THE MORRILL MUSIC LIBRARY AT THE BIBLIOTECA BERENSON, VILLA I TATTI, FLORENCE: ITS HISTORY AND...

THE MORRILL MUSIC LIBRARY AT THE BIBLIOTECA BERENSON, VILLA I TATTI, FLORENCE:ITS HISTORY AND HOLDINGSAuthor(s): Kathryn BosiSource: Fontes Artis Musicae, Vol. 55, No. 3 (July-September 2008), pp. 448-473Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23512497 .

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THE MORRILL MUSIC LIBRARY AT THE BIBLIOTECA BERENSON, VILLA I TATTI, FLORENCE: ITS HISTORY AND HOLDINGS

Kathryn Bosi1

English Abstract

The Morrill Music Library at the Biblioteca Berenson, Villa I Tatti, Florence, is an integral part of the sources for interdisciplinary study offered by the Harvard University Center for Italian

Renaissance Studies in Florence. The Morrill Music Library is the principal reference library for

early music in Italy, with scores, books and recordings, and a large collection of manuscripts and

early printed music on microform, to support research in music and dance through 1640. The

holdings have been augmented by substantial private donations from international music scholars.

The Library also promotes the performance of early music through recitals and its own concert

series, Early Music at I Tatti. This article describes the history and collection development of the

Morrill Music Library and discusses in detail three unique sixteenth-century partbooks aquired

recently.

French Abstract

La bibliothèque musicale Morrill à la Biblioteca Berenson, Villa I Tatti, Florence, fait partie intégrante des sources d'études sur l'interdisciplinarité proposées par le Centre d'études

sur la musique de le Renaissance italienne de Harvard University. La bibliothèque Morrill

représente la principale référence en musique ancienne en Italie et contient des partitions, livres

et enregistrements, ainsi qu'une collection importante de manuscrits et d'éditions anciennes de

musique sur microformes, dans le but de servir la recherche sur la musique et la danse jusqu'à 1640. La collection s'est enrichie d'importantes donations privées de la part de spécialistes. La

bibliothèque encourage et soutient particulièrement les interprétations de musique ancienne par le biais de récitals ainsi que par sa propre série de concerts, Early music I Tatti. Cet article décrit l'historique et le développement de la collection de la bibliothèque musicale Morrill, et discute en détail de trois exemplaires uniques de parties séparées du 16e siècle.

German Abstract

Die Morrill Musikbibliothek an der Biblioteca Berenson, Villa I Tatti in Florenz, ist ein integraler Bestandteil der Ressourcen für die interdisziplinäre Forschung am dortigen Harvard University Center for Italian Renaissance Studies. Die Morrill Musikbibliothek ist die Handbibliothek für Alte Musik in Italien und bietet neben Partituren, Büchern und Aufnahmen einen großen Bestand an

Handschriften und alten Drucken als Mikroformen zur Unterstützung der Forschung von Musik

1. Kathryn Bosi is E Gordon and Elizabeth Morrill Music Librarian, Morrill Music Library, Biblioteca

Berenson, Villa I Tatti, Florence, Italy.

448



THE MORRILL MUSIC LIBRARY AT THE BIBLIOTECA BERENSON 449

und Tanz bis 1640. Die Bestände wurden durch beträchtliche, private Schenkungen von Wissen

schaftlern aus aller Welt ergänzt. Die Bibliothek fördert die Aufführung Alter Musik durch Vorträge und eine eigene Konzertreihe mit dem Titel ,Alte Musik im I Tatti". Der Aufsatz beschreibt die Geschichte und Entwicklung der Sammlung und erörtert detailliert von drei einzigartigen Stimmbüchern des 16. Jahrhunderts.

The Biblioteca Berenson is the library of Villa I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence. In the hills above Florence near Settignano, I Tatti was for nearly 60 years the home of Bernard Berenson (1865-1959), the connoisseur whose attributions of early Italian Renaissance painting guided scholarship and collecting in this field throughout much of the twentieth century. At his death Berenson bequeathed the house and estate, along with his remarkable library and his collection of late medieval and Renaissance paintings and Asian art, to Harvard University, where he had graduated in 1887. Under Harvard's direction, and following Berenson's wishes, in 1961 the Villa be came an interdisciplinary center for research in Renaissance culture. It now receives some 15 to 20 Fellows every year, scholars of a wide range of disciplinary background who come from all over the world to draw on the resources of the library and contribute to the intellectual life of the institute.

The core of Berenson's library, which was "large, distinguished and highly personal," was "intended to illustrate the cultural evolution of the Mediterranean world from antiq uity through the Renaissance, with a superb nucleus in painting and drawing, though it also boasted a fine section on Asian art, and extensive holdings in modern history, art, and literature."2 But the music of the Renaissance was nowhere evident on its shelves. Former Fellow Iain Fenlon, in the presentation of the memorial concert for the founders of the Music Library at the Biblioteca Berenson, Elizabeth and Gordon Morrill, observed that:

Partly as a consequence of one of his own remarks, it is sometimes said that Berenson had little

interest in music. That is not quite true. He may have had no understanding of its technical pro

cedures, which is another matter, but he listened a good deal. Travels abroad were usually punc tuated with trips to the opera, and his autobiographical writings are peppered with occasional

asides about music, often in an attempt to place it within more general historical or philosophical

categories. "Michelangelo should have died at the age of forty, once the Sistine Chapel was fin

ished," he wrote in 1933. "This way the Last Judgement... and some other things would have

been lost, but on the other hand what would have been gained would be not having to reckon,

now, with his overpowering influence ... When human energy is this powerful it is devastating:

think of Wagner."3

If the analogic procedure is typical, so too is the mention of the most overwhelming presence

in the world of late nineteenth-century music. From what little can be recuperated of Berenson's

tastes, it seems that an interest in Wagner and his work came first. Among his books at I Tatti

are all seventeen volumes of Wagner's letters, a copy of Mein Leben, and the biographies by

Julius Kapp and the infamous Houston Stewart Chamberlain, alongside a small collection of

mostly autobiographical works of the heavyweight champions of the Romantic tradition: the Mémoires of Berlioz are there, and so too are selections of letters by Mendelssohn, Strauss, Liszt,

and Beethoven. Berenson's Wagnerian enthusiasms were no doubt re-inforced by his acquain

tance with Cosima, an occasional visitor to I Tatti (which may have stimulated his purchase of

2. Michael Rocke, "The Biblioteca Berenson at Villa I Tatti," Art Libraries Journal, 33/1,2008, p. 5-9. The ar

ticle, by the Nicky Mariano Librarian, discusses the holdings of the Biblioteca Berenson and its recent techno

logical development, including its integration into the Harvard libraries network and the HOLLIS catalogue.

