Music and Patronage in Sixteenth-Century Mantua: Volume 2 (Cambridge Studies in Music) (v. 2)

CAMBRIDGE STUDIES IN MUSIC GENERAL EDITORS! JOHN STEVENS AND PETER LE HURAY

Music and patronage in sixteenth-century Mantua II

One of the two surviving sketches by Giulio Romano for the ceiling panel of the Sala d'Attilio in the Palazzo del Te. The scene is directed by Mercury, who descends from the clouds; seated beneath him is a central female figure probably representing the Gonzaga family: she receives from winged female geniuses a book, a laurel wreath, armour, a palm, a set square, and a lyre and trumpets. This may be taken to represent the celebration of the virtues of Federico Gonzaga, both as a general in the Imperial armies and as a patron of learning and the arts, with the tokens of scholarship and poetry, victory in war, mathematics, and music. Chatsworth, Devonshire Collection (reproduced by permission of the Trustees of the Chatsworth Settlement).

Music and patronage in sixteenth-century Mantua II IAIN FENLON FELLOW OF KING'S COLLEGE, CAMBRIDGE

CAMBRIDGE UNIVERSITY PRESS CAMBRIDGE LONDON

NEW YORK

MELBOURNE

SYDNEY

NEW ROCHELLE

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www. Cambridge. org Information on this title: www.cambridge.org/9780521235877 © Cambridge University Press 1982 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1982 Re-issued in this digitally printed version 2008 A catalogue record for this publication is available from the British Library Library of Congress Catalogue Card Number: 79-41377 ISBN 978-0-521-23587-7 hardback ISBN 978-0-521-28603-9 paperback

Contents

Acknowledgements Introduction Editorial note 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Jacquet of Mantua [Jacques Colebault]:' O Domine Jesu Christe' (Prima Pars) Hoste da Reggio: 'O beata colei' Giaches de Wert: 'Sorgi, e rischiara al tuo apparir il cielo' Duke Guglielmo Gonzaga: 'Padre, che'l ciel, la terra e'l tutto reggi' Paolo Cantino: 'Rinato il bel Adone' Ippolito Baccusi: T vo piangendo i miei passati tempi' Giovanni Giacomo Gastoldi: ' Palme, corone e freggi' Giovanni Giacomo Gastoldi: 'Vien, Himeneo, deh vieni' Benedetto Pallavicino: ' Chi vuol veder Amore' Giaches de Wert: 'Hor si rallegri il cielo' Alessandro Striggio: 'Hor che le stelle in cielo' Annibale Coma: 'Come tutto m'ardete' Francesco Rovigo: 'Misera, che faro' Claudio Monteverdi: ' O come e gran martire' Claudio Monteverdi: 'Lumi miei, cari lumi' Luca Marenzio: 'Solo e pensoso' Luca Marenzio: 'Questi leggiadri, odorosetti fiori' Benedetto Pallavicino: ' O come vaneggiate, donna' Benedetto Pallavicino: 'Lunge da voi' Salamone Rossi: 'S'io miro in te, m'uccidi' Salamone Rossi: 'Lumi miei, cari lumi' Benedetto Pallavicino: 'Una farfalla cupida e vagante' Texts and translations Sources and emendations

page vi vii xiv

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Acknowledgements

Dr Johnson remarked that 'a man will turn over half a library to make one book', and in preparing the present anthology I have incurred debts of gratitude to the staffs of a number of libraries and museums, in particular to the Civico Museo Bibliografico-Musicale in Bologna, the Biblioteka Gdaiiska Polskiej Akademii Nauk, the British Library and the libraries of the Royal College of Music and Westminster Abbey in London, the Bibliothek der Hansestadt Liibeck, the Biblioteca Estense in Modena, the Bayerische Staatsbibliothek in Munich, the library of Christ Church, Oxford, the Osterreichische Nationalbibliothek in Vienna, and the Biblioteca delPAccademia Filarmonica in Verona. Dr Nigel Fortune of Birmingham University kindly read the script at an early stage, and I am grateful to Stephen Botterill of Queens' College, Cambridge, who prepared the translations. I owe a good deal to the staff of the Cambridge University Press, particularly to the keen eyes of Damian Cranmer and Eric Van Tassel and to the patient encouragement of Rosemary Dooley. Above all, my thanks are due to the Provost and Fellows of King's College, Cambridge, who supported me throughout the period when the work was completed. IF

VI

Introduction

This second volume, an anthology of Mantuan music from the periods of Cardinal Ercole Gonzaga, Duke Guglielmo Gonzaga, and Duke Vincenzo I Gonzaga, is intended to illustrate some aspects of the systems of patronage which are described in the first. Liturgical settings have been deliberately excluded since it is hoped that a selection of pieces composed for the ducal basilica will be included in a future study of the Santa Barbara rite. The present selection is of ceremonial and domestic works whose composition and survival are connected, if only partially (for example through sponsorship of publication), with Gonzaga patronage, and they reflect, as do other artistic consequences of Gonzaga interests and wealth, the temperaments and preoccupations of successive rulers as well as changing musical fashions at the Mantuan court during the second half of the sixteenth century. During the period of Cardinal Ercole Gonzaga's considerable influence on Mantua's religious and political life, sustained through his overlapping roles as reforming churchman and as a member of the regency that controlled the duchy in the period of Duke Guglielmo's minority, musical life in the city was dominated byjacquet of Mantua (1483-1559). Jacquet, a northerner from Vitre, settled in the city about 1526 and from 1534 until his death was titular maestro di cappella of Mantua Cathedral. Although Hoste da Reggio (fl. 1545-60) does not seem to have held an appointment at the court or in any of the city churches in Mantua, his Primo libro de madrigali a quatro voci (Venice, 1547) is dedicated to Ercole Gonzaga; CO beata colei' (2) is, in its command of mid-century elements and its elegiac tone, typical of the Primo libro as a whole. It may well have been through Ercole that Hoste was introduced to Ercole's younger brother Ferrante, Governor of Milan from 1546. Three of Hoste's madrigal publications brought out in 1554 describe him as Ferrante's maestro di musica and are dedicated to Ferrante, to his wife Isabella di Capua, and to Ippolita Carrafa, one of their children, on the occasion of her marriage. // terzo libro delli madrigali a quatro voci, also published in 1554, carries a dedication to one of Ferrante's colleagues in the Imperial army, Cristoforo Fornari, paymaster of the forces in Piedmont. If Hoste da Reggio's contacts with Mantua seem to have been slight, Jacquet of Mantua, both personal musician to Ercole Gonzaga as well as Vll

