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Nel meto a sey paghon ne vid'un bianchomadrigal by Giovanni da Cascia SourcesFlorence: Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex), fol. 3v-4 (2/2); Biblioteca Nazionale Centrale, Panciatichiano 26, fol. 55 (2/2);Paris: Bibliothèque Nationale, fonds nouv. acq. français 6771 (Reina Codex), fol. 32v (2/2); Rome: Biblioteca Apostolica Vaticana, Ottoboniano latino 1790, fol. 77v (2/1) (Ritornello fragment only). Facsimiles1. WOLF, Johannes. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen, 3 vols., Leipzig: Breitkopf & Härtel, 1904. [reprinted Hildesheim: G. Olms, 1965], p. 61 (Fl87, diplomatic).2. Il codice musicale Panciatichi 26 della Biblioteca Nazionale di Firenze, facsimile edition by F. Alberto Gallo, Florence: Leo S. Olschki Editore, 1981, no. 102 (FP). 3. Il Codice Squarcialupi edited by F. Alberto GALLO, Lucca: Libreria Musicale Italiana, 1992. Editions1. RIEMANN, Hugo. Handbuch der Musikgeschichte, 5 vols., Leipzig: Breitkopf & Härtel, 1904-1913, Vol. I, p. 309 (Fl87).2. WOLF, Johannes. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen, 3 vols., Leipzig: Breitkopf & Härtel, 1904. [reprinted Hildesheim: G. Olms, 1965], Vol. III, p. 92 (Fl87). 3. WOLF, Johannes. Handbuch der Notationskunde, 2 vols., Leipzig: Breitkopf & Härtel, 1913, 1919. [reprinted Hildesheim: Georg Olms, 1963], Vol. I, p. 297 (Fn26,Fl87). 4. SCHERING, Arnold. Studien zur Musikgeschichte der Frührenaissance, Leipzig: C.F. Kant Nachfolger, 1914, p. 70 (Fl87). 5. History of Music in Sound. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes, London: Oxford University Press, 1953, p. 19 (incomplete). 6. The Music of Fourteenth Century Italy, edited by Nino Pirrotta, Amsterdam: American Institute of Musicology, 1954. Corpus Mensurabilis Musicae 8/I, p. 24 (Fn26). 7. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955, p. 9. 8. 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. 50 (Fl87). 9. 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. 48., p. 50 (Pn6771). Text Editions1. CORSI, Giuseppe. Rimatori del Trecento, Turin: Unione tipografica editrice torinese, 1969, p. 1014.2. CORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p. 16. Literature1. LUDWIG, F. 'Die geistliche nichtliturgische, weltliche einstimmige und die mehrstimmige Musik des Mittelalters bis zum Anfang des 15. Jahrhunderts', Handbuch der Musikgeschichte, edited by G. Adler, vol. I, Frankfurt am Main: Frankfurter Verlag, 1924, p. 283.2. BONACCORSI, Alfredo. 'Un nuovo codice dell' Ars nova: Il codice Lucchese', Atti della Accademia Nazionale dei Lincei, Ser. 8, I/12 (1948), pp. 541-544. 3. FISCHER, Kurt von. 'Zur Entwicklung der italienischen Trecento-Notation', Archiv für Musikwissenschaft, XVI (1959), p. 94. 4. ELLINWOOD, Leonard. 'The Fourteenth Century in Italy', [chapter 2 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960, p. 75. 5. 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. 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. BENT, Ian D. 'Analysis. II,5. Early 20th century: Reduction techniques and personal style', The New Grove, I (1980): 354-356. 9. NADAS, John. 'The structure of MS Panciatichi 26 and the transmission of Trecento polyphony', Journal of the American Musicological Society, XXXIV (1981), p. 421. 10. FALLOWS, David. 'Specific information on the ensembles for composed polyphony, 1400-1474', Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge: C.U.P., 1983, pp. 140-141. Recordings1. Musik aus dem Trecento, Silvia and Walter Frei: Fono. Ges. Luzern S 30-4703.2. Musiques Héraldiques, Vocal ensemble, Groupe des Instruments Anciens of Paris, directed by Roger Cotte: Pathé CPTC 2035. 3. The History of Music in Sound. Vol. III. Ars Nova and the Renaissance (c. 1300 - 1540), Pro Musica Antiqua/Cape, Lemuel Hughes, Clarence Roberts, Br (1953): HMV HMS 20-31, 21=(78rpm mx. 2EA 15609-1B). 4. 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. TextNel mezo a sei pagon ne vid'un biancocon cresta d'oro e con morbida penna. sn bel che dolzemente 'l cor mi spenna. E quanto pin mostrava sua belleza. onor facea ciascun d'altro colore per la legiadra vista c'ha d'amore. El suo compagno pur lo va guardando sempre cantando e da lui non si parte: ed e' da sT lo fa partir per arte. perchT le spiace 'l suo noioso canto. Poi de biltate s'en fa rota e manto. TranslationI saw a gold-crested, soft-plumed peacockamidst six others, and my heart was sweetly touched by his exceptional beauty. The more he displayed his beauty. the more the others of a different colour paid him honour. because of his lovely appearance. He has a companion who keeps singing and gazing at him, and never leaves him. But he manages to send the other peacock away because he is annoyed by his song. And he wraps himself up in his fan-like tail, like a gorgeous cloak. Text revision and translation © Giovanni Carsaniga |
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