3. Umberto Morra, Conversations with Berenson, Boston: Houghton, Mifflin and Company, 1965, p. 155.



450 FONTES ARTIS MUSICAE 55/3

Hans von Bülow's piano, now at La Papiniana),4 but that apart, his musical preferences were en

tirely characteristic of the cultural elite. There was little space here for Verdi or Puccini, even less

for avant-garde music (Schoenberg and company), which Berenson tersely dismissed as "nothing

but aural flagellation."5

And none at all, from what can be inferred, for the music of the Italian Renaissance. This

shortcoming in the library of books about the period which Berenson left at his death, was made

good by Gordon and Elizabeth Morrill, "due giovani amici nostri," as Nicky Mariano wrote, "lui architetto e lei appassionata di musica

F. Gordon Morrill met his wife, Elizabeth Hunter, in Cambridge, Massachusetts, in the

early 1930s, while he was studying at Harvard University and she at Radcliffe College. On

earning a Master's degree in Architecture in 1937, Gordon Morrill traveled with his wife to Florence, where they made the acquaintance of Bernard Berenson and became fre

quent visitors to Villa I Tatti. They returned to the United States for the duration of the Second World War, but at its end came back to settle in Florence, where they built and fur nished a villa to Gordon Morrill's designs on a splendid site in Costa di San Giorgio, with

spectacular views of the city.7 In 1960, Mr. Morrill became a founding member of the

4. Berenson acquired von Billow's piano, a Knabe concert grand dating from the late 1880s, from the

Countess Blandine Gravina, daughter of von Biilow and Cosima Wagner. Mary Berenson's scores of keyboard music by Bach, Beethoven, Mozart, and others (distinguished by their maroon cloth bindings, with her name

stamped in gold) are still in the library. Incidentally, there is no foundation for the legend that connects this

piano with Wagner and the composition of Tristan und Isolde.

5. Berenson's comments on the shortcomings of modern music can be found in Umberto Morra, Conver

sations with Berenson, p. 176. Nonetheless the composers Roger Sessions, Igor Markevitch, and Mario

Castelnuovo-Tedesco were frequent guests at Villa I Tatti. Other musicians received by Berenson included

Nikita Magaloff, Yehudi Menuhin, Gaspar Cassadö, Louis Kentner, Otto Klemperer, and Ralph Kirkpatrick, who

played his clavichord in the library in 1933. In Forty Years with Berenson (New York: Knopf, 1966, p. 232), Nicky Mariano recounts how in the same year Otto Klemperer "insisted on playing and singing a psalm of hatred

against Hitler, composed by himself, on our poor veteran of a piano" (Mary Berenson wrote in her notebook

that "Klemperer was as wild and boisterous as ever and thundered out a mischievous war song for Jews AND

Christians on the piano" (12 May 1933)). The Berenson Archive includes a letter from Kathleen Ferrier dated

January 1953, thanking Berenson for his invitation to return to I Tatti (she mentions an earlier visit) and ex

pressing the hope that she will be well enough to "rescue her Euridice" at Covent Garden on February 3. Six

letters from Alma Mahler Werfel, her exuberant handwriting emphasised by violet ink, date from 1938-1952 (I thank Christopher Lyndon-Gee for bringing these to my notice). There are letters from musicologists Egon Wellesz and Sir Donald Tovey, as well as most of the musicians listed above. Along with Mario Castelnuovo

Tedesco's copious correspondence there is a copy of the autograph score of his Third String Quartet, Opus 203, "Casa al Dono" (1964), written in memory of Bernard Berenson. The first performance was given at Villa I Tatti, on 16 May 1966, by the Società Cameristica Italiana. I thank Fiorella Gioffredi Superbi, Curator of the Berenson

Archive, and Giovanni Pagliarulo, Andrew W. Mellon Librarian, for their expert assistance with documents and

photographs in the Berenson Archive.

6. In memoriam Elizabeth and Gordon Morrill, programme of the concert held on 29 January 2004 (reprinted with kind permission of Iain Fenlon). The concert was held in the church of San Martino a Mensola and was per formed by the soprano Monika Mauch and lutenist Nigel North. It concluded with a pastoral cantata by Johann Adolf Hasse, whose works Elizabeth Morrill had devotedly transcribed and performed for a great many years.

7. The Casa Morrill, which now belongs to Villa I Tatti, still houses the Morrill's grand piano, a beautifully preserved Steinway of American make dating from ca. 1911. It is not widely known that, besides his architectural and artistic activities, Gordon Morrill was an inspired collector of early Chinese porcelain. He began collecting in the late 1950s, but bought most intensely for a decade from the mid 1960s. A rotating exhibition of his collec tion at the Museum of Fine Arts, Boston, from 1971 to 1974 revealed its extraordinary rarity and quality. When

the collection was sold by Doyle New York in 2003, together with Gordon Morrill's scrupulous and detailed notes

on the provenance of the items, a huge international public attended, with many buyers from mainland China, and several pieces achieved world record prices. The sale was described as "a riot" and "a breathtaking success."




Illustration 1 "A new daily habit that we both loved dearly was listening to recorded music."

Nicky Mariano, Forty Years with Berenson (New York: Knopf, 1966), p. 306 (photograph by

Judith Friedberg). Reproduced with the permission of the Berenson Archive, Villa I Tatti, Florence, Italy.

Council for Villa I Tatti. Some years later, with Elizabeth, who was an accomplished mu

sician, he provided the funds to establish and equip a new purpose-built music library at Villa I Tatti, in memory of their friend Bernard Berenson.8 From this date it became pos sible for musicologists to be amongst the Fellows of I Tatti who every year enjoy the re sources of the Biblioteca Berenson. Until their deaths, in 2001 and 2003 respectively, Gordon and Elizabeth continued to support the library with ever-increasing generosity, and from the "Casa Morrill" in Costa di San Giorgio, or in the last years, from their retreat in Massachusetts, took a keen but discreet interest in the welfare of the library.

The Morrill Music Library initially covered Italian Renaissance music ca. 1430-1600, but the Morrills' funding was so generous that it soon became evident that the scope of the library could encompass a much wider range of study. In fact, the library now covers Western music from Greek and Roman culture to the early Baroque period, while at the same time placing particular emphasis on Italian music before 1640. The holdings include over 5,000 volumes of scores (modern editions and facsimiles), including ca. 1,000 per forming editions, of which perhaps only one third have been catalogued to date. The book

8. The Music Library initially occupied the elegant room that Gordon Morrill designed on the site of a for

mer terrace of the wing added to Villa I Tatti around 1915 (see Illustration 6). The holdings have now expanded into the two adjacent rooms. An engraving on the door of the Music Library records the many kindnesses of Berenson to his friends the Morrills (see Illustration 5).




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Illustration 2 Gordon Morrill sketching by the Arno, 1950. The photograph was taken by a

street photographer and displayed in his shop window. Reproduced with the permission of the

Berenson Archive, Villa I Tatti, Florence, Italy.

collection holds some 4,500 bibliographic and reference works, Festschriften, historical

studies, monographs on composers, studies of iconography, instruments, and instrument collections.9 There are ca. 500 musical treatises, of which some 450 are in modern edition or facsimile, and the remaining corpus in microfilm. The library acquires specialized jour nals relating to early music, early musical instruments, and early music performance, as well as the major scholarly journals with wider coverage: the periodical titles of the music

library now number 180, of which 85 are active subscriptions. In all sectors, priority has been given to material unlikely to be present in other Italian libraries. The Morrill Music

Library may now be considered the principal reference library for early music in Italy, of

fering the most complete coverage of facsimiles and critical editions of European music to 1640 with the relevant literature, as well as a substantial collection of primary sources on microfilm. It can support research projects on almost any aspect of Italian music from the

early medieval period until 1640, but it also offers rich resources to scholars who work on

early music in the other European countries.

9. The library has a particularly rich collection of works on historic organs, and especially on the organs in

Tuscany, thanks to art historian and organologist Pier Paolo Donati, who donated books, journals, and offprints.




V t +r

"S

Illustration 3 Professor Myron Gilmore opening the Music Library with Gordon and Elizabeth

Morrill in 1968. Reproduced with the permission of the Berenson Archive, Villa I Tatti, Florence,

Italy.

