the Scotto press, 118, 249; 39, 165, 184, 228, 287; as patron of

26 press, 111 7

woodcut method of music printing, music, 228; as patron of Scotto

Antonio de Salamanca, 63 Avalos, Antonia d’, 464 Aragon, house of, 145 Avalos, Fernando d’ (marquis of Vasto), Aragona, Antonio d’ (duke of Mon- 200, 551, 578

talto), 571 Avalos, Isabella d’. See Gonzaga,

Aragona, Cesare d’: motet commemo- Isabella

rates death of, 233 Avalos, Maria d’. See Aragona, Maria d’ Aragona, Maria d’, 39, 165,228; motet | Ayerbe, Michele da (count of Sim-

celebrates marriage, 536 meri), 621

Arcadelt, Jacques, 41, 140, 164, 165,

167-70, 177, 209, 247; Chiare fres- Badoer, Federigo, 19 ch’e dolci acque, 449; Primo libro di — Baglione, Ettore: motet commemorates

madrigali a 4, 111, 162, death of, 893

167, longevity of, 559 Baglioni, Genevra. See Salviati,

Arco, Nicolo d’, 897 Genevra

Aretino, Paolo: Lamentationes, 112 Balbi, Ludovico, 151 Aretino, Pietro, 22, 114, 170, 303 Baldini, Vittorio, 144, 203

Arezzo, Pietro d’, 475 Barberiis, Melchiore de, 125, 147, Ariosto, Lodovico: Orlando furioso, 180 22, 23, 110, 113, 486, 525, 712 Barbetta, Giulio Cesare: Primo libro Aristotelian commentaries, 21, 166, dell’ intavolatura de liuto, 68 344; edited by Ottaviano Scotto II, Barges, Antonio, 147 20, 39; printed by Brandino and Bargonio, Tomaso, 177 Ottaviano di Amadio Scotto (IV), 48; Barré, Antonio, 67, 204—05, 623; first

printed by Scotto press, 21, 32, 43, to feature madrigal cycle in antholo47, 65, 124. See also appendix D gies, 209; Libro delle Muse series,

Aristotelian studies, 21—22, 32 515, 528, 580, 582, 597, 604; prints

Arnigio, Bartolomeo, 542 Lasso’s Secondo libro a 5,521 Arpa, Giovanni Leonardo dell’, 207; Barré, Leonardo, 61

madrigal for, 848 Bartolini, Nofri (archbishop of Pisa),

Arrighi detto Vicentino, Ludovico 626

degli, 96 Bartolomeo da Ravenna, 835

Arrivabene press, 18 Basel, 126, 127

Arrivabene, Andrea, 186, 463 Bave, Adriano de, 111

Arrivabene, Giorgio, 36 Bazzola, Tomaso, 562 Artusi, Giovanni Maria, 136 Bellavere, Vincenzo, 207; underwrites Arundel collection, 164. See also anthology, 831

Henry Fitzalan Bembo, Pietro (cardinal), 19, 22, 346,

Asinelli, Giovanni Battista, 176, 303 409; Rime, 502 Attaingnant, Pierre, 4, 27, 119, 228, Bembo, Torquato, 409 1160

General Index

Benalio, Bernardino, 29, 37 693, 718, 720, 724, 729, 758, 762; Bene, Giovanni del, 641 compiler of villanesche anthologies, Beolco, Angelo (called ‘il Ruzzante’), 207, 678, 698; and the edizione col-

22 lettiva, 209; initiates Donato edition,

Berchem, Jacquet, 178, 189, 209; Alla 148, 741; publishes Lasso motets, dolc’ombra delle belle frondi, 177, 206, 663; relates music-making in

208; Capriccio... sopra le stanza Rovigo, 727; and Rore, 674; underdel Furioso, 203, 502; Madrigali a writes series of music editions, 85, cinque voci, 151; Primo libro degli 143-44, 175, 705, 714

madrigali a 4, 113 Bonardo, Francesco, 210

Berg, Johann and Ulrich Neuber, 663, Bonelli press: printer’s marks, 79

683 Bonelli, Giovanni Maria, 21, 143, 714;

Bergamo, Regents of La Misericordia, printer’s mark in Scotto editions, 85

893 Boni, Guillaume, 151

Bergquist, Peter, 897 book carriers, 121, 126

Bernstein, Lawrence, 114 book fairs, 121; at Frankfurt, 127; at

Bethanio, Fausto, 118 Lyons, 126; trade lists, 127-28 Betussi, Giuseppe, 176 bookshops, 121 Bevilacqua press, 183 Boorman, Stanley, 5, 60, 247 Bevilacqua, Mario (count), 145 Borgasi, Sigismondo (canon of Tre-

Bianchini, Domenico, 180 viso), 718, 782

Bianchini, Giovan Battista, 727 Borromeo, Carlo (cardinal), 146, 212,

Bianco, Pietro Antonio, 207 480

Bianconi, Lorenzo, 114, 147 Bosca, Matteo: Libro primo de musica Bindoni press: printer’s marks, 79 de la salamandra, 142 Bindoni, Agostino, 17, 119, 157 Bottrigari, Ercole, 508 Bindoni, Bernardo, 179, 212 Boyleau, Simon: Madrigali a III, V, Bindoni, Francesco and Maffeo Pasini, VI, VH, et VIL voci, 569

36 Bragadino, Alvise, 24

Bindoni, Gasparo, 18, 21,46; at Frank- Brescia, 122, 146; canons of, 145, 562,

furt book fair, 127 564

Blackburn, Bonnie J., 897 Bridges, Thomas, 5, 158, 170, 225,

Blado, Antonio, 95 261, 296, 333, 440, 680 Bobba, Cardinal: sonnet in Corona Briquet, Charles, 64 della morte, 762 broadsides, 27, 128 Boccaccio, Giovanni, 822 Brown, Horatio, 18

Bogota, 142 Bruges, 125

Boiardo, Giulio (duke of Scandiano), Brumel, Jacques, 843

308; patron of Menon, 377 Buglhat, Johannes and Antonio Hucher,

Boiardo, Matteo Maria, 65 228, 3/7, 459, 660, 661; music font

Bollano, Domenico (bishop of Bres- used by, 95; prints Rore’s Primo cia), 146, 200, 533; patron of arts, libro de madrigali a 4, 202-03; quar-

542 rel with Gardano, 167; as source for

Bologna, 32, 46, 63, 126, 136; Con- Scotto, 478 certo palatino, 508; Monastery of Bullock, Alan, 804 San Salvatore, music collection of, Burghini, Lorenzo, 447 136; noble families of, madrigals for, Burno, Rinaldo, 207 739, 835; Scuola Pia, music collec- Butchart, David, 823

tion of, 136 Buus, Jacques, 177, 178; Intabolatura

Bomberg, Daniel, 24 d’organo, 180; Primo libro di canBonagiunta, Giulio, 101, 147, 178, 212, zoni francese a 6, 166 116]

General Index

Califano, Michele, 202 Chapman, Catherine, 4 Caligopoeus, Paulus, 198, 466 Charles II (archduke of Austria), 145, Calina, Barbara, 146, 200, 542 211, 851; madrigal for, 724, 752

