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Con dolce brama e con gran disioThree-voice caccia by Piero SourcesFlorence: Biblioteca Nazionale Centrale, Panciatichiano 26, fol. 98v-99 (3/2).Facsimiles1. MARROCCO, W. Thomas. Fourteenth-Century Italian Cacce, Cambridge/Massachusetts: The Medieval Academy of America, 1942, plates IIIa,b.2. Il codice musicale Panciatichi 26 della Biblioteca Nazionale di Firenze, facsimile edition by F. Alberto Gallo, Florence: Leo S. Olschki Editore, 1981, no. 173. Editions1. MARROCCO, W. Thomas. Fourteenth-Century Italian Cacce, Cambridge/Massachusetts: The Medieval Academy of America, 1942, p. 22.2. The Music of Fourteenth Century Italy, edited by Nino Pirrotta, [n.p.]: American Institute of Musicology, 1960. Corpus Mensurabilis Musicae 8/II, p. 11. 3. Florilegium Musicum: History of Music in 180 Examples from Antiquity to the 18th Century, edited by Erwin Leuchter, Buenos Aires: Ricordi Americana, 1964, p. 36. 4. Italian Secular Music by Magister Piero, Giovanni da Firenze and Jacopo da Bologna, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre, 1967. Polyphonic Music of the Fourteenth Century VI, p. 9. Text EditionsCORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p. 4.Literature1. D'ANCONA, Alessandro. 'Misteri e sacre rappresentazioni', Giornale storico della letteratura italiana, XIV (1889), pp. 190-191.2. LI GOTTI, Ettore. La poesia musicale italiana del secolo XIV, Palermo: Palumbo, 1944, p. 51. 3. PIRROTTA, Nino. 'Note ad "Anna" o dei dispetti amorosi', Accademia: Rivista italiana di lettere, arti, scienze (Palermo), I/2 (1945), p. 7. 4. LI GOTTI, Ettore. 'Madrigali del Trecento', Poesia, IX (1948), p. 51. 5. PIRROTTA, Nino. 'Piero e l'impressionismo musicale del secolo XIV', L'Ars nova italiana del Trecento 1: Certaldo 1959, 1962, pp. 57-74. 6. MARTINEZ, Marie L. Die Musik des frühen Trecento, Tutzing: Hans Schneider, 1963. Münchener Veröffentlichungen zur Musikgeschichte 9. 7. BAUMANN, Dorothea. Die dreistimmige italienische Lied-Satztechnik im Trecento, Baden-Baden: Valentin Koerner, 1979. Sammlung musikwissenschaftlicher Abhandlung no. 64, passim. 8. NEWES, Virginia. 'Chace, caccia, fuga: the convergence of French and Italian traditions', Musica Disciplina, XLI (1987), p. 30. Recordings1. The Ars Nova: Vocal Music of 14-Century France and Italy, Capella Cordina, directed by Alejandro Planchart (1966): Expériences Anonymes EA/EAS 83.2. Ecco la Primavera. Florentine Music of the 14th Century, Early Music Consort, directed by David Munrow (1969): Argo ZRG 642 (GB). TextCon dolce brama e con gran disiodissi al comito quando fu' in galia: - Andiam al porto della donna mia -. Ed egli tosto prese 'l suo fraschetto: - Su, su, a banco, a banco, piglia voga e da la pope mola via la soga. - Lo vento F buon e tutti alz=r l'antenna "Ai=s ai=s" e l'arboro drizando. chinal e 'l quadernal tutti tirando. - Sai, a la vela, sai; investi gomene. issa, issa pur ben di mano in mano. - - La vela F su, da' volta, che si' sano! - - Ado' le fonde? - Cala l'anzolelo. - - A dentra pozza, mola de la sosta. - Allor z'a pope ciaschedun s'acosta. TranslationWith sweet longing and great desireI said to the master, when I was in his galley: "Let's go to my lady's harbour." And he at once took his whistle: "Come on, at your benches. start rowing, cast off astern!" The wind is good and they all top the yard. "Ahoy, ahoy", raising the mast. pulling on the shrouds and stays. "Here, to the sail, here, wind up the ropes. pull well first with one hand then with the other". "The sail is hoisted: make fast the line to the bitt. if you please!" "Where shall we anchor?" "Lower the spar". "Into the dock, slacken the lift". And then everybody moves towards the stern. Text revision and translation © Giovanni Carsaniga |
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