In 1975, a collection of ca. 750 manuscripts and 100 early printed books of music on microfilm was given to the Music Library by the distinguished scholar Armen Cara

petyan, Harvard graduate and director of the American Institute of Musicology, who was

living in Florence at the time.10 The microfilm collection, which had been compiled by Carapetyan over a number of decades (much of it photographed by him; he recalled expe ditions to distant libraries in the unheated post-war trains), had remained in the Cara

petyans' house at Calpe in Spain. A member of the I Tatti staff drove to Spain to collect the

microfilms in the atmosphere of tension and uncertainty that preceded the death of General Franco, and with the risk of finding the frontiers closed on the return journey. The collection proved to be of great interest. The holdings (in microfilm and photographs)

comprised ca. 750 liturgical manuscripts, musical treatises, and sources of medieval and Renaissance polyphony, in approximately equal proportions.11 Besides the wide coverage of the Carapetyan collection, some films and photographs are an invaluable record of

manuscripts no longer extant, or altered since the filming. The collection includes copies

10. Many musicologists will remember with gratitude and pleasure the warm hospitality that Carapetyan and

his charming wife Hariette offered from their home in via San Leonardo and the encouragement that they gave to young scholars.

11. A considerable part of the older microfilms are on chemically unstable nitrate film. In the 1980s some of

them (happily, for the most part duplicate copies) dissolved and were lost.




M U

Illustration 4 Gordon and Elizabeth Morrill in the 1980s. Reproduced with the permission of

the Berenson Archive, Villa I Tatti, Florence, Italy.

of manuscripts that were destroyed during the Second World War, such as three impor tant sources from Chartres lost in the fire of 1944 (Bibliothèque de Chartres, Mss 130,

248, and 520)12 and part of the Missel de la Confrérie de la Transfiguration from Notre Dame de Tournai.13 Some of the microfilms and photographs record the state of books or

manuscripts before restoration, or with bindings that have since been lost. Detailed cata

loguing has still to be completed for some of the liturgical manuscripts, and until this is

done the importance of the collection cannot be fully assessed. A careful examination of

the holdings may reveal significant new information.

Carapetyan's donation in 1975 provided a solid basis for the development of an exten

sive corpus of primary sources of early music on microfilm that has been systematically

expanded as a major on-going project in the Music Library. Drawing on the expertise of

former Fellow Stanley Boorman, and with the assistance of the Isham Library at Harvard

University, we have assembled a collection of some 700 volumes (for the most part, an

thologies) of early printed music from ca. 1501-1550. Similarly, the manuscript holdings

12. Bibliothèque de Chartres, Ms 130 (Musical treatises; Organa; a canon); Bibliothèque de Chartres, Ms

428 (Missal); Bibliothèque de Chartres, Ms 520 (Missale Carnotensé). Thanks to their preservation in the Cara

petyan Collection, the Morrill Music Library was able to send copies of these manuscripts to the Bibliothèque de Chartres.

13. Cathédrale Notre-Dame de Tournai, Ms 471 (Missel de la Confrérie de la Transfiguration) The manuscript was destroyed in 1940. Our holdings of ff,14v-16r contain an anonymous polyphonic motet Sancta trinitas unus

Deus for four voices (unattributed, but by Antoine de Févin).




have been developed on a regular basis: they now include over two thousand manuscripts of chant, medieval and Renaissance polyphony and musical treatises, acquired from li braries in nineteen countries. Manuscript sources of lute music, Spanish guitar music and

monody are amongst the more recent additions. An acquisition project begun ex novo centers around secular music relating to the

courts of Florence, Ferrara and Mantua, and the northern academies (the Elevati and

Spensierati of Florence, the Filarmonici of Verona, the Olimpici ofVicenza) ca. 1580-1640, with some 1,200 books of printed music now on microfilm.14 Many rare editions have been

supplied by the Jagiellonian Library in Krakow and other East European libraries. The

Jagiellonian library has generously contributed a number of unique prints by Tuscan com

posers (it is hoped that a complete coverage of Tuscan composers to 1640 will eventually be achieved). The collection has been consolidated by microfilms of the holdings of early printed music from Christ Church, Oxford, and the Staats- und Stadtbibliothek, Augsburg.

The strong focus on inter-disciplinary studies that characterises Villa I Tatti has en

couraged the Morrill Music Library to undertake a number of on-going projects center

ing on literary sources related to early modern music. One project focuses on the major anthologies of Italian verse published in the late six

teenth and early seventeenth centuries that reflected the literary tastes of Italian musi cians of the time and continued to be exploited by composers through the mid seven teenth century. Another project centers on literary sources relating to the performing arts: works written for, or by, musicians, actors, and actresses; or anthologies whose verses refer to musicians or theatre performers, or address musical subjects. The library is rich in material relating to the commedia dell'Arte, and in particular to the Andreini fam

ily (it has purchased some rare original editions of works by Isabella, Francesco and Giovanni Battista Andreini, including La Ferinda, said to be the first comic opera libretto), but acquisitions range from microfilms of a manuscript anthology of verses in praise of the organist and composer Claudio Merulo, to poesia per musica by the famed musician Francesco Rasi, to the voluminous collections of verse celebrating the virtuoso singer and

harpist Adriana Basile and her musician daughter Leonora Barone. Recent purchases in clude a unique original edition of Ettore Martinengo's pastoral eclogue Retorica d'amore, dedicated to the commedia dell'Arte actress Flaminia Cecchini.15

The library also acquires literary works relating to the academies, since they were of ten closely connected with the performing arts. We have recently acquired two unique original editions that include texts to be sung and instructions for musical performance: one relating to the Accademia dei Trascurati in Arezzo,16 the other to the Accademia dei Floridi of Bologna.17 The latter is the first edition of a libretto by Roberto Poggiolini which

14. The library initially chose to develop the field of secular music because there was an emphasis on mi

crofilm holdings of sacred music at the University of Ferrara and the Fondazione Cini in Venice when we began

this project. 15. Ettore Martinengo, Retorica d'amore egloga pastorale del Sign. Ettore Martinengo alla Sig. Flaminia

Comica Accesa. [n.p., n.d.]. The dedication is signed September 1614.

16. Piacevole rappresentazione fatta in Arezzo dalli Signori Accademici Trascurati per le feste di maggio I'anno

1604 (In Firenze, nella stamperia di Bartolomeo, & Marco Sermatelli, 1604). This libretto is incidentally the only

known source of information regarding the Academia dei Trascurati of Arezzo (see Michele Maylender, Storia

delle accademie d'ltalia (Bologna: L. Cappelli, 1926-30, reprinted 1976), V, p. 334)

17. Flora idillio del Cavaliero Roberto Poggiolini, da rappresentare d'allegrezza nel felice ritorno del molto Rev.

padre D. Domenico Lucchi ivi Abbate meritissimo . . . (Bologna: Bartolomeo Cocchi, 1621). The dedication is

signed from S. Michele in Bosco, 2 May 1621.




: !