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maestro di cappella in the cathedral, was the most important composer in Gonzaga service for a period of more than thirty years. His spiritual successor, and the predominant composer for much of the second half of the century, was another northerner, Giaches de Wert (1535-96), first brought to Mantua about 1564 to serve the new ducal basilica of Santa Barbara. Many of his later publications are dedicated to members of the Gonzaga family, and presumably at least some of their contents were written for performance at court. // settimo libro is dedicated to Vincenzo Gonzaga and Margherita Farnese on the occasion of their ill-fated marriage in 1581, and 'Sorgi, e rischiara al tuo apparir il cielo' (3), reminiscent of Andrea Gabrieli in its use of short phrases, clear diatonicism and final sequential peroration, is the opening piece of the book; it was presumably written for the wedding celebrations and performed on that occasion. // nono libro is also dedicated to Vincenzo and again opens with a celebratory piece, ' Hor si rallegri il cielo' (10), to a text by the court chronicler Federico Follino written in honour of Vincenzo's coronation as Duke of Mantua in September 1587. Guglielmo Gonzaga, Vincenzo's father and Duke from 1558 until 1587, occupies an unusual position as a ruler and patron who not only had an interest in music but was also a composer. The greater part of his enthusiasm was directed towards the provision of music for the specially constructed rite of the Palatine Basilica of Santa Barbara which he founded as a ducal and state church. During his lifetime the music there was directed by Wert and (for a brief period) by Giovanni Giacomo Gastoldi. Gonzaga seems to have been on good terms with both Wert and Benedetto Pallavicino, as well as with a number of composers outside Mantua including Giovanni Pierluigi da Palestrina who corresponded with the Duke from 1568 until the latter's death. Guglielmo's activities as a composer place him in a small group of aristocrats (including Alessandro Striggio, Carlo Gesualdo and Alfonso Fontanelli) who practised the art, and it is clear from works dedicated to him and from surviving correspondence that he maintained a lively series of contacts with composers living outside Mantua. His own published works include the Sacrae cantiones (Venice, 1583) and the Madrigali (Venice, 1583), both of which appeared anonymously, while some sacred works including three masses, a Te Deum and some Magnificat settings survive among the Santa Barbara manuscripts. The madrigal' Padre, che '1 ciel, la terra e '1 tutto reggi' (4) is related to the setting of the same text in Wert's // quarto libro de madrigali, where it is attributed as a work 'Del Serenissimo Sig. Duca di Mantoa'. Both Paolo Cantino (fl. 1580-1608) and Ippolito Baccusi (c. 1550-1609) were associated with the cathedral rather than with the court, though it is clear from documents that relations between the two institutions were close even to the extent that personnel would be exchanged on occasion. Cantino is recorded in Mantua at various times between 1580 and 1608. He was

Introduction

ix

organist at the cathedral in 1580-1 and between 1601 and 1608, and was employed as maestro there in 1589—90. As a contributor to Vamorosa caccia (Venice, 1588), an anthology entirely devoted to works by 'mantovani nativi', he was presumably born in the city, and he also wrote a piece for the Novelli ardori (Venice, 1588), another compilation with a distinctly Mantuan flavour. Ilprimo libro, from which ' Rinato il bel Adone' (5) is taken, is his only other known work and is dedicated to Duke Guglielmo Gonzaga. Baccusi was decidedly more prolific. He too was born in Mantua, but he spent his early career in Venice, Ravenna, and Verona where he was maestro di cappella at the church of Santa Eufemia. By 1580 he had returned to his native city as maestro di cappella at the cathedral, a post he retained until 1589 when he was succeeded by Cantino. His next move (his last) was to Verona, where he served as maestro at the cathedral. Among his pupils during his Mantuan period was Lodovico Zacconi, who had first studied with Baccusi at the convent of San Stefano in Venice and who, according to his Prattica di musica secondaparte (Venice, 1622), moved to Mantua in 1583 specifically to continue his studies. A number of publications reflect Baccusi's connections with Mantua and Gonzaga. His first work, II primo libro de madrigali a cinque et a sei voci, con doi a sette et otto (Venice, 1570), is dedicated to Duke Guglielmo Gonzaga, while // quarto libro de madrigali a sei voci (Venice, 1587) is addressed to Don Ferrante Gonzaga, Prince of Molfetta and rejuvenator of the most important literary academy of the period, the Accademia degli Invaghiti. The Petrarch setting ' I ' vo piangendo i miei passati tempi' (6) from // quarto libro is typical of the strong if old-fashioned literary orientation of Baccusi's writing. Giovanni Giacomo Gastoldi (c. 1550-c. 1622) is a rather more versatile and at times more serious composer than the superficial charm of the balletti might suggest. Born in Caravaggio, he had moved to Mantua by 1572 to take up a post at the ducal basilica of Santa Barbara. There he remained in various capacities, succeeding Wert as maestro di cappella in 1592, until 1608. The balletti achieved immediate popularity, and the five-voice book of 1591 was reprinted not only in Venice but also in Antwerp, Rotterdam, Amsterdam; they were also influential in England and served as both literary and musical models for Thomas Morley's The First Booke of Balletts to Five Voyces (London, 1595), which in turn inspired Thomas Weelkes's Ballets and Madrigals to Five Voyces (London, 1598) as well as other examples of the genre by Henry Youll, Francis Pilkington, Thomas Greaves, Thomas Tomkins and the younger John Hilton. Apart from the two books of balletti, which are cast in the form of an entertainment, Gastoldi wrote a good deal of theatrical music and pieces for ceremonial occasions; these are scattered throughout his madrigal publications, many of which are dedicated to members of the Gonzaga family as well as state officials and high-ranking Mantuan clergy. ' Vien, Himeneo, deh vieni' (8), probably composed for celebrations marking