Calmo, Andrea, 22, 616 Charles IX (king of France), 152

Calvin, Jean, 308 Charles V (emperor), 165, 197, 450; Campeggio, Filippo Maria (bishop of motet commemorates coronation of,

Feltre), 548 . 233; motet commemorates settle-

Campis, Henrico de, 203 ment with Pope Clement VII, 389 Cancionero de Upsala, 68, 495 Chartier, Roger, 5

Canis, Cornelius, 198 Chiericata, Girolamo (count), 340 canzone, 185, 205, 209; early appear- Chiericata, Lucretia (countess), 340 ance of, 208. See also edizione col- choirbook format, 68

letiva Ciccarelli, Giulio, 202 828 Clemens non Papa, 198

canzone de diversi, 209, 728, 762,794, Ciera, Ippolito, 198, 209

canzone villanesca alla napolitana, Clement VII (pope): motet commemo-

201; printed in 1560s, 206 rates settlement with Charles V, 389

Capcasa, Matteo, 33 Clerico, Paolo, 200; Secondo libro de

Capponi, Neri, 167 madrigali a 5, 144

Caracciolo, Francisco (prior of Bart), collectors of music books, 130-37;

379 164. See also appendix C

Carafa, Clarice. See Orsina, Clarice Cologne, 126 Carafa, Luigi (count of Aliano), 490 Colonia, Johannes de (Venetian Carbone, Giovanni Antonio (marquis of printer), 12, 17; and Manthen, 128

Paduli), 631 Colonia, Johannes de (Neapolitan

Cardamone, Donna, 282, 319, 497, printer), 67 ,

672, 841 Colonna, Isabella: lament for, 848

Carli, Girolamo, 198 Colonna, Vittoria, 804

Caro, Annibale, 22, 210; death com- colophons, 43, 71; as evidence for memorated in Corona della morte, partnerships, 41, 50, 112; source

761 of biographical information, 39,

Carpentras (Elzéar Genet), 115, 284 42 Cartero, Bartolomeo, 136 Coloredo, Carlo (dean of Udine cathe-

Casola, Pietro, 30 dral), 198

Cassola, Luigi, 176, 247 Comencino, Giovanni, 117 Castelletta, Vittoria, 852 Comin da Trino, 21, 22 Castellino, Alvise: Primo libro delle Compania de’ Fabretti, 188

villote a 4, 166 Compania de’ Fruttaruoli, 188 Castell’ Arquato, 247 compositors, 57, 58 Castiglione, Baldasarre, 23, 65 Contarini, Alessandro, 695 Castiglione, Giovanni Antonio, 228, Contarini, Luigi, 672

359 | Contarini, Nicolo, 22, 65

casting off (estimating) copy, 57 Contile, Luca, 804; Lettere, 415

Casulana, Maddalena, 147 Contino, Giovanni, 186, 189, 197, 199

Catullus: Carmen, 264 200, 210; Primo libro de’ madrigali Cesarini, Cleria. See Farnese, Cleria a 5, 146; Threni Jeremiae, 60

Cesi family, 84 contrapunctus, 334

Chamatero, Ippolito: madrigal for, 716; | Conversi, Girolamo, 52 Quarto libro delli madrigalia 5,569 Corelli, Giovanni Paolo, 835

Channey, Jean de, 115 Corfini, Jacopo: Primo libro di madri-

chansons spirituelles, 413 galia 5,519 1162

General Index

Cornaro, Francesco: madrigal for, 716 Doroteo, Guiglielmo, 41 Corner, Giorgio (bishop of Treviso), Dowland, John, 140

68 1 Dragoni, Giovanni Andrea, 52

Corno, abbot of, 386 Du Chemin, Nicolas, 4 corona: as poetic form, 762

Corona della morte, 210 edition: definition of, 57 n. corrections of publications, 59 edizione collettiva, 184, 207-10

Corsi, Jacopo, 744 Egnazio, Giovanni Battista, 19

Corteccia, Francesco, 172, 178; Libro Einstein, Alfred, 157, 720, 828, primo de madriali a 4, 85, 115, 150 Eisenstein, Elizabeth, 5, 13

Crecquillon, Thomas, 198 Eitner, Robert, 157

Cremona, 122 Eleonora of Austria: madrigal celeCroy, Robert de (bishop of Cambrai): brates marriage, 585

motet for, 541 Elizabeth I (queen of England), 676;

Cusick, Suzanne, 5 madrigal for, 862

Emerich, Johann, of Speyer, 25, 63

Dandolo, 163, 194 equal-voiced works (a voce pari), 225, De Tortis, Battista and Silvestro: 277, 282, 290, 294 partnership with Scotto press, 36 Erasmus, Desiderius, 19

dedications, 145—48; as evidence Erfurt, 126 for partnerships, 113. See also Este family, 145

appendix B Este, Alfonso I d’ (duke of Ferrara):

DeFord, Ruth, 705, 807 motet commemorates, 286

della Casa, Giovanni, 147 Este, Alfonso II d’ (duke of Ferrara), della Gatta, Giovanni, 63, 142 843; and Lasso’s Libro quarto de

della Rovere family, 145 madrigali a 5, 149, 205; as patron della Rovere, Isabella Feltre, 490 of music, 203; and Willaert’s Desprez, Josquin. See Josquin Desprez Musica nova, 143, 144, 187-88,

didactic editions, 110, 257, 270, 272, 193-96

744 Este, Ercole II d’ (duke of Ferrara):

Dietrichstein, Moritz II von, 619 166, 196; commemorated in Mass

Dolci frutti (1), 88, 209 setting, 244

Dolce, Lodovico, 20; Dialogo della pit- _ Este, Ippolito II d’ (cardinal): 203; con-

tura, 695 fused with Ercole Gonzaga, 235;

Domenichi, Lodovico, 20, 176; La motet commemorates his reception

nobilta delle donne, 340 in Rome, 389

Donato, Baldassare, 188, 210; Secondo —_ Este, Leonora d’, 203

libro de madrigali a 4, 115, 148 Este, Lucretia d’, 203 Doni, Antonfrancesco, 22, 66, 166; Este, Luigi d’ (cardinal), 203 Dialogo della musica, 136, 146,175 _—_ Este, Renata d’. See Renée de France 78, 209, 212; Libraria, 558 Dorati, Nicolao: Stanze della Sig.ra Vit- Faa, Oratio: Libro primo de madrigali a

toria Colonna, 502 5, 144

Doria, Andrea, 184, 460 Fabriano, Giacomo, 21, 63, 113, 124, Dorico, Valerio, 63, 67, 355, 547, 807; 179, 212 and Morales Masses, 142, 245, 246, Faleti, Girolamo, 189, 194 277, 311; prints Lasso’s music, 204, — Fano, canons of, 588

606; prints Palestrina’s music, 201, Farnese family, 145

888 Farnese, Cleria, 864

Dorimbergo, Vito da: 147, as patronof Farnese, Margaret. See Margaret of

music, 760 Austria 1163

General Index

Farnese, Ottavio (duke of Parma and Forney, Kristine, 5 Piacenza), 575, 578; as patron of France, Renée de (duchess of Ferrara),

music, 869 166

Febvre, Lucien and Henri Martin, 5 Francesco da Milano, 171, 180; /ntaFeldman, Martha, 173, 188, 194, 195, volatura de viola o vero lauto, 105