Illustration 5 The door of the Morrill Music Library at the Biblioteca Berenson (photograph

by Ralph Lieberman). The inscription reads: "This Music Library is in memory of many kind nesses of BB [Bernard Berenson] to Elizabeth and Gordon Morrill, 1968."

shows that part of Banchieri's collection Vivezze di flora e primavera . . . Opera XLTV18 was

composed for a festivity staged by the Floridi at the Convent of San Michele in Bosco near

Bologna in 1621.19 Another ongoing microfilm project concerns the acquisition of festival books, accounts

of private celebrations and works relating to the theatre or civic festivities involving music or performance: descriptions of tournaments, weddings, funerals, entrances, carnival en

tertainments; and texts of staged works such as intermedii, comedies and pastoral plays. This project complements the Biblioteca Berenson's microfiche holdings of the Cicognara Collection, which has a small but interesting selection of festival books. The music library has also amassed a considerable collection of libretti of the popular narrative songs per formed by cantastorie such as Paolo Britti (known as il Cieco da Venezia) in the streets and piazzas of northern Italy in the early modern period. Closely related to the contem

porary theatrical tradition and especially to the commedia dell' Arte, these works often in

18. Vivezze di flora e primavera, cantate recitate e concertate con cinque voci netto spinetto, o chitarrone. Opera XLTV (Venetia: Magni, 1622). The section of the libretto set by Banchieri begins "Al spuntar di Flora tutt' il

mond'indora..."

19. This libretto differs significantly from the libretto Flora idillio published by Banchieri the following year, as described by M. Farahat in "On the staging of madrigal comedies," Early Music History, 10,1991, p. 123-144.




elude instructions for performance (to be sung "sopra I'aria dimandata "). The music cited can sometimes be identified in publications by contemporary composers.20

The Music library thus contributes to the holdings of the Biblioteca Berenson material that is relevant not only to musicology, but to many other disciplines besides. Scholars of art, literature, theatre, women's history, and social history can usefully draw on its resources.

Books, scores, and offprints from the library of the distinguished Italian musicologist Federico Ghisi were given to the Morrill Music Library shortly before his death in 1975. The Ghisi collection of offprints, together with others donated by Carapetyan in the same

period, have proved to be an especially valuable source of musicological articles in non musical publications before the 1960s, while they incidentally document the extensive net work of relations that Ghisi and Carapetyan maintained with musicologists in Italy and abroad.21

The Morrill Music Library was also the recipient of the archive of dance historian Andrea Francalanci, presented by his family in July 1995 shortly after his untimely death. Andrea Francalanci, who frequented the Music Library as a student, was a pioneer in the field of historical dance. His archive, ordered and inventoried by dance historian and col

league Marina Nordera, preserves his correspondence, working notes, published and

unpublished writings, as well as his collection of books and articles on dance history. There is also extensive documentation relating to performances staged by Francalanci and his dance group, II Ballarino, which includes correspondence, choreographies, texts, scores, stage set designs, costume designs, programmes, publicity, photographs and

press reviews for some thirty-eight spectacles produced ca. 1982-93. The Francalanci Archive is particularly important for its holdings of primary sources

relating to early dance. It includes copies of 36 manuscript or printed treatises on dance from the fifteenth to the eighteenth centuries, many of which are accompanied by Franca

lanci's own transcriptions. Equally significant are copies or transcriptions of around 100

choreographies from the fifteenth, sixteenth, and seventeenth centuries, for the most part accompanied by Francalanci's choreographic reconstructions, and in some cases also by transcriptions of the associated music. Following the donation of the Francalanci Archive, the Music Library has continued to actively support this area of research, complementing its holdings with studies on early dance, treatises, and choreographies.

In 1999, the Trustees of the Intercultural Foundation gave funds to the Music Library to establish a record library at Villa I Tatti in honour of Gordon and Elizabeth Morrill. The collection now holds ca. 1,150 CDs, offering a wide range of recordings of medieval, Renais

sance, and early Baroque music.22 It aims, moreover, at documenting differing approaches

20. Such as some of the volumes of Scherzi by Carlo Milanuzzi. Significantly, these often include Spanish gui

tar alphabet notation.

21. The Ghisi offprints, some still containing accompanying letters, are signed by François Baix, Charles Van

den Borren, Manfred Bukofzer, Suzanne Clercx-Lejeune, Giuseppe Corsi, Giovanni Crocioni, Frank D'Accone,

Giovanni D'Alessi, Valentin Denis, Ernest Ferand, Kurt von Fischer, Juri Keldysch, Ettore Li Gotti, Fernando

Liuzzi, Thomas Marrocco, Dragan Plamenac, Wolfgang Osthoff, Miroslav Perz, Miguel Querol, Jan Racek, Dario

Rastrelli, Ulderico Rolandi, Albert Seay, Ottavio Tiby, Johannes Wolf, and Gabriel Zwick. Similarly, Armen

Carapetyan's donation of offprints, dating from roughly the same period, document his connections with Higinio

Anglés, Willi Apel, Paul Bergmans, Friedrich Blume, Manfred Bukofzer, Giulio Cattin, Gino Cucchetti, Helmut

Federhofer, Kurt von Fischer, Herman Flasdieck, Wilibald Gurlitt, Jacques Handschin, Hanna Harder, Siegfried

Hermelink, Hans Hickmann, Paul Hooreman, Keneth l^evy, Friedrich Ludwig, Giuseppe Massera, Santé

Mistruzzi, Luigi Suttina, Giuseppe Vecchi, and Joseph Yasser.

22. In course of cataloguing; only about a third of the holdings have been catalogued to date.




to performance practice in early music; scholars can often find at their disposition a vari

ety of performances of a specific repertoire or work. The addition of the record library to

the Music Library acknowledges the Morrills' lifelong devotion to musical performance and their inestimable contribution to resources for musicological studies in Italy.

The Morrill Music Library has produced concerts of early music at I Tatti since 1976, when a memorable performance by Thomas Binkley and the Studio der frühen Musik ac

companied the conference on Florence and Venice, Comparisons and Relations. Memorial concerts were held for Howard Mayer Brown (The Newberry Consort) in 1995, and Nino Pirrotta (the Orlando Consort) in 1998. The concert series "Early Music at I Tatti" was es tablished in 2002 by the present Director of I Tatti, Professor Joseph Connors. It has pro duced twelve concerts to date, with repertoires ranging from a monographic programme dedicated to the first Florentine composer of note, Don Paolo da Firenze (fl. 1390-1425), to an exploration of the concept of humour in Renaissance music, with carnival mascher ate and a madrigal comedy by Giovanni Croce and Adriano Banchieri respectively. Lecture recitals on copies of early keyboard instruments (a cembalo cromatico, a Lautenwerk, an oval spinet by Bartolomeo Cristofori and a fortepiano by the same maker) have been a fea ture of recent years.23 The Music Library has also undertaken a three-year collaboration

(2006-08) with the Department of Historical and Contemporary Performance of the State

Conservatory of Moscow, bringing young keyboard players to Florence to study on his torical instruments for a week each year.24 Villa I Tatti's own harpsichord, a fine instru ment by Ugo Casiglia based on the G. B. Giusti of 1693 in the Smithsonian Institute, was donated by former Fellow Frederick Hammond in 2005.25

To commemorate F. Gordon and Elizabeth Morrill and their contribution to the Biblioteca Berenson, Villa I Tatti commissioned an eight-part work for unaccompanied voices on a Petrarch text from the English composer Gavin Bryars. The Morrill Music

Library holds the autograph score of A qualunque animate, with a dedication from the com

poser dated "Thursday February 12th 2004, Billesden." The work was first performed by Solisti Vox Altera (the ensemble for whom it was written) at Villa I Tatti on 27 May 2004.