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the marriage of Vincenzo Gonzaga to Leonora de' Medici in 1584, is typical of Gastoldi's ceremonial manner. Much of his large output of sacred music was evidently written for Santa Barbara. This is clearly the case with the Sacre lodi, which gives particular prominence both to St Barbara, (as in 'Palme, corone e freggi' (7)), and to other saints whose relics were venerated in the side-chapels of the basilica and whose feast-days were celebrated with particular elaboration in the Santa Barbara rite. As with so many other musicians Benedetto Pallavicino (1551-1601) entered the service of the Gonzaga in Mantua by having first worked for one of the minor branches of the family; in this way the dissemination of music and the movements of composers and performers merely emphasises the importance of familial ties for artistic patronage and is a consequence of the diplomatic system. Pallavicino began his career by working for Vespasiano Gonzaga at Sabbioneta, but by 1584 he had taken up employment at Mantua where he remained until his death. From the very beginning of his time in the city he seems to have held positions of some responsibility: in 1586 he was in Venice supervising the publication of Duke Guglielmo Gonzaga's own Magnificat settings (they seem not to have been printed but may survive among the Santa Barbara manuscripts), and ten years later he succeeded Wert as court maestro di cappella though this did not include responsibility for the music at the ducal basilica of Santa Barbara, where Gastoldi had already been serving as maestro since 1592. Pallavicino's early pieces are competent and imaginative within the limitations of the conservative musical styles in vogue at the Mantuan court during the last decade of Guglielmo's rule. ' Chi vuol veder Amore' (9) - from the Mantuan anthology Novelli ardori of 1588, itself old-fashioned in its retention of the four-voice medium quite apart from the character of many of the contributions - is a fair example of this early manner. The accession of Vincenzo Gonzaga in 1587 had a dramatic effect on all aspects of Mantuan cultural life including music, where Vincenzo's formation of a concerto di donne in emulation of the Ferrarese concerto which he had heard and admired during the 1580s went hand-in-hand with his sponsorship of recent fashions in madrigalian composition and of new theatrical and balletic forms which had been elaborated at Ferrara and Florence. The effects on Pallavicino's music were equally dramatic and appear for the first time in // quarto libro de madrigali a cinque voci (Venice, 1588), where the intrusions of slow-moving dissonant passages contrasting with the surrounding brisk polyphony and the emphasis on diminution (a response to the abilities of the Mantuan concerto) mark new departures. Three late pieces- ' O come vaneggiate, donna' (18), 'Lunge da voi' (19) and 'Una farfalla cupida e vagante' (22) - show the refinement of virtuoso writing and the development of a wide range of ' expressive' techniques in subsequent publications; for these aspects of style Pallavicino was clearly indebted to Wert, as comparison of the two composers' settings of Cruda Amarilli' makes

Introduction

xi

clear,* and at his best Pallavicino seriously rivals the older composer's achievement. It is not impossible that Monteverdi's celebrated sneer (if such it is) masks a degree of admiration, f The music in Lamoroso, caccia (Venice, 1588), a Mantuan anthology largely devoted to pieces by composers employed at the cathedral are arguably inspired by Ferrarese precedents such as the two collections for Laura Peperara, // lauro verde (Ferrara, 1583) and // lauro secco (Ferrara, 1582), is very variable in quality and provides a useful barometer of Mantuan taste in the final years of Duke Guglielmo's rule. Of all the 'native' contributors the most prestigious was Alessandro Striggio (c. 1540-1592), a member of an old-established Mantuan aristocratic family. Although Striggio entered the service of the Medici in Florence in 1559 and remained in that employment until the 1580s, he nevertheless maintained strong contacts with Mantua and its ruling family throughout that time. A forty-voice motet, perhaps that which has survived in Zwickau, Ratsschulbibliothek MS Mus 109/1 (dated 1587) as 'Ecce beatam lucem', was presented by Striggio to Duke Guglielmo Gonzaga in celebration of the latter's marriage to Eleonora of Austria in 1561. His Missa in dominicis diebus is one of a number (others were composed by Gastoldi, Giovanni Contino, Wert, Francesco Rovigo, and Palestrina) written for the rite of Santa Barbara during the 1580s, probably at about the time that Striggio finally returned to Mantua with his family. Among his posthumous publications, // terzo libro de madrigali e cinque voci (Venice, 1596) is dedicated by his son Alessandro (Monteverdi's librettist for Orfeo) to Duke Vincenzo Gonzaga. While Striggio's ' Hor che le stelle in cielo' (11) shows the influence of lighter styles fashionable at the Florentine court during the 1580s and imported to Mantua by Leonora de' Medici after her marriage to Vincenzo in 1584, Annibale Coma's contribution to Lamorosa caccia, 'Come tutto m'ardete' (12), is more conservative in technique. Except for a short period during the severe plague of 1576-7, Coma (fl. 1568-98) was paid as organist at Mantua Cathedral from 1570 to 1580. His earliest publication, IIprimo libro de madrigali a cinque voci (Venice, 1568) is dedicated to Duke Guglielmo Gonzaga and opens with a piece addressed to him, while // terzo libro de madrigali a cinque voci (Venice, 1585) is one of a number of

