Tutti i Madrigali a Quattro Voci -...
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Cipriano de Rore (1515-1565) Tutti i Madrigali a Quattro Voci SPARTITI ET ACCOMMODATI PER sonar d’ogni sorte d’Istrumento perfetto, & per Qualunque Studioso di Contrapunti Venezia 1577 Clefs Published by Maurizio M. Gavioli
Transcript of Tutti i Madrigali a Quattro Voci -...
Cipriano de Rore(1515-1565)
Tutti i Madrigalia Quattro VociSPARTITI ET ACCOMMODATI PER
sonar d’ogni sorte d’Istrumento perfetto, & perQualunque Studioso di Contrapunti
Venezia 1577
Clefs
Published by Maurizio M. Gavioli
ViMa 4 g – Version 1.0 – August 2011.A V i s t a M a r e publication by Maurizio M. Gavioli.
http://www.vistamaresoft.com/editions/.Editing and typesetting © 2011 Maurizio M. Gavioli. Licensed under the Creative Commons license
“Attribution - Share Alike” (in simple words, do with it whatever you like as long as you give me proper creditand share derivative works like this one; for details, see http://www.creativecommons.org/licenses/by-sa/3.0).
Typeset with MuseScore (http://musescore.org).
Tavola delli Madrigalidi Cipriano a Quattro Voci
Libro ICanzone
(1)Alla dolc’ ombra prima stanza.....6Non vide ’l mondoseconda stanza.8Un lauro terza stanza....10Però quarta stanza..12Selve sassi quinta stanza..14Tanto mi piacque sesta stanza... .16
Madrigali(2)Signor mio caro................................18(3)Carità di Signore..............................20(4) Io canterei d’amore..........................22(5)Non è ch’il duol mi scema..............24(6)La bella netta ignuda......................27(7)La giustitia immortale....................30(8)Anchor che co’l partire...................32(9)Amor ben mi credevo......................34
(10)Come havran fin..............................36(11) Io credea ch’l morire.......................38(12)Quel foco............................................40(13)La inconstantia................................42(14)Donna ch’ornata sete......................44(15)Di tempo in tempo...........................47(16)Se ’l mio sempre...............................50(17)Non gemme non fin oro..................52
(18)Qual è più grand’ ò amore.............54(19)Chi con eterna legge........................56
Libro II(20) Un’altra volta..................................58(21)Chi non sà.........................................62(22)Schiett’arbuscel................................64(23)Beato mi direi...................................68(24)O sonno prima parte.....70
Ov’è ’l silentio seconda parte.72(25)Fontana di dolore.............................74(26)Datemi pace......................................77(27)Mentre la prima mia.......................80(28)Mia benigna fortuna prima parte84
Crudele accerba seconda parte.86Altri
(29)Ben qui si mostra ’l ciel..................88(30)Nell’aria in questi dì.......................90(31)Era il bel viso suo prima parte.....94
E ne la face seconda parte.96(32)Chi vuol veder prima parte.....98
Vedrà i biondi capei seconda p.te98(33)Se qual è il mio dolore..................102(34)Felice sei Trivigi.............................104(35)Musica dulci sono..........................107(36)Calami sonum ferentes.................110
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Preface
This edition follows as faithfully as possible the 1577 edition by Angelo Gardano (Venice), a movable-type printing originally in score format, without text. The source used for the edition is the copy in the Library of the Museo internazionale e biblioteca della musica in Bologna, Italy; it is indicated as ‘O’ in the critical notes below.
The text has been collated with the following other sources:Libro I, Cantus and Altus: Di Cipriano de Rore il primo libro de madrigali a
quattro voci, Venezia, Angelo Gardano, 1575 (‘A’ in the critical notes)Libro I, Tenor and Bassus: Di Cipriano de Rore il primo libro de madrigali a
quattro voci, Venezia, Giorgio Angelieri, 1573 (‘B’ in the critical notes)Libro II: Di Cipriano de Rore il secondo libro de madrigali a quattro voci, Venezia,
Claudio Merulo, 1569 (‘C’ in the critical notes).
Two versions are available: one with treble, alto and bass clefs (‘viol clefs’) and one with treble, treble 8ª bassa and bass clefs (‘recorder clefs’); they are identical under any other account.
Remarks:
• Editorial additions are marked by parentheses or dotted lines. Corrections or special issues are marked by note numbers referring to the critical notes below.
• Original time signatures and note values have been retained.
• All marked accidentals have been retained, even when superfluous according to modern conventions; however, they have been silently ‘modernized’ when current conventions dictate a different sign (i.e.: a sharp used to raise a flattened note has been converted to a natural sign).
• Bar lines are original.
• Accidentals above the stave are editorial suggestions.
• Ligaturae are indicated by square slurs ( ).┌──┐• Coloration is indicated by angle brackets ( ).┌ ┐• Triplets generated by coloration has been indicated (by a ‘3’ above or below the stave)
only when explicitly marked in the original (by a ‘3’ prefixed); otherwise triplet indications are implied by coloration brackets.
Critical notes:
1) O: F F
2) A: added by hand.
3) sic A; O has .4) B: .
5) A: punctum divisionis after the note.6) sic O; A has F.7) sic O; A has E.
8) B: no .9) A: .
10) sic O; A has with coloration.
11) O: .12) B: C erased.13) A has .
14) B: ECD in ligatura.
315) A: .
16) O: .
17) sic B; O has D.18) sic B; O has on C.
19) B has .20) A: only.
21) B: only.
22) A: C.23) A has on first G.
24) A: only.
25) sic B; O has .
26) A has .
27) B has .
28) sic B; O lacks .
29) A has .30) sic O; A has G31) sic O; A has .
32) sic A; O has .
33) B: ligatura.34) O has a erased, present also in C.
35) C: ligatura.36) sic C; O has .
37) No slur (or ligatura) in C.38) sic C; O has .
39) sic C; O has E.40) O: added by hand. C has in print.
41) sic C; O lacks .
42) O: ‿ .43) sic O; C has F.44) sic O; C has .
45) C: ligatura D C.46) O: measure is empty.47) C has .
48) C has on second F.
49) C: time signature .
50) sic C; O lacks .51) C: B and E in key.
52) C: E implicit, because of key signa-
ture.53) C: repeated.
54) C has because of key signature; is
needlessly copied in O.55) C has because of key signature.
56) O: .
57) O: .
Madrigalia quattro voci
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Non vide ’l mondo. Seconda stanza.
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Un lauro. Terza stanza.
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Un lauro. Terza stanza.
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Però Quarta stanza.
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Però Quarta stanza.
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Selve sassi Quinta stanza.
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Tanto mi piacque Sesta stanza.
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