In recent years the library has been able to acquire some original editions of signifi cance. The Morrill Music Library's most precious possessions are three partbooks of mu sic by Renaissance composers (for details, see the Appendix), the only surviving copies of works which can be traced in sixteenth- and seventeenth-century music printers' cata

logues, but which have long beenconsidered lost. Two of the partbooks, both published in 1589, and containing music by Giovanni Cavaccio and Ascanio Meo respectively, come from the great Venetian music publishing firms of Gardano and Scotto. The third, of music by the little-known Sicilian composer Giulio Scala, represents one of the last works to be printed by the Roman composer and printer Antonio Barré, whose activities as a

printer lasted little more than a decade (1555-1564), but which included publication of

early secular music by composers of importance such as Palestrina and Orlando di Lasso. Giovanni Cavaccio (1556-1626) spent most of his life in his native city of Bergamo,

where he was maestro di capella in the cathedral, and later in Santa Maria Maggiore. He

23. The recitals, by Christopher Stembridge and Ella Sevskaya, were given on copies of historical instru

ments made by Denzil Wraight (cembalo cromatico), Willard Martin (Lautenwerk), Kerstin Schwarz and Tony

Chinnery (fortepiano and oval spinet). 24. We are grateful to Ella Sevskaya for holding annual masterclasses with the students, and to the Museo

degli Strumenti Musicali of the Galleria dell'Accademia and the Accademia Bartolomeo Cristofori for kindly

making their instruments available for the project. 25. The inaugural concert was performed by Frederick Hammond on 5 April 2005.




Illustration 6 Art historian and former I Tatti Fellow Sara Galletti in the Morrill Music Library (photograph by Ralph Lieberman).

left some twenty printed books of sacred and secular compositions, as well as works in

popular anthologies. He was elected a member of the Accademia degli Elevati of Florence for his literary skills, an honour acknowledged in his Sudori musicali published just a few

days before his death. The newly discovered Canto partbook of his Secondo libro de madri

gali a cinque voci. . . con un dialogo à sette nel fine, contains many anonymous texts that

may be examples of his verse. The volume, published by Angelo Gardano, is dedicated to Girolamo and Giovanni Battista Solzi, noblemen of Bergamo; since their names are (un usually) on the title page of Cavaccio's volume, they almost certainly underwrote the cost of printing. The last work is a dialogue written for the death of Virginia Santi, wife of the musician Giorgio Florio.26

Little is known about the Neapolitan composer Ascanio Meo (died after 1608) except what can be deduced from his publications. His Terzo libro de madrigali a cinque voci

(Venice, Vincenti, 1601) and the Quinto libro ... a cinque (Naples, Carlino & Vitale, 1608), were his only known volumes of printed music until the discovery of the Canto partbook of his Secondo libro de madrigali a cinque voci, published in Venice in 1589. Meo's Secondo

26. This information comes from Claudio Merulo, Il primo libro de madrigali a quattro voci . . . con un

dialogo a sette voci di Gio. Cauaccio, nella morte delta Magn. Sig. Virginia Santi, moglie del Sig. Gio. Florio, musico eccellentissimo, (Milano: Tini, 1588). Only the tenor partbook of the volume survives, in the Biblioteka

Jagiellonska, Krakow. Giorgio Florio was maestro di cappella atTreviso cathedral ca. 1587-88.




Illustration 7 Morrill Music Librarian Kathryn Bosi in her office (photograph by David Finn)

libro is of great interest for being one of the publications commissioned from music print ers in Venice and elsewhere by the Neapolitan bookseller Scipione Riccio, "al segno del

Giesù," in the last two decades of the sixteenth century. Besides this volume, Riccio also underwrote volumes of madrigals by Macque, Felis, Giovanni De Benedictis and Rocco

Rodio, as well as a small number of non-musical publications. Although Scotto's name does not appear on the edition, the Secondo libro was clearly commissioned from the Venetian

firm, for it carries one of their printer's marks: a joined anchor and trunk, signifying sta

bility on the sea and the land, with a palm signifying victory and an olive branch signify

ing peace. The publication can in fact be found in a book list for the Scotto firm in 1596.

Giulio Scala's Quinto libro di madrigali a quattro voci was printed by the Roman printer Antonio Barré in 1562. Nothing is known of Scala's first four madrigal books, and indeed little of the composer himself, except that he was maestro di cappella in the Duomo of Malta ca. 1573-74. The newly found Alto partbook, dedicated to the "Giurato di Messina"

Sebastiano D'Ansalone and containing madrigals dedicated to other members of the D'Ansalone family, offers new data for Scala's biography. The volume also promises to be

an important source of information about its printer. Antonio Barré set up a printing press in Rome in 1555 and achieved immediate success with two popular anthologies, the Primo

and Secondo libro delle muse, but after 1558 he seems to have lost his own press, for he

subsequently used type belonging to the Roman printers Antonio Blado and Valerio Dorico. Scala's book adds a fourth to the three prints that Barré is known to have brought out between 1562 and 1564. The title page carries the coat of arms of the D'Ansalone fam




'W

Illustration 8 Frederick Sternfeld, James Haar, Nino Pirrotta, and Howard Mayer Brown (left

to right) at the conference Florence and Venice, comparisons and relations, Villa I Tatti, 1977.

Reproduced with permission of Villa I Tatti, Florence, Italy.

ily below an impresa representing a truncated tree trunk covered by a cloth, sprouting a branch bearing pomegranates and another bearing pears; the motto, unusually in Italian, reads Nova cultura fa mutar natura. The dedication is prefaced by a privilege from the

Pope's chamber that prohibits printing or selling the work elsewhere, with a penalty of two hundred gold ducats (for further details see below).

To conclude this essay on the Morrill Music Library, I would like to return to Iain

Fenlon, who on the occasion of the Morrill's memorial concert ably summarized the sig nificance of their donation for the discipline of musicology:

Books naturally attract scholars, and following the appointment of Howard Mayer Brown as an

Associate of I Tatti in 1963-64, a succession of distinguished musicologists have enjoyed the rare

privilege of a year at I Tatti, with the Morrill Music Library to hand, and the resources of the

Biblioteca Berenson close by. In intellectual terms the conjunction of the two has proved to be

decisive, and interdisciplinary approaches are characteristic of much of the musicological work

which has come out of I Tatti. Nino Pirrotta, the legendary Italian musicologist, a number of

whose doctoral students at Harvard subsequently came to I Tatti, had a considerable hand in

sharpening the focus in these years.27 The scholarly achievements of this early sequence of mu

sic Fellows (including James Haar, Frederick Hammond, Masakata Kanasawa, Jeremy Noble,

Martin Picker, Colin Slim and Frank Tirro), has made an enormous impact on the discipline in

general, and on the study of the Renaissance in particular, and set the tone for the future.28

Berenson, one feels, would have nodded his approval of the enterprise that his "two young friends"

had made possible, before returning to the hypnotically sensuous sound world of Die Walküre.**

27. Other distinguished scholars who were frequent visitors in the early years and who helped form the li

brary included Armen Carapetyan, Lewis Lockwood and Frederick Sternfeld. The art historian and musicologist Fabio Bisogni was the first Music Librarian (1967-1973).

28. There have been 54 music Fellows and 12 Visiting Professors of musicology since 1963.

29. In memoriam Elizabeth and Gordon Morrill programme.




Appendix

IL SECONDO LIBRO delli madrigali

a CINQJE voci.