madrigal books by local composers addressed to Ferrante Gonzaga (see above). The third selection from Uamorosa caccia, 'Misera, che faro' (13), is by Francesco Rovigo, a local organist who studied with Claudio Merulo in Venice about 1570 and later became court organist to Archduke Karl II in * D.Arnold (ed.): Vier Madrigale von Mantuaner Komponisten zu 5 und 8 Stimmen, Das Chorwerk 80

(Wolfenbiittel, 1961), pp. 176°; C. MacClintock and M. Bernstein (eds.): Giaches de Wert. Opera omnia XII, Corpus mensurabilis musicae ser. 24 (n.p., 1961), pp. 436°. f Mantua, Archivio di Stato, Archivio Gonzaga, Cassetta 6, fos. 77-8. Letter of Claudio Monteverdi, Mantua 28 November 1601, to Duke Vincenzo Gonzaga at Canissa (Nagykanizsa, Hungary): transcribed in D. De' Paoli: Claudio Monteverdi: Lettere, dediche eprefazione (Rome, 1973), p. 17; English translation in D. Stevens: The Letters of Claudio Monteverdi (London, 1980), pp. 37-8.

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Graz. After the Archduke's death in 1590 Rovigo returned to Mantua as organist of Santa Barbara. Much of his output is liturgical and was specially written for the ducal basilica, but he also composed one book of madrigals, published in 1581 and dedicated to Guglielmo Gonzaga, and contributed to a number of anthologies. It was as part of Vincenzo Gonzaga's reorganisation of the court music in the years immediately following his accession that Claudio Monteverdi (1567-1643) was first employed in 1589/90; he remained in Mantua, despite dissatisfaction with conditions and terms of service and personal hardships including the death of his wife until, following dismissal along with many other members of the music establishment in 1612, he took up the position of maestro di cappella at St Mark's in Venice. During his Mantuan years Monteverdi published five books of secular music, the opera UOrfeo and the Mass and Vespers of 161 o. Other works from the period include the lost music for the prologue to a performance of Guarini's comedy Ulndropica, the opera UArianna (also lost except for the famous lament), and // hallo delle ingrate, which has survived but was not published until 1638. These three were all composed for presentation as part of the elaborate celebrations marking the marriage of the Gonzaga heir, Francesco, to Margherita of Savoy in 1608. The two Guarini settings ' O come e gran martire' (14) and 'Lumi miei, cari lumi' (15) both come from // terzo libro (Venice, 1592) dedicated to Vincenzo Gonzaga, and in their virtuoso passagework both reflect the capabilities of the Mantuan concerto. Luca Marenzio (c. 1553-1599) was evidently connected with the Gonzaga both through his teacher Giovanni Contino, who held a post at Santa Barbara from 1568 to 1574, and, if a remark of Cardinal Scipione Gonzaga is to be trusted, through having spent some time in the service of the family. On two occasions during the 1580s Marenzio was considered for positions at Mantua: in 1583 he was one of a number of Roman musicians thought of as a possible replacement for Wert, who was then seriously ill, but his name was rejected on the advice of Palestrina, who expressed a strong preference for his own pupil Annibale Zoilo; and in 1586-7 there were long negotiations between the court and Marenzio which finally broke down when Guglielmo Gonzaga refused to meet his requirements over payment and other arrangements. An important intermediary in these latter discussions was Cardinal Scipione Gonzaga, an enlightened and educated churchman to whom Marenzio dedicated his Motecta pro festis totius anni cum Communi

Sanctorum (Venice, 1585). VOttavo libro, yet another publication dedicated to Ferrante Gonzaga, marks a radical change of direction in Marenzio's five-voice writing with its monologues and narratives dependent for their effect not on the stock rhetorical devices of traditional madrigal composition but rather on homophony, declamation and unexpected chordal conjunctions. Elements of this new approach are evident in ' Questi leggiadri, odorosetti

