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S8 dolce non son= col lir' Orfeomadrigal by Francesco Landini SourcesFlorence: Biblioteca Marucelliana C.155, fol. 54 (text); Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex), fol. 123v-124 (3/3); Biblioteca Nazionale Centrale, Panciatichiano 26, fol. 44v-45 (3/3);London: British Library, Additional 29987, fol. 8v-9 (3/2); Paris: Bibliothèque Nationale, fonds italien 568, fol. 12v-13 (3/3). Facsimiles1. The Works of Francesco Landini, edited by Leonard Ellinwood, Cambridge/Massachusetts: The Mediaeval Academy of America, 1939, plate IV (Fn26).2. The Manuscript London, British Museum Add. 29987, facsimile edition by Gilbert Reaney, [n.p.]: American Institute of Musicology, 1965. Musicological Studies and Documents 13, (Lo). 3. Il codice musicale Panciatichi 26 della Biblioteca Nazionale di Firenze, facsimile edition by F. Alberto Gallo, Florence: Leo S. Olschki Editore, 1981, no. 83 (FP). 4. Il Codice Squarcialupi edited by F. Alberto GALLO, Lucca: Libreria Musicale Italiana, 1992. Editions1. ELLINWOOD, Leonard. 'Francesco Landini and his music', Musical Quarterly, XXII (1936), p. 207.2. The Works of Francesco Landini, edited by Leonard Ellinwood, Cambridge/Massachusetts: The Mediaeval Academy of America, 1939, p. 31. 3. Examples of Music Before 1400, edited by Harold Gleason, Rochester, New York: Eastman School of Music Series, 1942, p. 113 (Fl87). 4. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955, p. 201. 5. The Works of Francesco Landini, edited by Leo Schrade, Monaco: Editions de L'Oiseau-Lyre, 1958. Polyphonic Music of the Fourteenth Century IV, p. 210. 6. Historical Anthology of Music. Vol. I. Oriental, Medieval and Renaissance Music, edited by Archibald T. Davison and Willi Apel, Cambridge/Massachusetts: Harvard University Press, 1966, no. 54 [R Ellinwood]. 7. GOZZI, Marco. [London, British Library 29987: Transcription and Commentary], 2 vols., dissertation, Cremona, Scuola di paleografica musicale, University of Pavia: 1984-1985. 8. GARFORTH, Constance C. The Lo Manuscript: A Trecento Collection, Ph.D. dissertation, Northwestern University: 1983. Text EditionsCORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p. 132.Literature1. ELLINWOOD, Leonard. 'Francesco Landini and his music', Musical Quarterly, XXII (1936), pp. 194-195, 201.2. KÖNIGSLÖW, Annamarie von. Die italienischen Madrigalisten des Trecento, Würzburg-Aumühle: Triltsch, 1940, p. 31. 3. JOHNSON, Martha. 'A study of conflicting key-signatures in Francesco Landini's music', Hamline Studies in Musicology, II (1947), pp. 33-35. 4. FELLIN, Eugene C. A Study of Superius Variants in the Sources of Italian Trecento Music: Madrigals and Cacce, Ph.D. dissertation, University of Wisconsin: 1970, passim. 5. MARROCCO, W. Thomas. 'Integrative devices in the music of the Italian Trecento', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, p. 418. 6. FELLIN, Eugene C. 'The notation-types of Trecento music', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 211-224. 7. COVINGTON, K. 'A theory of dissonance in the fourteenth-century', Indiana Theory Review, II/1 (1978): 29-40. 8. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, p. 457. 9. FISCHER, Kurt von. 'Philippe de Vitry in Italy: an Homage of Francesco Landini to Philippe', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 228-232. 10. BAUMANN, Dorothea. Die dreistimmige italienische Lied-Satztechnik im Trecento, Baden-Baden: Valentin Koerner, 1979. Sammlung musikwissenschaftlicher Abhandlung no. 64, passim. 11. GALLO, F. Alberto. 'The musical and literary tradition of 14th century poetry set to music', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter: 1984, pp. 55-76. Recordings1. Music in Italy 1300 - 1650, Syntagma Musicum Ensemble, directed by Kees Otten: Electrola.2. [Landini], Hortus Musicus, directed by Andres Moustonen: Chant du Monde LDX 78.666 (FRA). 3. The Italian Trecento, Columbia University Collegium Musicum, directed by Richard Taruskin: Collegium Stereo JE 105. 4. Musik aus Italien 1300 - 1650, Syntagma Musicum, Amsterdam, directed by Kees Otten: Voce del Padrone SME 191761/2. 5. The Ars Nova: Vocal Music of 14-Century France and Italy, Capella Cordina, directed by Alejandro Planchart (1966): Expériences Anonymes EA/EAS 83. 6. Historical Anthology of Music in Performance. Vol. 1: Late Medieval Music (1300 - 1400), University of Chicago Collegium Musicum, South Illinois Univ, directed by Howard Mayer Brown, Wesley Morgan (1968?): Pleiades P 250. TextS8 dolce non son= con lira Orfeoquando a sT trasse fiere, uccelli e boschi. d'Amor cantando, d'infante e di deo. come lo gallo mio di fuor da' boschi con nota tale, che gia ma' udita non fu da Filomena in verdi boschi. NT pi· Febo cant=, quando schernita da Marsia fu suo tibia in folti boschi. dove, vincendo, lo spogli= di vita. Di Tebe avanza 'l chiudente Anfione; effetto fa 'l contrario del Gorgone. TranslationSo sweet never sounded with (his) lyre OrpheusWhen to himself he drew wild beasts, birds and woods Singing about Love, (as a) child and a God As my cock from outside the woods With such a note as never was heard By Philomela in green woods Nor longer (louder) Phoebus sang, when scorned By Marsyas was his tybia in thick woods Where, overcoming him, he despoiled him of his life. It is stronger than Amphyon enclosing Thebes And has a contrary effect to the Gorgon. Text revision and translation © Giovanni Carsaniga |
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