Di Giouanni Cagaccio Maeflro di Capella nella

Cacedrale di Bergamo,

Con vn Dialogo a Sctce nel fine.

a GL'ILLVSTRI SIGNORI cavallieri

Signori Girolamo> & Gio. Battifta Solzi

Sig. & Patroni miei Ofleruandifs.

In Venetia Appreflo Angelo Gardano

M. D. lxxxix.

Illustration 9 Cavaccio title page (reproduced with permission of the Morrill Music Library, Biblioteca Berenson, Villa I Tatti, Florence, Italy)




1. Cavaccio, Giovanni Battista

[i] CANTO / IL SECONDO LIBRO / DELLI MADRIGALI / A CINQUE VOCI. / Di Giouanni Cauaccio Maestro di Capella nella / Catedrale di Bergamo, / Con vn Dialogo à Sette nel fine. / A GL'ILLVSTRI SIGNORI CAVALLIERI / Signori Girolamo, & Gio. Battista Solzi / Sig. & Patroni miei Osseruandifs. / [printer's mark] / In Venetia Appresso Angelo Gardano. / [rule] / M. D. LXXXIX.

[ii] ILLUSTRI SIGNORI / ET PADRONI MIEI / OSSERVANDISSIMI. / [woodcut] /

A Vostre Signorie nelle quali s'illustrano tutte l'arti, & tutte le scienze piu no- / bili, &

riguardeuoli, & hoggidi fanno quell'armonia in terra, che fanno / tutti i cieli fra loro, io ardisco di presentare vn mio Musico parto fra molti / altri miei dalla sincérité del mio

giudicio eletto per lo megliore, & scelto per / lo piu perfetto. Et con questo à loro scoprir come in purissimo cristallo quella / riuerenza, & osseruanza, laquale son già molti anni, ho portata loro; come / à Caualieri di tal portata, che non solo da me, che humile sono, ma da ogni / nobile, & alto spirito, lo meritano per ogni capo; non che per la nobilità del

/ sangue loro antica, nell'antichissima nostra patria, principal Città de gl'Orobij, 6

Cenomani, che si sie- / ano; ma per la générosité di tutte le loro attioni, le quali con la scorta delle principali virtù hebbero / sempre, & hanno piu che mai per iscopo la vera

Gloria, & il vero Honore, de quali si cibano le lor / menti, con vna magnanima libéralité, che quasi sole fra le stelle fiammeggiando riluce. Supplico per / tanto W.SS non essendo

questo il loco di far Historia d'esse, ne encomio delle lor laudi ne la profes- / sion mia il

saperla fare, oltre la loro modestia, che lo mi vieta, degnarsi di gradire il dono di questi miei / Madrigali, & l'affettion, & la servitù mia nella maniera, che alla loro magnanimité si conviene, & / all'humilté, & devotion mia si ricerca; il quale son ambitioso délia loro

gratia, più d'ogni altra cosa / bramata del Mondo. Con la quai confidanza piu oltre non mi

stenderô, che in baciar con ogni termi- / ne di riuerenza é W.SS le dottissime &

valorosissime mani supplicando N. Sig. Iddio che é quelle / accresca félicité, & grandezza. Di Bergamo il di 20. Zugno 1589. / Di W.SS Illustri / Devotiss. Servitore / Giouanni Cauaccio.

[xxvi] TAOLA [sic] DELLI MADRIGALI.

Che fia Cloride bella 1 D'un nouo e verde lauro 12

Quest'era il piu bel pegno 2 Si come all'apparir 13

Ardo si ma non t'amo 3 In vn boschetto 14

Donna mia casta e bella 4 Pietosi miei lamenti 15

Donna la bella mano 5 Far potess'io vendetta 16

Lungi da voi ben mio 6 L'aima cui morte 17

Donna l'ardente fiamma 7 Viuo fra doglie e pene 18

Signor la vostra fiamma 8 Languisce dentr'al petto 19

Vnita [sic] da lungo affanno 9 Occhi miei dolci 20

0 benedetta man 10 I vostri dolci accenti 21

Caro dolce ben mio 11 Ahi senza te. Dialogo A 7. 22




Contents

Che fia Cloride bella di me s'al mio desire

Quest'era il piu bei pegno che natura formar potesse Ardo si ma non t'amo perfida e dispietata Donna mia casta e bella che si devot'andate Donna la bella mano che per donar porgeste Lungi da voi ben mio non ho vita ne core Donna l'ardente fiamma e la pen' e'1 tormento

Signor la vostra fiamma [ ] e la pena e'1 tormento (Risposta) Vinta da longo affanno e da dolore (Prima parte) 0 benedetta man 6 fatal guardo [Seconda parte] Caro dolce ben mio perche fuggire D'un novo e verde lauro ch'in bei ridente prato Si come all'apparir [dal?] gran pianeta In un boschetto di bei mirti e allori vidd'il leggiadro Tirsi Pietosi miei lamenti e voi sospiri Far potess'io vendetta di colei [Prima parte] L'aima cui morte del suo albergo caccia (Seconda parte) Vivo fra doglie e pene e quasi a tutte l'hore

Languisce dentr'al petto Talma sol per amore Occhi miei dolci io son ferito a morte 1 vostri dolci accenti fermano l'aur'e i vento Ahi senza te. [...]30 Dhe vita mia dolcissima (Secondo Choro) Ahi senza te. [...] Dhe vita mia dolcissima (Secondo Choro)

Notes

Canto partbook. Upright quarto. Gatherings: A2, B, B2, C, C2, C3. One blank folio at end ([xxvii-xxviii]). 211 x 154mm. Modern binding. The printer's device is Agee VII31. The upper border of the title page is a single block, showing putti reading from partbooks, with the designation of the partbook cut into the block. Gardano frequently used this kind of compartment at the head of his title pages in the 1580's, but the particular design of the upper border, with six putti reading, seems rare and is only seen in one other place: the Canto partbook of Monte's Duodecimo libro delli

30. The two Canto parts of the dialogue "Ahi senza te" in this partbook are both for Secondo Choro, and they enter after 13 measures, in close succession,. This is a setting where a low voice group contrasts with high voices.

31. Richard Agee, The Gardano Music Printing Firms, 1569-1611 (Rochester, NY: University of Rochester

Press, 1998), p. 439, n. 49.




madrigali a cinque voci published in 1587.32 The side and bottom frames are Agee's orna ment VIII, widely used for upright quarto publications ca. 1580-1591, but usually in a dif ferent configuration. The dedication page has Agee ornament XV; the initials are for the most part 'horsemen', but with two of Agee's group EX. Direction lines on the lower right hand corner of the first page of each gathering. No watermarks are discernable. In Gardano's list of 159133. No other copies of this book are known.

32. I thank Dott.ssa Anna Claut of the Biblioteca Nazionale Marciana for this information. The Monte edi

tion of 1587 has a different top border for each partbook (with putti reading music, instruments and birds vari

ously presented). It is probable that the Cavaccio volume had the same top borders on its other partbooks. 33. Oscar Mischiati, Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798

(Florence: Olschki, 1984), p. 89.




<*X^:^^X25i®X»£:^ ~

DI DON ASCANIO MEO DI FRANCA VILLA

I L S £ C 0 N D O $ DE MADRIGAH A CIHQVE VOCI

Daim nuouamentecompoiU & da:ti ir. luce.

«A svww vVC

KV.\VV:«

t 7i_ r e ri t r t

*4d inflttntia di Sciplox J^e di 7{apoli • M. d. L X x X I x

Illustration 10 Meo title page (reproduced with permission of the Morrill Music Library,

Biblioteca Berenson, Villa I Tatti, Florence, Italy).