Introduction

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fiori' (17). Marenzio's last book of madrigals, // nono libro of 1599, dedicated to Vincenzo Gonzaga, is a different matter: as Alfred Einstein put it, 'If the eighth book was devoted to homophony, hedonism, and the pastoral, the ninth aspires to the highest possible specific gravity, both in its choice of texts and in its musical treatment of them.'* 'Solo e pensoso' (16), perhaps the best-known piece from this book, is indeed a true essay in musica reservata. If in // nono libro Marenzio effected something of a return to Petrarch, he did so somewhat against the current trends (trends moreover which he helped to shape in his sixth and seventh five-voice books), which were now strongly in favour of Tasso and more particularly of Guarini, especially II pastor Jido. IIprimo libro de madrigali a cinque voci of Salamone Rossi (1570-^:. 1630), from which 'S'io miro in te, m'uccidi' (20) is taken, is characteristic of Mantuan taste about 1600 in its emphasis on Guarini's poetry. Rossi, a Jew, was almost certainly born in Mantua and seems to have remained there throughout his career. Although he is only sporadically recorded as a Gonzaga employee, it cannot be assumed that he was a permanent member of the court music establishment, and it may be that his principal professional connections were with one of the Jewish theatrical troupes that played such a prominent role in Mantuan theatrical life. Nevertheless, in the period before 1612 he evidently had strong connections with the court. His earliest work, the Canzonette of 1589, is one of a large number of new music publications by local composers that were produced in the years immediately following Vincenzo Gonzaga's accession and opens with a piece in praise of the new Duke. // primo libro itself is dedicated to Vincenzo, and // secondo libro, the source of 'Lumi miei, cari lumi' (21) -which can be instructively compared with Monteverdi's setting of the same text (15) - is addressed to Felicita Guerrera Gonzaga, Marchesa of Pallazuolo. In 1608 Rossi was one of a number of composers, including Monteverdi, who provided incidental music for a performance of Guarini's Uldropica (see above). Although many court musicians left Mantua with the death of Vincenzo Gonzaga in 1612, Rossi seems to have stayed; he composed further theatrical music to accompany a performance of Giovanni Battista Andreini's La Maddalena given in 1617, and in 1622 he is recorded as a viol player at court. By this time the cultural life of the Gonzaga court had entered its final decline, and it may well be that Rossi himself perished during the destruction of the ghetto and the plague which followed the sack of Mantua at the hands of the Imperial troops in 1630, events which in political, economic and cultural terms mark the end of an era. * A. Einstein: The Italian Madrigal, 3 vols. (Princeton, 1949), 1, p. 684.

Editorial note

The original spelling and punctuation have been preserved in the editions with the exception that obsolete letter forms have been regularised, and contractions, abbreviations and ampersands realised without comment. Variants in spelling between the voice parts, usually introduced by the printer to accommodate words to notes, have been kept. Text repetitions indicated by the conventional signs ' i j ' are italicised. Modernised versions of the texts together with translations are on pp. 141—7. All pieces have been scored in modern clefs in the original note values. The original clefs, indicated on prefatory staves, apply throughout each piece (except for no. 21, where two changes to avoid using leger-lines in the basso continuo part have been silently emended). Final longae have been translated into notes of one bar's duration with a fermata to indicate the imprecision. All accidentals that appear in the source are placed on the stave, even when the introduction of bar-lines might make them seem superfluous to the modern performer. The only concessions to modern practice in this respect are the use of a natural instead of a sharp to cancel a flat and, in two cases in no. 16, the use of a natural instead of a flat to cancel a sharp. When the repetition of a note requires the performer to understand repetition of an accidental, the accidental has been added editorially over the relevant note. Otherwise editorial accidentals have been inserted in accordance with the widely known 'rules' of musicaficta.

UP

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Texts and translations

1

O Domine Jesu Christe, obsecro te per venerandam crucem tuam ut adiuvare digneris Hippolytum servum tuum; et per beatam crucem tuam custodi caput suum; et per gloriosam crucem tuam custodi oculos suos; et per dilectam crucem tuam custodi os suum; et per sanctam crucem tuam custodi manus suas et pedes suos et totum corpus suum.

O Lord Jesus Christ, by your worshipful cross I beseech you, deign to watch over your servant Hippolytus; by your blessed cross, protect his head; by your glorious cross, protect his eyes; by your beloved cross, protect his mouth; by your holy cross, protect his hands and feet and his whole body. 2

O beata colei ch'al fin puo direy 'Io tenni un senza cor molt'anni in vita; io li fei parer dolce ogni martire ne l'eta sua piu bella e piu fiorita. Ne li lassai provar gli sdegni e l'ire del timor ch'amorir gli amanti in vita; e quel ch'a Tun fu car a l'altro piacque, perch'io sua tutt', et ei tutto mio nacque.'

Happy is the woman who at last can say, ' I kept one who had lost his heart alive for many a year; I made every suffering seem sweet to him, when he was in his prime, the flower of his youth. Nor did I let him feel the sorrow and anger, or the fear, that embitter the life of lovers; and what was dear to one would please the other, for I was born to live for him alone, as he was for me.' 3

Sorgi, e rischiara al tuo apparir il cielo, santa madre d'amor; rimena il giorno. Esca il sol piu che mai di raggi adorno, e si dilegui d'ogni nube il velo. Mirinsi accese d'amoroso zelo le piu felici stelle; e Taltre intorno celinsi; e'n terra e'n mar d'onta e di scorno securo ogni animal viva, ogni stelo. Scendi, Imeneo; copia di te si degna non strinse unqua il tuo nodo. Ecco ch'unita gia 141

142

Texts and translations di fede e d'amor te solo aspetta. Hor cio che Manto lor predice e insegna cantin, Mincio, i tuoi cigni, e tu gl'alletta risonando 'Vincenzo e Margherita'.

Arise, and with your rising light up the sky, holy mother of love; bring back the day; let the san appear, clad in its brightest rays, and let every trace of veiling cloud vanish. Let the stars of good omen be seen, aflame with the passionate fires of love, and let the others hide themselves; and by land and sea let every living thing go free from injury and from shame. Come down to us, Hymen; never before has your knot joined a couple so worthy of you. See how, already bound by loyalty and love, they wait for you alone. Now, Mincio, let your swans sing of what Manto foretells for their instruction, and yourself delight them by echoing 'Vincenzo and Margherita'. 4

Padre, che '1 ciel, la terra e '1 tutto reggi, rafren'hormai de la tua figlia il figlio col tuo saggio consiglio, si che l'arco rallenti e rompi il laccio e le facelle sue converta in ghiaccio. Con che mi dia da riposar il loco, fuor di tante catene, strali e fuoco.