741 Franco, Nicolo, 22, 114, 147, 167, 170

Fenarolo, Girolamo, 147; sonnet in Franco, Veronica, 119

Corona della morte, 762 Frankfurt: book fairs, 127

Fenlon, Iain, 355 fraterna, 16, 35

211 137, 499

Ferdinand (archduke of Austria), 145, Fugger family: music collection of,

Ferdinand (duke of Calabria): com- - Fugger, Hans Jacob, 152 memorated in Mass setting, 244

Ferdinand I (emperor): motet com- Gabrieli, Andrea, 186, 209, 210 memorates defense of Vienna, 242, Gabrieli, Giovanni, 137

413 Galilei, Vincenzo: Fronimo dialogo, 68,

Feria, Baldassar, 174 149

Fernando, Garcia, 147, 685 Gambara, Veronica, 804 Ferrabosco, Domenico, 189 Ganassi, Silvestro: Regola Rubertina, Ferrara, 122, 175; madrigals for per- 386 sonages of, 872; music in, 367,617; | Gardano, Alessandro, 246

music printers, 202-03 Gardano, Angelo, 326; dedicates edi-

Ferrarese, Don Paolo, 116 tion to Casulana, 147

Ferretti, Giovanni: Canzone alla Gardano, Antonio: conflict over napolitana a 5, 144; Secondo libro Arcadelt editions, 167-70, 213, 223; delle canzoni alla napolitana, 85 dedication of Canzone francese a 2,

Ferrier, Dum, 699 147; difficulties during early years,

Ferro, Giovanni (count of Macerata), 169; entering commercial period, 27;

85, 145, 729, 741; as patron of formats used, 67; location of press,

music, 714, 775 16; lute publications, 180; marriage, Ferro, Vincenzo, 205 17, 119, 157; Motetti del Frutto Festa, Costanzo, 41, 166; attempts to series, 166-67, 169-70, 389; music

sell his music to a printer, 140 repertory printed, 155; number of Fiesco, Giulio: Musica nova, 203; editions issued by, 183; orders ediPrimo libro di madrigali a 5, 203 tions by tonal type, 162, 440, 551;

Filarete, Apollonio, 486 papers used by, 63; printing of Finck, Hermann, 139 Willaert’s Musica nova, 187, 193-96; Fino, Pietro da, 18, 46, 144, 705, 728; prints keyboard intavolatura, 180; printer’s mark in Scotto editions, 85 prints Lasso’s music, 205, 683; Fiorino, Gasparo: La nobilta di Roma, reprints Buglhat and Hucher edition,

146 459; reprints Dorico editions, 606;

Florence, 23, 29, 118, 122, 126, 167 transforms anthology into singleFoggia, Cesare (bishop of Umbriatico), composer edition, 162; uses same

489 type font as Scotto, 95 Fondaco dei Tedeschi, 146, 616 -— relations with other cities: Ferrara, formats, 57, 64, 189; used by Scotto, 166, 184, 202-03, 213; Rome, 184, 65, 66. See also Scotto, Girolamo; 204, 213; transalpine centers, 184,

formats used 210, 213

formes, 57 , — reprints of Scotto editions: Arcadelt Formschneider, Hieronymus, 242 madrigals, 225, Donato canzon vil-

Fornaro, Cristoforo, 454 lanesche, 415, Ghibel madrigals, © 1164

General Index

426, Gombert motets, 228, 230, 266, Lyons, 127; inventory of music 268, Jacquet of Mantua motets, 2372, books, 542; specializations, 21 236, lute intabulations, 337, 348, Giunti, Antonio, 111 Madrigali della Fama, 367, Mass edi- _Giunti, Jacopo and Filippo, 118 tions, 276, 277, Morales Magnificats, | Giunti, Luc’ Antonio, 29, 63; partner-

278-79, Motet anthologies, 290-91, ship with Amadio Scotto, 36 294, 392, Nola canzone villanesca, Giustiniani, Marcantonio, 24 274, Phinot psalms, 482, Reulx Glarean, Heinrich, 541 madrigals, 293, Rore madrigals, 280, Gombert, Nicolas, 165 Ruffo madrigals, 328, 463, Striggio Gonzaga family, 196 madrigals, 551, Veggio madrigals, Gonzaga, Alfonso I (count of Novel-

247, Verdelot madrigals, 251-52, 255, lara), 198, 200, 511; madrigal for, Wert madrigals, 575, Willaert can- 754 zone villanesca, 319, Willaert motets, | Gonzaga, Giulio Cesare (Camillo), 200,

238, 240. See also Scotto, Girolamo; 578

and Antonio Gardano Gonzaga, Caterina. See Katerina of

Garugli, Bernardino, 128 Austria

Gattinario, Antonio (count of Castro), Gonzaga, Cesare (prince of Molfetta),

334, 361 200, 772; as patron of arts, 569

Gaudio (Il), 209 Gonzaga, Ercole (cardinal), 197, 201, Geneva, 126, 308 232, 452; confused with Ippolito II

Genoa, 126, 184 d’ Este, 235; madrigal for, 585

Gerlach, Dietrich, 683 Gonzaga, Federico II (duke of Mantua), Gero, Jhan, 209; Primo libro dei madri- 197 gali & canzoni francese a 2, 110, Gonzaga, Ferrante (duke of Guastalla),

113, 158, 213, longevity of, 559 197, 450, 575

Gerstenberg, Walter, 284 Gonzaga, Francesco III (duke of ManGesner, Conrad: Pandectae, 46 tua): 538; motet commemorates Gesualdo, Carlo (prince of Venosa), coronation of, 262

670 Gonzaga, Guglielmo (duke of Mantua),

Gesualdo, Fabrizio (prince of Venosa), 197, 801; as collector of music

670 books, 136; association with Palest-

Ghibel, Heliseo, 140, 202; De festis rina, 149, 201, 888-89; madrigal by, introitibus missarum, 447; Motetta 144; madrigal celebrates marriage super plano cantu 5 vv liber primus, of, 585; Magnificats, 151

59, 179 Gonzaga, Ippolita, 452; madrigal for,

ghost editions, 235, 245, 285, 308, 664 569

tions, 21 . for, 551

Gioliti press, 12, 13, 183; specializa- Gonzaga, Isabella, 200, 578; madrigal Giolito, Gabriel, 18, 20, 22, 23, 46,247 Gonzaga, Isabella di Capova, 452

Giordano, Camillo, 167 Gonzaga, Leonora. See Eleonora of Giovanelli, Pietro: compiler of Novus Austria

Thesaurus, 64, 193, 211-12 Gonzaga, Luigi, 617 Giovanelli, Ruggiero: Jerzo libro de Gonzaga, Margherita, 197

madrigali a 5, 148 Gonzaga, Scipione (cardinal), 144, 201, Giovanna of Austria: madrigal for, 823 629; writes madrigals, 585 Giovanni del Lago: Breve introduttione | Gonzaga, Vincenzo I (duke of Mantua),

di musica, 50 149 Giovanni Maria da Crema, 180 Gottardo, Paolo, 802

Girolamo, Prevosto de la Scala, 315 Gottifredi, Bartolomeo, 176 Giunti press, 12, 13, 18, 25, 46, 183;1n |= Grandonto, Davit, 698 1165