2. Meo, Ascanio

[i] [swash] CANTO / [upright] DI DON ASCANIO MEO / DI FRANCAVILLA / [italic] IL SECONDO LIBRO / DE MADRIGALIA CINQUE VOCI / da lui nuouamente composti & datti in luce. / [printer's mark] / [swash] IN VENETIA, / [italic] Ad istantia di Scipion Rizo di Napoli. M. D. LXXXDL A

[ii] AL ILLVSTRISSIMO / ET REVERENDISSIMO / MONSIGNORE / GIVLIO CESARE

CARAFFA / Vescouo délia Città d'Hostune. /

E cosi supremo il merito suo, & cosi infima la / bassezza mia, che quai hora io contemplo / le gratie che da lei riceuo, io direi che non / vi è proportione, se non pensassi ch'in tutte

le / cose humane è qualche armonia di corri— / spondenza. Io mentre hguro, che

armonia / potrebbe esser questa, veggio l'altezza sua à guisa d'un canto / supremo

corrispondere al basso de l'humilità mia, & spargere / gratie, et fauori, che come parti dimezzo fanno vna musica / perfetta. Dunque per mostrare al mondo questa proportione / ho voluto dedicargli il secondo libro de madrigali miei, doue se / bene il basso de

l'humiltà mia non potrà pareggiare l'altezza / sua, et le gratie, ch'io da lei riceuo,

contentist[i] almeno ch'io ua- / da imitandole, quanto ponno le forze. Et gli bacio le mani.

/ Da Napoli il di 15. di Giugno 1589. /Di V.S. Illustriss. et Reverendiss. / Deuoto Seruitore

/ D. Ascanio Meo.

[xxviii] TAVOLA DELLI MADRIGALI / del secondo libro a cinque voci di Ascanio Meo.

Aura soave 5 Lasso vedrô 16

Al tristo son 6 Ma io donna per voi 17

Amor che fia di noi. 10 Ne mi torrete 22

Che sei tu. 11 0 viua fiamma 25

Chi ne guida quà giù 13 0 gloriosi allori 26

Donna per acquetar. 4 Poi che morte 3

Dunque se sempre. 7 Quai timido nocchier 23

Dhe s hai di noi 14 Sola Angioletta 15

Dolce fiamma d'amor 20 Si dolce e'1 foco mio 19

Dicemi il cor 27 Temer del mio dolore 18

Hor di me temer 9 Tor ben potrete donna 21

Il mio bel fior 8 Tal io ch'in questo 24

Io che fo 12

IL FINE




Contents

Poi che morte non puö farmi morire Donna per acquetar vostro desire Aura soave che si dolcemente lusinghi (Prima parte.) AI triste son ch'ogn'hor tra voi s'udiva (Seconda parte.) Dunque se sempre il cor m'arde Il mio bel fior la mia Candida rosa (Prima parte.) Hör di me temer finge hör s'assecura (Seconda parte.) Amor che fia di noi se non disface (Prima parte.) Che sei tu senza fiamma e senza strale (Seconda parte.) Io che fo ch'altra gioia (Terza parte.) Chi ne guida quà giù chi n'erge al cielo (Quarta parte.) Deh s'hai di noi di te degl'occhi tuoi (Quinta & vltima parte.) Sola Angioletta (Prima parte. Del Sig. Gio. Battista Caraciolo d'al Berico) Lasso vedrô io mai venire il tempo (Seconda parte. Del Medesimo) Moro donna per voi ma il mio morire Temer del mio dolore non sol m'è forza Amore Si dolce e'1 foco mio la fiamma bella (Prima parte.) Dolce fiamma d'amor foco soave (Seconda parte.) Tor ben potrete donna il rezzo & l'hora (Prima parte.) Ne mi torrete mai che bella & viva (Seconda parte) Quai timido nocchier ch'a parte sente (Prima parte.) Tal' io ch'in questo mar di cieco errore (Seconda parte.) 0 viva fiamma o miei sospiri (Prima parte.) 0 gloriosi allori o verdi mirti (Seconda parte.) Dicemi il cor s'avien che dal felice albergo

Notes

Canto partbook. Upright quarto. Gatherings: A, A2, B, B2, C, C2, C3. 213 x 155mm. Modem binding. The printer's mark is Zappella's Àncora, fîg. 62 (Girolamo Scoto), the same used by the Herede di Girolamo Scotto for the printing of Spoglia amor osa in 1588.34 It is also the same as Bernstein's "Anchor V"35 Direction lines on the lower right hand corner of the first page of each gathering. Floral and vine initials; the dedication initial is a Large Knight36.

34. Giuseppina Zappella, Le marche dei tipografi e degli editori italiani del Cinquecento: repertorio di figure, simboli e soggetti e dei relativi motti (Milano: Editrice Bibliografica, 1986), v. 2, fig. 62.

35. Jane Bernstein, Music Printing in Renaissance Venice: The Scotto Press, 1539-1572 (New York: Oxford

University Press, 1998), Figure 3-10, p. 81.

36. Bernstein, Music printing in Renaissance Venice, p. 92.




No watermarks are discernable. Listed in Scotto's list of 159637. No other copies of this book are known

37. Mischiati, p. 101.




_______

# GIVLIO SCALA * iff qyri(rfr<$ & de'Cli" svor or*am'#km,

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In ROMA appreffo Antonio Barre i_f(S2i E

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Illustration 11 Scala title page and colophon (reproduced with permission of the Morrill Music

Library, Biblioteca Berenson, Villa I Tatti, Florence, Italy).



THE MORRILL MUSIC LIBRARY AT THE biblioteca BERENSON 471

3. Giulio Scala

[i] [printer's leaf] GIVLIO SCALA [printer's leaf] / IL QUINTO LIBRO DELLI SVOI

MADRIGALI, / A QUATTRO VOCI NVOVAMENTE DA LVI COMPOSTO / [italic] Et con liligenza [sic] dato in luce / [upright] AL - [coat of arms below impresa] - TO / In ROMA appresso Antonio Barré 1562. E

[ii] GVIDO ASCANIVS SFORTIA S. MARIAE IN VIA LATA / d. Card, de s. Flora, s. r. e. Camerarivs. /

VNIVERSIS, & singulis, tarn Almae vrbis, quam iliorum quorumcunq;, S.R.E. mediate uel

imme=/ diate subiectorum, Prouinciarum, Terrarum, Ciuitatum, & locorum, librorum

Impressoribus Bibliopolis, / & Librarijs salutem & obedientiam. Quoniam Antonius Barré

Musicus, librum quendam numerorum / musicorum quattuor vocum a Giulio Scala nordum compositum, & hactenus non impressum, / propediem est impressurus, &

editurus; Nos uolentes oportune (ut decet) prouidere ne eidem Antonio Barré Impres= / sori qualemcunq; inde preueniens lucrum a quoquàm alio praeripiatur, De mandato Sanctissimi D. N. Papae viuae uocis / oraculo, nobis facto, & auctoritare nostri Camerariatus offitij harum seriae uobis omnibus supradictis sub excommunica= / tionis latae sententiae, ac ducentorum ducatorum auri camere Apostolicae inferendorum, ac librorum amissionis poenis stri= / cte inhibemus, ne durante triennio ab hinc proximo librum praedictum usq; in provincijs Ciuitatibus, terris, & locis prae= / dictis, imprimere, aut impressum uendere audeant, uel praesumant alioquin, &c. Contrarijs non obstantibus

quibuscunq; / Datum Romae in Camera Apostolica, Die. 8. mensis Nouembris, M.D.LXI. Pont. Sanctissimi in Christo patris / & Domini nostri Domini, P II diuina prouidentia Papae IUI. Anno. Secundo. / Hier. De Tarano.