Father, you who rule the heavens, the earth and all that is, restrain now with your wise counsel your daughter's son, so that he may slacken his bow and loosen his bonds, and turn his flaming torches into ice. Thus may he give me a little space to rest, free from such chains, such arrows and such fire. 5

Rinato il bel Adone ardente ancora del antico amore, grido: 'Chi porta il fiore di bellezza?' E d'intorno a molte miglia gli antri ne risonar: 'Ersiglia! Ersiglia!' Echo non fu, che per l'istessi accenti la voce non si send; Chi dunque Apollo hai non, ma tutto il cielo, posto per si bel viso in fiamma e 'n gelo.

When fair Adonis came to life again, still burning with his old love, he cried, 'Who now is the flower of beauty?' And for miles around the hollow caverns resounded in reply, 'Ersiglia! Ersiglia!' It was not Echo, for the voice was not always heard with the same accents; and so it is not just Apollo, but all the heavens, that are turned to fire and ice by your fair face. 6

F vo piangendo i miei passati tempi, i quai posi in amar cosa mortale, senza levarmi a volo, havend'io l'ale, per dar forse di me non bassi essempi. Tu, che vedi i miei mali indegni et empi, re del cielo, invisibil e immortale, soccorri a l'alma desviata e frale, e '1 suo difetto di tua gratia adempi. (Petrarch)

Texts and translations

143

I constantly weep for days gone by, which I spent in the love of a mortal being, without ever taking flight, although I had the wings, to show, perhaps, some sign of the good that is in me. You who see my cruel and unworthy sorrows, King of heaven, immortal, invisible, come to the aid of my straying, feeble soul, and with your grace make good its fault. 7

Palme, corone e freggi, non di perle contesti gemme et oro, t'ornaro gia la fronte, Barbara santa, all'hor che sovr'il monte, combatendo per Christo, porgesti il collo ignudo al crudo ferro, al padre assai piu crudo. Ma ben col sangue il glorioso acquisto del ciel facesti, ond'hor nel sommo choro sei di gioia perpetua coronata sovra le stelle, e sei nostra avvocata.

The martyr's emblems, palms and crowns, jewels and gold unmixed with pearls, already adorned your brow, o holy Barbara, at the moment when, fighting for Christ on the mountain, you stretched out your defenceless neck to the cruel blade of a father still more cruel. But with your blood you gained the glorious reward of heaven, where now among the lofty choirs you are crowned with everlasting joy above the stars, and are our advocate. 8

Vien, Himeneo, deh vieni, ch'ivi '1 Mincio t'aspetta, ove gia de' pastor la musa abietta Titire illustre feo con dolce stile. Quivi un amante humile ritroverai, ch'a milPa mille i voti ti sagra, acio che ratt'il velo stendi et una nuttial face qui accendi che sia d'amor scintilla. Ma pero lui non scuoti da la vita c'haver, spero, tranquilla. Tu dunque, s'in te Amor ponto ritieni, vien, Himeneo, deh vieni!

Come, o Hymen, come, for the Mincio waits here for you, where once the humble muse of shepherds made Tityrus famous with a sweet song. Here you will find a bashful lover, who implores you with countless prayers to spread out your canopy swiftly and light a wedding-torch which will be a spark of true love. But do not shake him out of this life which will, I trust, be happy. So if Love still holds any sway over you, come, o Hymen, come! 9

Chi vuol veder Amore e sue reti, saette et arco e foco, e Venere, le grade e '1 riso e '1 gioco,

144

Texts and translations la dolce bocca e '1 seno di mia donna sol miri; e viva poi, se po, senza sospiri.

Let him who would see Love, and his nets, his darts, his bow, his fire, and Venus with her graces and her playful laughter, gaze upon my lady's sweet mouth and breast; and then, if he can, let him live without sighing. IO

Hor si rallegri il cielo e insuperbisca Manto ch'avete voi di lei la scettra e '1 manto, voi che vincendo andate il mal col bene e col saper Petate. Cosi la mente Astrea vi regga, e '1 core vi tenga aperto amore, e la corona d'oro d'oliva ornata sia sempre e d'alloro. (Federico Follino)

Now let Heaven rejoice, and let Manto be proud that you wield her sceptre and wear her mantle, as you go on your victorious way, conquering evil with good and showing wisdom far beyond your years. Let Astraea govern your mind thus, and may Love give you a generous heart; and may your golden crown ever be entwined with olive-wreaths and laurel. 11

Hor che le stelle in cielo frenano i lieti balli, e sovra il verde stelo cantano gPaugellin purpurei e gialli, Alma Diana, ch'i cor nostri hai punti, noi cacciator qui giunti di te seguiam la traccia a l'amorosa caccia, dove nel sangue tingerem di belve il dardo ne le selve; ma '1 pront'Alfonso o qual opre ti serba da far tra fiori e l'herba.