General Index

Grassi, Giuseppe, 881 Jenson, Nicolas, 12, 17

Graz, 142 Johann Friedrich der GroBmiitige (elec-

Gregori, Giovanni and Gregorio de, 33 tor of Thuringia), 137

Grendler, Paul, 5, 13, 14 John IV (king of Portugal), 135 Griffio, Giovanni, 18, 21, 25, 46 Josquin Desprez, 142; Alma redemp-

Grimaldi, Luca, 186, 462, 483 toris mater, 277; commemorated in

Grimani, Alvise, 698 Dum vastos Adriae fluctus, 198; Vous

Grisone, Antonio, 780 ne l’aurez, 489 Groppalo, Agostino di Negro, 185-86, Judd, Robert, 386

460, 463, 483 Julius (duke of Brunswick-Wolfenbiit-

Grossi, Battista (bishop of Reggio), tel), 135 198, 442

Guami, Gioseffo, 207 Katerina of Austria: motet commemoGuarini, Alessandro, 148 rates entrance into Trent, 538

Guerra press, 183 Kerle, Jacobus de, 210-11, 541; Guerrero, Francisco, 151 Masses, 64

Guise, cardinal de, 606 Kiesel, Giorgio, di Kaltenbrunn, 837 Gusago, Antonio di, 33 La Martoretta, Giandomenico, 202, 525

Haar, James, 114, 140, 176, 355, 386 Lacuna, Andrea: Vita Galeni and Anno-

Hamman, Johann, 25, 33 tationes in Galeni interpretes, 333

Hana, Giovanni da, 181 Laet, Jean, 676 Hanna, Paolo di, 181 Lagudio, Paolo, 202

Havente, 525 Lambertini, Giovan Tomaso: Primo

Heartz, Daniel, 4, 157 libro de madrigali... sopra quindici

Henri III (king of France), 151 stanze di Tasso, 502 Henry Fitzalan (duke of Arundel): buys — Landi, Ottavio, 303

books in Italy, 123; as collector of Lando, Ortensio, 20, 22

music books, 135 Lando, Stefano, 202, 209

music books, 137, 583 670, 789 | horizonal setting of type, 59 Lasso, Orlando di, 128, 137, 210; Herwart, Hans Heinrich: collector of Larson, Keith, 324, 361, 379, 486, 489,

Hoste da Reggio, 198 granted privileges on printing his

hymn cycles, 284 music, 152; Italian publishing career, 204—06; Libro quarto de madrigali a

Il Verso, Antonio, 148 5, 149, 152, 203; Livre de chansons incunabula, music, 25, 63 nouvelles a cinc parties, 152; Moduli initials, 406, 412; iconographic refer- quinis vocibus, 152; number of pubences in, 92; illustrate heraldic coat lications, 204; oversaw printing of of arms, 94; use in music editions, his editions, 151; Standomi un

88; used by Scotto press, 88-94 giorno, 209

Isnardi, Paolo, 52, 203 Lazzarini, Benedetto de, 705 issue, 261; definition of, 744 Le Roy, Adrian and Robert Ballard, 4,

iustiniana, 831 67, 152, 663, 807

Ivo Barry, 189 Legge, Giovanni da, 146, 298 Leggerini, Ludovico, 727

Jacquet of Mantua, 165,197; Enceladi Leipzig, 126, 127 ceique soror, 566; Motecta quinque Leoviler di Hall, Giovanni, 33 vocum liber primus, 162; Orationes Lepanto, Battle of: madrigals com-

complures, 116 memorate, 874, 876; motet comJena, University of, 137 memorates, 893 1166

General Index

Lesure, Francois, and Genevieve Magni, Bartolomeo, 279

Thibault, 4 Magno, Celio, 876

Lewis, Mary; 5, 58-59, 114, 158, 174, Main, Alexander, 279 225, 255, 268, 288, 326, 392, 415, Maio, Giovan Tomaso di, 486

463, 482 Maistre Jhan: Symphonia quatuor mod-

Leze, Andrea de, 298 ulata vocibus, 61, 88

Libro delle Fiamme, 85 Maldura, Caterina, 51

libro di lettere, 22, 145, 147 Maldura, Gian Andrea, 51, 122

Liechtenstein, Petri, 25 Maldura, Gian Michele, 51, 122 Lindell, Robert, 851 Malvicino, Annibale (marquis), 303 Lippomano, Luigi (bishop of Verona): Manara, Francesco: Primo libro di motet commemorates installment, 484 madrigali a 4, 203

Locatelli, Boneto, 33, 36 Manchicourt, Pierre, 198 Locatello, Roberto, 447 Mandello, Cristoforo de Pensis di, 33 Lockwood, Lewis, 277, 483 Manrique, Giovanni, 793, 795, 883

Logan, Oliver, 409 Mantova, Marco da, 346

Londariti, Francesco, 188, 207 Mantua, 51, 122, 136, 165, 196 201, Londonio, Antonio: madrigal for, 867; 213; commemorated in Dum

as patron of music, 802 vastos Adriae fluctus, 198; Londonio, Isabella. See Trivulzio, palatine basilica

Isabella of Santa Barbara, 136, 197, 201

Longo, Pietro, 17, 127 Manuzio, Aldo, 19, 24, 26, 37, 130. See lost editions, 225, 259, 268, 274, 298, also Aldine press 426, 497, 542, 583, 727, 756, 768, Manuzio, Paolo, 19, 46 821, 830, 857. See also appendix E Marco of Friuli, 681

Lowry, Martin, 5, 13 Marcolini, Francesco, da Forli: 19, 22, Lucatelio, Eustachio (bishop of Reg- 23, 27; location of press, 16; lute

gio), 787 publications, 180, 644; as music

Lucca, 126, 519 printer, 171-72, 238; and Scotto Lupacchino, Bernardino, 202; and press, 238, 240 Gioan Maria Tasso, Primo libro a 2, Marenzio, Luca, 52, 137, 199, 203

110, 558 Margaret of Austria (duchess of Parma

lute editions, 180 and Piacenza), 828; praised in I dolci lute tablature: single-impression Frutti, 210

method, 105-06; woodblock and Martinengo, Fortunato (count), 804,

multiple-impression methods, 105 897 Luzzaschi, Luzzasco, 203; Madrigali Martinengo, Gabriele, 210

per cantare e sonare, 148 Martini, Johannes, 284 Lyons, 23, 27, 119; book fairs, 126; Marzato, Andrea (governor of Monop-

center for pirated editions, 127 oli), 474 mascherate, 841

MacClintock, Carol, 575 Matelart, loanne, 205 Macque, Giovanni de: Ricercate et Maximilian II (emperor of Austria),

Canzoni francese a 4, 147 145, 211, 855; madrigal for, 752; madrigal cycle, 208—09, 502, 760 motet celebrates marriage, 536; pays madrigale arioso, 205, 504, 515, 786 Monte for music editions, 886

madrigali cromati, 381 Mazzocchi, Giovanni, 111 madrigali spirituali, 641 Mazzone, Marc’ Antonio, 202, 207: Madruzzo, Cristoforo (cardinal), 145, Canzoni, 149; compiler of anthology,