[iii] AL MOLTO SP.LE SIGNOR ET PATRON MIO OSS.MO / IL SIGNOR SEBASTIAN0 D'ANSALONE GIVRATO DI MESSINA: / GIVLIO SCALA. /

QVESTO picciolo frutto delle mie fatiche so ben io quanto sarebbe meglio conden- /narlo in perpetue tenebre prima, che mandarlo fuori per le voci de gli huomini : ma / cio

facendo, farei anco torto all'obligo, ch'io tengo a V.S. Per cio che essendo ella in tut= / to

cagione d'ogni mia virtuosa operatione quantunque minima, sarei discortese, & vil=/ lanamente a non consecrarla al merito délia sua gentilezza, & molta cortesia. Oltre a cio

questi Ma / drigali infin da principio io hebbi sempre in animo di dedicargli al nome di

V.S. vedendo, che / eglino non poteuano hauer meglio difensore, ne da cui fossero più cortesemente abbracciati, & / tenuti cari. Per cio che chi non sa quanto V. S. sia stata

sempre amatore de questa lodevolissima / scientia délia Musica: nella quale ben che io

oscuro, e minimo sia nondimeno spero, che dalla infi= / nita humanita sua mi sarà

conceduto quel fauore, che di gran lunga auanza la speranza, e la condi= /tion mia.

Aggiungesi ancora che io ne debba far dono a V.S. per la dilettatione, che ne receuono / i

molti honorati Signori il don Francesco di Balsamo, & il S. Giuseppe Saccano ambi due

suoi ge= /neri, l'vno nella musica e nella pittura quasi nuouo Apollo, & Apelle ne vien

stimato in generale: / l'altro & in questa, & in tutte quelle belle qualità, che ad honorato

caualliero si ricercano si di mo= /stra di giorno in giorno piu caldo partigano. Sia dunque seruita V.S. degnarsi di pigliare in grado / questo mio picciol dono, che con tutto il cuore

le presento, essendo io nel numéro di quelli, che / le desiderano felicità, e grandezza conueneuole a meriti suoi. Di Messina il di X. d'Aprile. 1561. / Giulio Scala, a 4 voci

Eij




[xxxvii] TAVOLA DELLI MADRIGALI. N. XXX.

Alla dolce ombra 2. Piu non risoneranno. 15.

Ahi letitia fugace. 19. [sic] Poi che mi fugge. 24.

Ancor che co'l partire. 19. Quest'humil canna. 14.

Che se cercando. 23. Selue, sassi campagne. 6.

Chi vidde huom mai. 30. Se lamentar augelli. 13.

Dunque basciar. 9. Sorgi ti prego. 17.

Empio gelato foco. 31. Sento che nel partire. 21. [sic] Felice Endimion. 11. Se'l dolor del partire. 21.

Fiume che chiaro. 29. Selue risposte. 25.

Gia Ninfa. 22. Tanto mi piacque. 7.

Hor ecco vn'altra volta. 32. Tutto il di piango. 12.

Magnanimo Signor. 8. Taccia & piu non si stracchi. 18.

Marfisa alzando. 16. Tenebre nuoue. 27.

Non vidde il modo. 3. Vn lauro mi difese. 4. Pero piu fermo. 5. Valle che spesso. 28.

Il fine délia Tauola. H 5.

Colophon

[xxxviii] [woodcut ornament] Stampati / IN ROMA / Appresso Antonio Barré / 1562 / Con licenttia delli superiori. / [woodcut ornament]

Contents

Alla dole' ombra delle belle frondi (Sestina. Prima parte) II Non vidde' il mondo si leggiadri rami (Seconda parte) III Un lauro mi difese' allhor dal Cielo (Terza parte) IUI Perô piu ferm' ogn'hor di tempo in tempo (Quarta parte) V

Selve, sassi campagne fium'e poggi (Quinta parte) VI Tanto mi piacque prima' 1 dolce lume (Sesta parte) VII

Magnanimo Signor il cui bel nome (Al Molto SP. S. Bastiano VIII

D'Ansalone)

Dunque baciar si bell'e dolci labbia (Gabriel Cannata) IX Ahi letitia fugace, ahi sonno leve [Prima parte] X Felice Endimion che la sua diva sognando (Seconda parte) XI Tutto' il di piango e poi la notte XII Se lamentar augelli o verdi fronde XIII

Quest'umil canna ti consacro' e'1 dono devotamente [Prima parte]. XIIII Piu non risoneranno i monti' e' i piani (Seconda parte). XV Marfisa' alzando con un sguard' altiero XVI

Sorgi ti preg' o sol (Per la molto SP. S. D. Isabella di Balsamo, XVII & D'Ansalone)

Taccia' e piu non si stracchi (Per la Molto SP. S. Leonora XVIII

Saccano, & D'Ansalone) Ancor che co'l partire io mi sento morire XIX




Sento che nel partire il cor giunge'al morire XX Se'l dolor del partire non mi farà morire XXI

Gia Ninfa hor voce dalle membra scossa XXII

Che se cercando tregu' a miei dolori XXIII Poi che mi fugge & mi s'asconde il sole XXIIII Selve rispost'e sole deserte piaggi' apriche XXV Tenebre nuov'e nuov' infern' a miei occhi XXVI Valle che spesso' al riposar de venti [Prima parte] XXVIII

Fiume che chiar'e lento al mar corrivi (Seconda parte) XXIX Chi vidde' huom mai senza la vita vivo XXX

Empio gelato foco ardente gelo XXXI Hor ecco un altra volta. XXII [sic]

Notes

Alto partbook. Oblong quarto. Gatherings : E, Eij, Eiij, F, Fij, G, Gij, H, Hij, Hiij, Hiij [sic], H 5. 160 x 228 mm. Modern binding. The title page has the coat of arms of the D'Ansaldo family of Messina, surmounted by an

impresa (presumably of the same family). Barrè's 1563 edition of Lasso madrigals also has

the coat of arms of the dedicatee on the title page of four of the partbooks (the layout is

similar, with the partbook designation split on either side), but with a printer's mark in

stead on the Bassus partbook. The watermark is a six-pointed star within a four-pointed star within a circle: Briquet 6097

(1567; 1571); Likhachev 4231 (a papal bull of 1571). Blado's musical font. What would

seem to be in-house corrections have been made in ink (notably to clefs, but also to rests and note values). Unusually, there are only five staves per page. Direction lines on the lower right hand corner of the first page of each gathering. Decorated initials include

Mythological (M: Bent man carrying basket; Q: Boy playing bagpipes; T: Two men ham

mering into a board; V: Man with hat, riband NETALIM) and Grotesque (A: Man with split torso, two men above), as well a variety of small plain or vine initials.38.

In Giunti's booklist of 160439 No other copies of this book are known.

38. For Barrè's initials, see Maureen Buja, Antonio Barré and Music Printing in Mid-sixteenth Century Rome,

Ph.D. thesis, University of North Carolina at Chapel Hill, 1996, pp. 483-493.

39. Mischiati, p. 115.



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