Now that the stars on high put an end to our joyful dancing, and the little gold and crimson birds sing in the greenwood tree, we hunters gathered here will follow you, fair Diana who has touched our hearts, on the tracks of the amorous chase; and in the forest we shall stain our arrows with the blood of our prey. But Alfonso is ready to do whatever may be of service to you among the flowers and the grass. 12

Come tutto m'ardete se voi la Luna sete? E come cosa fredda per natura genera tanta arsura? Ma cangiate costume

Texts and translations

145

sol perch'io mi consume; e pur sete Diana e nel mio core cangiand'aspetto non cangiate amore If you are the moon, how is it that my love for you burns me so utterly? And how can a being whose nature is so cold give forth so fierce a heat? But you change thus merely because I pine for you; for you are still Diana, and in my heart your altered aspect cannot change my love. 13

Misera, che faro, poi che mi moro? Fiera Stella, empia sorte! E pur per mio ristoro pietosa chieggio morte. Porgi, Diana, aita, se vuoi ch'io resti in vita.

Alas, what shall I do, since I die wretchedly? O cruel star! O wicked fate! So to relieve my anguish I call on merciful death. Come to my aid, Diana, if it is your will that I remain alive. 14

O come e gran martire a celar suo desire, quando con pura fede s'ama chi non se '1 crede! O soave mio ardore!* O giusto mio desio, s'ognun ama il suo core e voi sete il cor mio! All'hor non fia ch'io v'ami, quando sara che viver piu non brami. (Giovanni Battista Guarini)

Oh, how painful it is to hide desire, while loving with unsullied loyalty one who does not believe in that love! Oh sweet passion of mine! Yet my longing is just, if every man loves his own heart, for you are my heart! So the time when I no longer love you will be the moment when I no longer wish to live. 15

Lumi miei, cari lumi, che lampeggiate un si veloce sguardo ch'a pena mira e fugge, e poi torna si tardo che '1 mio cor se ne strugge, volgete a me, volgete quei fuggitivi rai, ch'oggetto non vedrete in altra parte mai con si giusto desio che tanto vostro sia, quanto son io. (Giovanni Battista Guarini)

* 'ardire' in four of the five partbooks. This makes a plausible rhyme with lines 1-2 and may be what Monteverdi intended to set; but 'ardore' produces a more likely rhyme scheme (aabbcdcdee) and is perhaps what Guarini had originally written.

146

Texts and translations

Eyes, my dear eyes, which flash forth such a rapid glance, which scarcely seems to look before it flees, and then returns so slowly that my heart breaks at the sight, turn to me, yes, turn those fleeting glances; for you will never see in any other place one filled with so noble a longing, one who is so wholly yours, as I am. 16

Solo e pensoso i piu deserti campi vo misurando a passi tardi e lenti, e gli occhi porto per fuggire intend ove vestigio uman l'arena stampi. Altro schermo non trovo che mi scampi dal manifesto accorger de le genti; perche ne gli atti d'allegrezza spenti di fuor si legge com'io dentro avampi: si ch'io mi credo omai che monti e piagge e fiumi e selve sappian di che tempre sia la mia vita, ch'e celata altrui. Ma pur si aspre vie ne si selvagge cercar non so ch'Amor non venga sempre ragionando con meco, et io con lui. (Petrarch)

Alone and deep in thought, I wander with slow and dragging steps through the wildest countryside; and I constantly keep watch, ready to avoid any place marked by the traces of man. I find no other means to protect myself against the knowing looks of others; for by my appearance, drained as it is ofjoy, they can easily perceive the fires burning within..And so I think that now the mountains and the shores, the rivers and the woods, must know the temper of my life, which is hidden from all others. But there is no road that I can take so hard or wild that Love does not follow me there to speak with me, as I do with him. 17

Questi leggiadri, odorosetti fiori fur gia ninfe e pastori, et hor de' miei pensieri son muti messaggieri. Deh mentre voi pietosa volgete gl'occhi a la lor forte ria, pieta vi mova de la doglia mia. (Livio Celiano)

These pretty, fragrant little flowers were once nymphs and shepherds, and now are the silent messengers of my thoughts. Ah, while in your mercy you turn your gaze upon them, may you be moved with pity for my sorrow. 18

O come vaneggiate, donna, pensando havermi tolto il core col tormi il vostro amore! Chi non ha cor e morto, et io mi son accorto d'esser tanto piu vivo quanto di voi son privo.

Texts and translations

147

Anzi ero morto; e quando vi lasciai rinacqui si che non morro piu mai. (Giovanni Battista Guarini) Lady, you are foolish indeed, if you think that you took my heart from me when you denied me your love! A man with no heart is dead; and it seems to me that I only live more fully the further I am from you. Say rather, I was dead; and when I left you I was born anew, never again to die. 19

Lunge da voi, ben mio, non ho vita ne core, e non son'io. Non sono, ohime, non sono quel ch'altra volta fui, ma un'ombra mesta, un lacrimevol suono, una voce dolente; e cio mi resta solo per vostro dono. Ma resta il male onde morir desio. (Torquato Tasso)

When I am far from you, my love, I have not heart nor life, and lose my very being. I am not, alas, that which once I was, but am now a wretched shadow, a tearful groan, a mournful voice; and this comes to me only as your gift. But it is still the pain of which I long to die. 20

S'io miro in te, m'uccidi; se miri in me, tu ridi. Io moro e nel mio ardire tu ridi al mio morire. A te da il riso gioia, la morte a me da noia. Pur bramo esser mirando e osando ucciso, per non turbar di bella donna il riso.

If I gaze at you, you slay me; if you look at me, you laugh. I am dying, and in spite of my passion you laugh at my death. You are happy in your laughter, while death brings me only sorrow. And yet I long to be slain as I gaze so boldly, rather than stifle a fair lady's laughter. 21

As for no. 15

22

Una farfalla cupida e vagante fatt'e il mio cor amante, che va quasi per gioco scherzando intorno al fuoco de gli occhi di Sivena; e volte tante vola e rivola e fugge e torna e gira, che ne l'amato seno lasciera con la vita al fin le piume.