196, 466, 536, 561; motets com- 833; Corona delle napolitane, 148

memorate, 303, 538 Medici family, 145 1167

General Index

Medici, Alessandro de, 171 reprints of Scotto editions, 245; as Medici, Cosimo de (duke of Florence), source for Scotto, 228 85, 118, 151, 200, 300; madrigal for, | Molino, Antonio (called ‘il Burchiello’),

551 22, 147, 802, 815; Primo libro delle

Medici, Ferdinando de’, 144 greghesche, 368

Medici, Francesco de’, 500 Molino, Giovanni, 728 Medici, Giovanna de’. See Giovannaof Molza, Tarquinia, 867

Austria Moncada family, 145

Medici, Ippolito de’ (cardinal): motet Moncada, Francesco (count of Cala-

commemorates visit to Venice, 242 taniscetta), 363 Medici, Isabella de’, 735; as patron of Moncada, Giulia (marchioness of

music, 712; madrigal for, 864 Pietrapretia), 363, 525, 554

Meier, Bernhard, 280 Mondaleschi della Cervara, Monaldo,

Melapart, Jacob, 24 623; madrigal for, 825

Melchiori, Pier, 878 Monte, Philippe de, 52, 205, 209, 783; Melchiorri, Marcello, 807 Liber I. Missarum, 142; and madriMelfio, Giovanni Battista: Primo libro gale arioso, 786; music tutor for

degli madrigali a 4, 113, 202 Pinelli, 737; Venetian publications

mercatori, 13, 19 of, 211

Alessandro 703 Merritt, A. Tillman, 828 Morales, Cristébal de, 165;

Merlo, Alessandro. See Romano, Montilio, Carlo (archbishop of Amalfi),

Merulo, Claudio, 188, 207, 210; as Magnificats, 64; Missae cum quatuor music printer, 110, 150, 183, 186, vocibus paribus, 60; printing of Mis212, 252, 279, 355, 404, 814, 819; sarum Liber Primus, 63, 142 prints Bonagiunta edition, 206; Moreto, Antonio, 36 prints Lasso’s Masses, 206; reprints Morone, Giovanni (cardinal), 146, 634 of Dorico editions, 606; and Scotto, Moscheni, Francesco, 67

118 Mosin, Vladimir, 64

Messina, 125; trading center for Scotto Motetti del Laberinto, 85, 198-99

press, 202 Mouton, Jean: Peccata mea Domine,

Michiel, Sebastiano, 897 449; Quam pulcra es, 277

Milan, 122, 126, 168, 204; madrigal multiple-impression method, 25, 26, 33 honoring, 450; music in, 165, 228; Munich, 126, 204, 209; and Gardano, and Scotto family, 30, 39, 42, 46, 51, 205, 210

196 music presses in Venice: connections

Milano, Marco, 147, 698 among, 118-20; locations of, 14—16; Milleville, Alessandro, 203 number of editions printed, 14; orga-

Milsom, John, 27 nization of, 55-57; repertory of. See Minerbetti, Bernardetto (bishop of appendix A.

Arezzo), 312 Musica de’ Virtuosi, 209

Minturno, Antonio, 794 Mussi, Agostino di, 23 Mira, Leandro: dedicator of music edi-

tion, 802, 815 Naich, Hubert: Exercitium seraficum, Misura a breve. See note nere style 95 Mocenigo, Filippo (archbishop of Can- Naples, 105, 125, 145; noble families,

dia), 198, 444 madrigals for, 716; S. Croce di

modal grouping in editions, 162-63, Lucca, church of, motet commemo-

270, 272, 280, 296, 309, 440 rates, 361; and Scotto press, 46, 48, Moderne, Jacques, 4, 119, 242, 245, 50-51, 122, 123, 124, 184, 201-02,

246, 277; Motetti del Fiore, 164; 213 1168

General Index

Nasco, Jan, 146, 185, 189, 365 Palladio, Andrea, 340

Neacademia, 19 Pallavicino, Benedetto, 151 nested type, 105 Pallavicino, Pietro, 480 Nicolino de Sabio, Giovanni, 41 Pallavicino, Sforza, 766

Nifo, Agostino, 166 Paltasctchi, Andrea di, 33

864 Maggiore), 666 Noia, Orazio della, 848 paper, 62; sizes of, 63; watermarks of, Noia, Beatrice della: madrigal for, 848, |§ Pampuro, Andrea (abbot of S. Giorgio

Nola, Giovanni Domenico del Giovane 64, 406 da, 179, 207; Canzone villanesche Parabosco, Girolamo, 176, 178, 188, libro primo et secondo a 3, 162, 164, 616; I! viluppo, 320; Lettere

202 amorose, 320

note nere style, 164, 213, 247, 282, Paris, 14-15, 23, 27, 119, 151-52 309, 334, 361, 464; madrigal Paruta, Domenico (abbot of S. Gregoanthologies in, 300, 353, 381, 402, rio), 663

421, 436, 437, 514 Paruta, Filippo, 148

Novello, Lodovico: Mascherate, 320 Paruta, Paolo, 19, 22

Nugent, George, 307, 658, 661 Parvus, Johannes, 446

Nuremberg, 126,204 — Passera, Marcantonio, 324 Nutter, David, 585 Passero, Marcantonio, da Genova, 147, 344, 629

Occagna, Goittardo, 320, 368 Pastorello, Ester, 14 ,

Orsina, Clarice, 490 Paul III (pope): motet commemorates Orsina, Isabella. See Medici, Isabella de’ his 1538 peace treaty, 389 Orsini, Leone (bishop-elect of Frejus), Pecorina, Polissena, 187

111, 169-70 Pederzano, Domenico and Angelo, 122

Ottobon, Gabrielle, 678 Pepolo, Giulio (count), 739 —

Ovid: Heroides, 88, 199, 442 Peranda, Giovanni Francesco, 148

Owens, Jessie Ann, 247 Perego, Camillo: La regola del canto fermo ambrosiano, 480

Padovano, Annibale, 188 Perissone Cambio, 142, 150, 174, 177, Padua, 32, 36, 62 63, 122, 145, 210, 179, 188; Madrigali a cinque voci, 342; academies of, 19, 20, 39, 146, 60; Primo libro di madrigali a 4, 147 170, 185; outlet for Scotto’s books, Perugia, 122 124; property owned by Scotto in, 45 —_— Pesciolini, Biagio, 149

46; I] Santo, 135, 148; University of, Petrarch, 381, 504, 566, 622; Vergine 21, 39, 147, 201, 309, 344, 346, 533, bella, 752