148

Texts and translations Ma che di cio sospira, sospira a torto; ardor caro e felice morra farfalla e sorgera fenice. (Giovanni Battista Guarini)

My loving heart has become an eager butterfly, which flutters as if in play about the fire which burns in Sirena's eyes; and time and again it flies up and down and flits this way and that and all around, so that at last it will lose its wings and its life alike in that beloved breast. But he who sighs for this is wrong to do so; my sweet and happy passion will die a butterfly, to rise again a phoenix.

Sources and emendations

Jacquet of Mantua [Jacques Colebault]: ' O Dominejesu Christe' (Prima Pars) Source: Jachet of Mantua: Motecta quatuor vocum... liber primus (Venice, Gardane 1539) Hoste da Reggio: ' O beata colei' Source: Hoste da Reggio: Primo libro de madrigali a quatro voci (Venice,

Gardane 1547) Giaches de Wert: 'Sorgi, e rischiara al tuo apparir il cielo' Source: Giaches de Wert: // settimo libro de madrigali a cinque voci (Venice,

Gardane 1581) Duke Guglielmo Gonzaga: 'Padre, che'l ciel, la terra e'l tutto reggi' Source: Anon.: Madrigali a cinque voci, novamenteposti in luce (Venice, Gardane

1583) Paolo Cantino: 'Rinato il bel Adone' Source: Paolo Cantino: // primo libro de madrigali a cinque voci (Venice,

Vincenzi et Amadino 1585) Ippolito Baccusi: T vo piangendo i miei passati tempi' Source: Ippolito Baccusi: // quarto libro de madrigali a sei voci (Venice, Gardane 1587) Giovanni Giacomo Gastoldi: ' Palme, corone e freggi' Source: Giovanni Giacomo Gastoldi: Sacre lodi a diversi santi con una canzone al glorioso serafico S. Francesco (Venice, Amadino 1587)

Giovanni Giacomo Gastoldi: 'Vien, Himeneo, deh vieni' Source: Giovanni Giacomo Gastoldi: // primo libro de madrigali a cinque voci (Venice, Amadino 1588)

150 9

Sources and emendations Benedetto Pallavicino: ' Chi vuol veder Amore' Source: Novelli ardori. Primo libro de madrigali a quatro voci, di diversi eccell. autori

(Venice, Amadino 1588) 10

Giaches de Wert: 'Hor si rallegri il cielo' Source: Giaches de Wert: // nono libro de madrigali a cinque et a sei voci (Venice,

Gardane 1588) 11

Alessandro Striggio: 'Hor che le stelle in cielo' Source: Uamorosa caccia de diversi eccellentissimi musici mantovani nativi a cinque

voci (Venice, Gardane 1588) All voices: bars 13 and 27, triple-time section is signed in f in the original. 12

Annibale Coma: 'Come tutto m'ardete' Source: Uamorosa caccia de diversi eccellentissimi musici mantovani nativi a cinque

voci (Venice, Gardane 1588) All voices: bar 64, triple-time section is signed in 3 in the original. 13

Francesco Rovigo: 'Misera, che faro' Source: Uamorosa caccia de diversi eccellentissimi musici mantovani nativi a cinque

voci (Venice, Gardane 1588) 14

Claudio Monteverdi: ' O come e gran martire' Source: Claudio Monteverdi: // terzo libro de madrigali a cinque voci (Venice, Amadino 1592) Tenore: bars 25 and 34 read 'ardore' in the original. See the note to the text on p. 145 above. Quinto: bar 64., notes 2-3 are crotchets in the original.

15

Claudio Monteverdi: 'Lumi miei, cari lumi' Source: Claudio Monteverdi: // terzo libro de madrigali a cinque voci (Venice, Amadino 1592)

16

Luca Marenzio: 'Solo e pensoso' Source: Luca Marenzio: Vottavo libro de madrigali a cinque voci (Venice,

Gardane 1598) Tenore: bar 126, note 4 is c' in the original (emended to d'); bar 127, note 2 is b in the original (emended to c'). Cf. the parallel passage in bars 130-2 and in other voices.

Sources and emendations 17

151

Luca Marenzio: 'Questi leggiadri, odorosetti fiori' Source: Luca Marenzio: // nono libro de madrigali a cinque voci (Venice, Gardane 1599)

18

Benedetto Pallavicino: ' O come vaneggiate, donna' Source: Benedetto Pallavicino: // sesto libro de madrigali a cinque voci (Venice, Gardane 1600)

19

Benedetto Pallavicino: 'Lunge da voi' Source: Benedetto Pallavicino: // sesto libro de madrigali a cinque voci (Venice, Gardane 1600)

20

Salamone Rossi: 'S'io miro in te, m'uccidi' Source: Salamone Rossi: //primo libro de madrigali a cinque voci.. .con alcuni di detta madrigali per cantar nel chittarone, con la sua intavolatura posta nel soprano

(Venice, Amadino 1600) 21

Salamone Rossi: 'Lumi miei, cari lumi' Source: Salamone Rossi: //secondo libro de madrigali a cinque voci.. .con il basso continuo per sonare in concerto posto nel soprano (Venice, Amadino 1602)

22

Benedetto Pallavicino: 'Una farfalla cupida e vagante' Source: Benedetto Pallavicino: // settimo libro de madrigali a cinque voci (Venice, Amadino 1606)