629 Petrucci, Ottaviano, 4, 44, 53,71, 118,

Paganini, Paganino, 24 163, 171, 277; and multiple-impres-

Palavicino, Lodovico, Marchese, 480 sion method, 26; and Paolo Scotto, Palazzo, Paolo Giacomo, 166, 176 38; petitions for renewal of privilege, Palermo, 56, 122, 125, 136; trading 37, 112; printer of anthologies, 208

center for Scotto press, 202 Pfaffenperg, Maria, 123 Palestrina, Angelo da, 201 Phalése, Pierre, 180, 326; and Jean BelPalestrina, Giovanni Pierluigi da, 52, lére, 764 101, 197, 205, 828; Beata Barbara, Philip II (king of Spain), 145, 150; as 201; early publications, 201; Gaude collector of music books, 135; Barbara beata, 201; Mottetorum 5, motets for, 198, 228; praised in / 6, & & vv. liber secundus, 149, 201 dolci frutti, 210

Palestrina, Rodolfo da, 149, 201 Piacenza, 30, 136, 146, 166, 176-77,

Palestrina, Silla da, 201 303 1169

General Index , Piccioni, Giovanni, 52 300, 319, 377, 654, 823, 862; and Piccolomini, Alessandro, 23, 39, 65, Sessa, 626; and Zorzi, 187-88; as

166, 170 evidence for partnerships, 112; as

Pico della Mirandola, Giovanni, 42 evidence for lost editions, 298; Pietrasanta, Pietro, 183, 252, 594; and evidence for on title pages, 315, 340,

Scotto, 119 674. See also appendix E

Pifaro, Marcantonio del, 180 production schedule, 117 Pigna, Giovanni Battista, 195 publishers’ catalogues, 128

Pignatelli, Camillo, 785 Pulci, Luigi, 65 Pignatta, Gasparo, 828, 839

Pinelli, Galeazzo, 737 Quaini, Girolamo, 872 Pinello di Ghirardi, Giovanni Battista, Quondam, Amedeo, 5» 207

Pionnier, Joannes, 186 Racchiano, Giovanni Battista, 118 Pisani, Francesco (cardinal), 342, 681 raccolta celebrativa, 209~—10

Pitoni, Giuseppe Ottavio, 334 Raffaele, Nicold di, 37, 112 Pius V (pope): praised in / dolci frutti, Rampazetto, Francesco, 183, 246, 277,

210 280, 312, 353, 583, 605, 683; con-

Plantin press, 126, 142 nection with Scotto, 113; location of

Poach, Peter, 124 press, 15-16; partnerships with other Pogue, Samuel, 4 bookmen, 117-18, 212, printer of

Policreto, Giuseppe, 207 Scotto editions, 474, 490 Pomponazzi, Pietro, 232 Rastell, John, 27 Pont, Jacques du, 178 Ravaschiero, Gioan Girolamo, 324 Pontio, Pietro, 52 Razzi, Serafino: Laudi Spirituali, 118

Porta, Costanzo, 151, 210 recueil, 208 | Portinaro, Francesco, 146, 185, 201, Regensburg, 136

203 Reggio Emilia: noble families, madriPozzo, Cesare, 67 gals for, 754

pressrun, size of, 14, 117 Renée de France (duchess of Ferrara), prices: for music books, 117, 165 308; madrigals for, 377 Primavera, Giovan Leonardo, 202, 207 Rener, Adam, 278

printer’s marks: as a trademark, 79; Reulx, Anselmo: Madrigali a quatro burning salamander, 288, 333, 340, voci, 88 355; identify press, 79; regulation of, | Rhau, Georg, 272, 278 79; of Scotto press, 33-34, 39 40,47 Ricci, Pierfrancesco, 627

50, 52 53, 80 85; as symbols of Ricciardo, Francesco, 525

Venice, 79-80 Riccio, Scipione, 118

printers in Venice: as capitalists, 13; Richafort, Jean: De mon triste

disputes among, 17; guild, 18; desplaisir, 246; Philomena praevia, locations, 14; marketing strategies, 276; Sur tous regretz, 276 20, 158; number of editions printed, | Roiccerandet, Nicold, 207, 685, 699

13; specializations, 21 Romano, Alessandro, 209; emulates printing contracts, 36, 51, 111, 112, Ferretti, 810; mistakenly identified

115, 141, 142, 666 as Merlo, 455

Priulit, Domenico, 45 Rome, 26, 95, 122, 151; and Gardano privileges, 17, 23, 24, 171; and Festa, press, 184, 203—205, 213; madrigals 140; and Gardano, 595; and Marcol- for noblewomen of, 848, 864; motet ini, 180, 240; Milanese, 359; 382; commemorates sack of, 233; San and Perissone Cambio, 320; Roman, Luigi dei Francesi, church of, 502; 528; and Rore, 326; and Scotto, 42, and Scotto press, 46, 48, 50 1170

General Index

Roncale, Antonio, 724 Sansovino, Francesco, 23; Lettere Rore, Cipriano de, 128, 171, 178, 189, amorose, 670 212; Alla dolc’ombra delle belle Sansovino, Jacopo, 20, 298 frondi, 456, 566; Anchor che col par- Santa Pau family, 145 tire, 449, parody of, 831; Madrigali Santa Pau, Francesco (marquis of

a 5, 162, 173, 280; mentor of Buera), 510, 554 Alessandro Romano, 455; Motetta Santa Pau, Imara (marchioness of quinque vocum, 174; Primo libro de Buera), 510 madrigali a 4, 175; Terzo libro di Sanudo, Marino (the younger), 19

madrigali a 5, 143, 147, 162, Sanvitale, Giberto (count of Sala), 768 174-75; Vado ad eum, 566; Vergine Sanvito, Giacomo Anielli, 85, 143, 693,

bella, 174, 209, 369, 412, 456; 752 Rossetto, Stefano, 209; Lamento di Saraceno, Giovanni Michele (cardinal),

Olimpia, 88, 144 486

Rossi, Albertino, 33 Sartori, Claudio, 4, 157 Rossi, bishop of, 456 Savorgnano, Girolamo (bishop of Rossi, Federico (abbot of Ardirago), 769 Sibenik), 633, 657

Rotta, Antonio, 125, 180 Schaffen, Henri, 112, 128, 189

Roussel, Frangois, 186 Schiavetto, Giulio, 128 Rudolph II (emperor of Austria), 152 Schoeffer, Peter, 142, 242

Ruffo, Vincenzo, 148-49, 166, 179, Scoti, Ballino, 30 183, 209, 212, 228, 365; Armonia Scotto family: origins, 30; property celeste, 60, 186; financial arrange- owned, 45 ments for his publications, 184, 212; Scotto press; family ties in business, Madrigali a sei a sette et a otto voci, 121; importance of, 12; Index Libro185; maestro di musica at Acca- rum Omnium, 130; 132~34; Indice demia Filarmonica, 184; Primo libro de libri di musica, 130-31; 542; de madrigali a 4, 185; Primo libro influence on music printing, 29, de madrigali a 5, 186; Secondo libro 59— 60; owned bookshops, 123; di madrigali a 5, 186; Terzo libro di specializations, 21

madrigali a 5, 186 Scotto, Agamennone, 30

Rufilo, Matteo, 200, 202 Scotto, Alessandro, 48, 51 Ruscelli, Girolamo, 804 Scotto, Amadio, 35; death, 38, 47—48; directorship of press, 35; location of

Sabellico, Marcantonio, 19 press, 15-16, 36; partnership with

Sabini, Baldo, 123 Petrucci, 37, 53, 112; partnerships Sabio, Giovanni Antonio da, 112 with other printers, 36

Salamanca, Antonio de, 142 Scotto, Antonio, 30, 35 Salermmitano, Thomaso, 778 Scotto, Baldissera, 53 Salvadore di Cataldo, 202, 502 Scotto, Bernardino, 30, 35

Salviati, Genevra, 758 Scotto, Brandino, 30, 35, 47-8; connecSan Bonifazio, Ercole da, 406 tion with Pietrasanta, 119; death, 50; San Giorgio Maggiore, Monastery of, partnership with Ottaviano di Ama-

135 dio. See Scotto, Ottaviano di Amadio

San Salvatore, Prior of, 706 (IV)

Sanseverino, Barbara (countess of Scotto, Francesco, 38, 46; death and

Sala), 766; music patron, 774 burial, 47; printer’s marks, 47, 83 Sanseverino, Giovanni Francesco Scotto, Giovanni Battista, 35, 36, 38

(count of Colorno), 766 Scotto, Giovanni Maria, 47—48, 122, Sanseverino, Pietro Antonio (prince of 124, 125; as a printer in Rome and

Bisignano), 475, 490 Naples, 50-51, 201 1171

General Index

Scotto, Girolamo, 42-47, accused of music from separate geographical pirating editions, 157; acquisition locations, 160, 165-67, 213; outputs of Gombert’s music, 228, 230; compared with earlier music printacquisition of interests in shipping ers, 161; reprinted editions, 161-63; business, 122; as a book distributor, reprinted vs. first editions, 159; 45, 121; as a composer, 20, 270, 272; rivalry or cooperation between, co-owned press with brother, Otta- 156—58; see also Gardano, Antonio viano ITI, 122; death and burial, 47; — connections with other music printdonates Arcadelt madrigals to Veggio ers: Abbate, 119, 171, 598;

edition, 247; early years at press, Amadino, 119; Fabriano and 42-44; elected first prior of printer’s Bindoni, 179, 212; Marcolini, 238, guild, 18, 46; employees of, 56—57, 240; Merulo, 118-19; Pietrasanta, 121; entering commercial period of 119; Rampazetto, 113, 118, 212, Venetian music printing, 27, 44, 54; 490; Sessa, 626 formats used, 66-68, 303, 495, 568, — relations with other cities: Mantua731, 744, 764, 837, 839; honored by Trent-Imperial axis, 184, 196, 197; Conrad Gesner, 46; location of press, Milan, 196, 228, 230; Naples, 184,

15-16; as a mercator, 45, 55-56, 201; Padua, 45-46, 124; Sicily, 184 122; modal grouping of his own — reprints of Gardano editions: music, 272, 280; music printing con- Arcadelt, Primo libro di madrigali a tract with Monastery of San Giorgio 4,259, Azzaiolo villotte, 557, 651, Maggiore, 116—17; music repertory canzone francese editions, 411, 431, printed, 155; notarial contracts, 45; 419, Festa madrigals, 355, Motetto number of editions printed, 44, 183; del Frutto, 391, 395, 600, note nere

number of presses, 56; origin in anthologies, 353, 421, 436, 437, 722, Milan, 42; owns interest in a book- Rore madrigals, 595, 608, Rore shop, 123; pagination of music edi- motets, 326 tions, 68; partnerships with other — uses Gardano reprint instead of own bookmen, 288, 693, 728; printer of first edition as model for subsequent canzone villanesca alla napolitana, edition: Arcadelt, Primo libro a 4, 206; printer of edizione collettiva, 333, 440, Donato, canzon vil208; printer’s marks, 42, 43, 80-85, lanesche, 425, 493, Gero Duos, 322, 249, 367, 478; prints first publication Ruffo madrigals, 491, Verdelot by a woman composer, 735; prints madrigals, 329. See also Gardano, only edition of Spanish villancicos, Antonio; reprints of Scotto 68, 495; reprints Barré editions, 623; editions reprints Buglhat and Hucher edition, Scotto, Ludovico, 51, 52 377; ships books for other printers, Scotto, Melchiorre, 6, 46, 47, 51-53,

122; six-voice editions of, 389; sub- 116, 122 jects printed, 44; unsigned editions Scotto, Ottaviano, I, 6; as a book disof 1545-47, 178-79; use of red ink, tributor, 33; as music printer, 32, 53;

744; will, 52 contributions to printing, 32; death

~—and Antonio Gardano: comparison and burial, 33; founding of press, 32; of backgrounds, 44-45; comparison location of press, 15; number of edi-

of music repertories printed, tions, 32; origins, 30; printer’s 155-56; connections between, marks, 33-34; subjects printed, 32 113-15, 119, 213; early years, 161; Scotto, Ottaviano, IT, 20, 35, 36, 38-44, establishment of separate clienteles, 162, 166, 170, 225; and Andrea 160; influence on music printing, Antico, 14, 41, 54, 63, 111, 171, 155; late years, 183-84; marketing 223, 355; as a book distributor, 111; of music editions, 155, 212; obtain co-owned press with Girolamo, 122, 1172

General Index

168; death, 44; directorship of press, Stellini, Don Pellegrino degli, 110, 150;

39; doctor of medicine, 39; editor of partnership with Merulo, 118 Aristotelian commentaries, 39; loca- Stoppio, Nicolo, 152, 205 tion of press, 16, 39; printer’s marks, Storlano, Elena, 47 39-40, 42, 50; scholarly interests, Strasbourg, 126 20; subjects printed, 39; will, 46,334 Striggio, Alessandro, 52, 199; CicalaScotto, Ottaviano di Amadio (IV), 41, mento delle donne, 143; travels to 47-48, 163, 179, 212, 334; agent for Venice to oversee printing of his

Girolamo Scotto, 50, 122; as music music, 151, 823

printer, 113; connection with Strozzi, Filippo, 140 Pietrasanta, 119; partnership with Strozzi, Ruberto, 167

Brandino, 48—50, 238, 240 Sultzbach, Johannes, 105 Scotto, Paolo, 35, 36, 38, 54 Susato, Tylman, 67, 151, 198, 466, 606 Seay, Albert, 225

Sebastiano del Piombo, 20 Tacuino da Cerato, Giovanni, 33

Selle, Thomas, 137 Tansillo, Luigi, 22

Serlio, Sebastiano, 20, 23 Terracini, Democrito, 24 Sermisy, Claudin de: Deus misereatur Tiburtino, Giuliano: Fantasie, et recer-

nostri, 276 charia 3,172

Sessa, Giovanni Battista and Marchio, Tiene, Giulio da (count), 340 626, partnership with Scotto, 112 Tiene, Leonora da, 857

Severino, Giovanni (count), 137 Tiene, Theodoro (count), 891 , Sforza, Francesco II (duke of Milan): Tini, Pietro and Francesco, 17 motet celebrates victory at Bicocca, Tintoretto, Jacopo, 20 418; motet commemorates defeat of Titian, 20, 181

French at Pavia, 242 title pages: as advertisements for books, Sherr, Richard, 334, 483, 538 70; descriptive, 199; development

202, 213 71-79 Siena, 122 Torre, Guido della (count), 789

Sicily, 46, 124, 125, 145, 184, 201, of, 70; in Scotto’s music editions, signatures, 192; in Scotto music edi- Torresano, Andrea, 29

tions, 70 Toscanella, Orazio, 357; [ nomi antichi music, 27, 161 Tracetti, Francesco, 606

single-impression method of printing e moderni, 188

single-composer editions, 163, 208 trade routes, 123, 124; transalpine, 125

Sinistri, Cesarea, 47, 52 Tradel, Ridolfo, 841

Sistine Chapel: practice of performing |§ Tramezzino press, 18, 22, 183

Magnificats, 278, 446 Treaty of Bologna: motet commemo-

skeleton formes, 58 rates, 235

Soardi, Lazzaro di, 37 Trent, 124, 184, 196-99, 201, 211, 213

Spataro, Giovanni, 38 Trevisan, Marcantonio, 19 Sperindio, Bertoldo: Secondo libro di Treviso, 36, 45, 46, 62, 63, 198, 202

madrigali a 5, 203 Trivulzio, Catelano, 303 Speroni, Sperone, 22 Trivulzio, Francesco; 30 Spinola, Giovanni Battista, 415 Trivulzio, Giovanni, 365

Spira, Johannes de, 12, 17 Trivulzio, Giovanni Giacomo (marquis Splendor, Domenico, 112, 382 of Maleo), 464 Spontone, Bartolomeo, 209 Trivulzio, Isabella, 802 Stampa, Gaspara, 22, 147, 150 Troiano, Massimo, 202, 207; Musica

standing type, 58 de’ Virtuosi, 209 State: definition of, 60n Tron, Michele, 693

| 1173

General Index

Truchsess von Waldburg, Otto (cardi- Venier, Marco Antonio, 41 nal), 146, 200, 777; motet for, 541; Vento, Ivo de, 207 patron of Kerle, 210; as patron of Venturi, Pompilio, 207

music, 540 Verallo, Girolamo, 225

Tudino, Cesare, 202 Verdelot, Philippe, 41, 163, 171; Altro type fonts: lute intablature used by non é il mio amor, 276; Le Dotte et Scotto, 105, 108; of music fonts used eccellente compositioni, 162, 164; by Scotto, 94-96; of plainchant fonts Intavolatura de li madrigali, 42-43, used by Scotto, 101, 105; “stampato 180; Primo libro di madrigali a 4, grosetta,” 101, 116; of text used by 39, 41, 112; Secondo libro di madri-

Scotto, 95-96, 101 gali a 4, 43; Si bona suscepimus, type setting; process of, 57-61 276; Tutti li madrigali del primo et typography: as evidence for partner- secondo libro a 4, 57, 61, 110, 150,

ships, 113 162, 164, 166; Verdelot la piu divina

..., 164 Ulhard, Philipp, 198, 466 Vergelli, Paolo, 142 43, 174, 320, 368 Unico, Alberto (deacon of Treviso), Vergil: Aeneid, 240, 264, 714

716 Verona, 124, 146, 184; academies of,

unsigned music editions, 249, 288, 320, 879; and music, 641; cathedral of,

322, 326, 340 483; madrigal for, 770. See also

Urbino, 142 Accademia Filarmonica Uttinger, Georg, 146 Veronese, Paolo, 891

vertical setting of type, 59

Vaet, Jacobus, 211 Vespa, Girolamo, 203

Valencia, 33 Vicentino, Nicola, 179 Valeriano, Pierio: motet for, 242 Vicenza, 36, 124,146 | Valgrisi press, 18, 22, 46, 183 Vico, Enea, 23

Valgrisi, Pietro, 127 Victoria, Tomas Luis de, 116, 541; as

Valladolid, 135 entrepreneur, 142; Missae, MagnifiVanhulst, Henri, 5 cat, motecta, psalmi, 141, 150 vanity book, 14, 115 Vida, Girolamo (bishop of Alba), 653 Varchi, Benedetto, 22, 761 Vidal, Gore, 11 Varisco, Giovanni, 18, 25, 46 Vienna, 137, 210, 211

Varoto, Michele, 128, 149 Vigil1, Honofrio, 580

Vasari, Giorgio, 298 Villabruna, Antonio, 705, 720, 871;

Vavassore, Florio, 23 madrigal for, 720 Veggio, Claudio, 166, 176; acknowl- villancicos, 68, 495

edges Girolamo Scotto, 140 villotte alla napolitana, 206, 612, 651,

. Venetiano, Don Benedetto, 116 696

Venice, 126; commerce in, 11-12, 123; Vincenti, Giacomo, 279, 787; connec-

crash of 1499, 35; guilds of, 18; tion with Scotto press, 119 financial district of, 123; League Vincenti, Giacomo and Ricciardo of Cambrai, 36; map of, 15; music Amadino, 606 patronage in, 146-47; myth of, Vinc1, Pietro, 52, 118, 202 79, 415; as the New Rome, 3; popu- _—*Vindella, Francesco, 180

lation of, 123; as printing center, Viola, Alfonso dalla, 203 12; prosperity in mid-sixteenth Viola, Francesco dalla, 143, 187, 189,

123 Voet, Leon, 5

century, 3, 13, 183; as tourist site, 203

Venier, Domenico, 19, 22, 415; sonnet Volpe, Marc’ Antonio, 202

in Corona della morte, 762 Vukovit, Bozidar, 25 1174

General Index

watermarks. See paper Wolfenbiittel, 135 Weaver, Robert, 5 woodcut illustrations, 286, 288, 293, Werdenstein, Johann Georg von, 137 442, 449, 450 Werrecore, Hermann Mathias, 142 woodcut method of printing music, 25, Wert, Giaches de, 199, 203, 210; Primo 26 libro de madrigali a 5, 200

Whythorne, Thomas, 140 Zaltieri, Bolognino, 118

burg) 135 670

Wilhelm (the younger) (duke of Ltine- Zampesco, Brunoro: as patron of arts, Wilhelm II (duke of Bavaria), 145,149-— Zanis da Portesio, Bartolomeo, 33

50, 744, 857; as collector of music Zantani, Antonio, 19, 23, 184, 357; La

books, 135; motet for, 536, 541 eletta di tutta la musica, 187-96, 212 Willaert, Adrian, 41, 162, 165, Zappasorgo, Giovanni, 207 171-73, 177, 212; authorship of Zarlino, Gioseffo, 210; teacher of

Intavolatura de li madrigali di Garugli, 588 Verdelotto, 250; mentor of Alessan- Zenaro, Damiano, 17

dro Romano, 455; Motetti libro Ziletti press, 183 secondo, 50, 54; Mort et fortune, Ziletti, Francesco, 17, 18 245; Musica nova, 64, 143, 144, Zimara, Marcantonio, 42 163, 183-84, 187-96, 203, 212, Zorzi, Zuan Jacomo de, 188 in comparison with Novus Zuccarino, Giovan Battista: mentioned

Thesaurus, 211; teacher of by Bonagiunta, 718, 720; sonnet in

Vicentino, 340 Corona della morte, 762

676 , Zurich, 126

Winchester: College Library, MS 153, Zucchello, Andrea: madrigal for, 716

Wittenberg, 126 Zwickau, 124

1175