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Medieval Music Database

La doulse cere d'un fier animal
madrigal by Bartolino da Padova

Sources

Florence: Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex), fol. 101v-102 (3/3); Biblioteca Nazionale Centrale, Panciatichiano 26, fol. 108v-109 (3/2); San Lorenzo, Archivio Capitolare 2211 [palimpsest], fol. 7v-8 (3/2);
London: British Library, Additional 29987, fol. 14v-15 (3/1);
Lucca: Archivio di Stato 184 (Mancini Codex), fol. 20 (3/2);
Paris: Bibliothèque Nationale, fonds italien 568, fol. 41v-42 (2/2)); Bibliothèque Nationale, fonds nouv. acq. français 6771 (Reina Codex), fol. 13v-14 (3/2).

Facsimiles

1. GANDOLFI, Riccardo. Illustrazioni d'alcuni cimeli concernenti l'arte musicale in Firenze, Florence: La Commissione per L'Esposizione di Vienna, 1892, plate XIV (Fl87).
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. 185 (FP).
4. The Lucca Codex. Codice Mancini. Introductory Study and Facsimile Edition, edited by John Nádas and Agostino Ziino, Lucca: Libreria musicale italiana editrice, 1990.
5. Il Codice Squarcialupi edited by F. Alberto GALLO, Lucca: Libreria Musicale Italiana, 1992.

Editions

1. 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. 109 (Fl87).
2. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955, p. 159.
3. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by Samuel N. Rosenberg, Rome: American Institute of Musicology, 1970. Corpus Mensurabilis Musicae 53/I, p. 16 (Fn26).
4. Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D. Plamenac, [n.p.]: American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57, p. 72 (Fn26).
5. Italian Secular Music: Bartolino da Padova, Egidius de Francia, Giulielmus de Francia, Don Paolo da Firenze, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre, 1975. Polyphonic Music of the Fourteenth Century IX, p. 28 (Fn26).
6. Three Madrigals by Bartolino da Padova, for Voices, edited by Nigel Wilkins, Devon: Antico Edition AE 9, 1986, p. 10 (Pn6771).
7. WILLIAMS, Carol J. The Mancini Codex: A Manuscript Study, Ph.D. dissertation (University of Adelaide), 3 vols., 1983, Vol. II, p. 1.
8. GOZZI, Marco. [London, British Library 29987: Transcription and Commentary], 2 vols., dissertation, Cremona, Scuola di paleografica musicale, University of Pavia: 1984-1985.
9. GARFORTH, Constance C. The Lo Manuscript: A Trecento Collection, Ph.D. dissertation, Northwestern University: 1983.

Text Editions

1. PETROBELLI, Pierluigi. 'Some dates for Bartolino da Padova', Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, Princeton/New Jersey: Princeton University Press, 1968, pp. 85-112.
2. CORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p. 263.

Literature

1. MANCINI, Augusto. 'Frammenti di un nuovo codice dell' Ars nova', Rendiconti dell' Accademia Nazionale dei Lincei, ser. 8, II (1947), p. 88., p. 88.
2. BONACCORSI, Alfredo. 'Un nuovo codice dell' Ars nova: Il codice Lucchese', Atti della Accademia Nazionale dei Lincei, Ser. 8, I/12 (1948), p. 582.
3. FISCHER, Kurt von. 'On the technique, origin and evolution of Italian Trecento music', Musical Quarterly, XLVII (1961), pp. 50-51.
4. FISCHER, Kurt von. 'Les compositions à trois voix chez les compositeurs du Trecento', L'Ars nova italiana del Trecento I: Certaldo 1959, 1962, p. 24.
5. GOLDINE, Nicole. 'Fra Bartolino da Padova, musicien de cour', Acta Musicologica, XXXIV (1962), pp. 153-154.
6. PETROBELLI, Pierluigi. 'Some dates for Bartolino da Padova', Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, Princeton/New Jersey: Princeton University Press, 1968, pp. 100-105.
7. 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.
8. THIBAULT, Geneviève. 'Emblèmes et devises des Visconti dans les oeuvres musicales du Trecento', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, p. 144.
9. GALLO, F.A. 'Bilinguismo poetico e bilinguismo musicale nel madrigale trecentesco', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 237-238.
10. FELLIN, Eugene C. 'The notation-types of Trecento music', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 211-224.
11. BAUMANN, Dorothea. 'Some extraordinary forms in the Italian secular Trecento repertoire', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 45-63.
12. BAUMANN, Dorothea. Die dreistimmige italienische Lied-Satztechnik im Trecento, Baden-Baden: Valentin Koerner, 1979. Sammlung musikwissenschaftlicher Abhandlung no. 64, passim.
13. BROWN, Howard M. 'The Trecento harp', Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge: Cambridge University Press, 1983, p. 56, 60.
14. HALLMARK, Anne. 'Some evidence for French influence in northern Italy, c.1400', Studies in the Performance of Late Mediaeval Music, edited by Stanley Boorman, Cambridge: Cambridge University Press, 1983, pp. 193-226.
15. D'ACCONE, Frank. 'Una nuova fonte dell' "Ars nova" italiana: il codice di San Lorenzo, 2111', Studi Musicali, XIII (1984): 3-31.
16. ZIINO, Agostino. 'Ripetizioni di sillabe e parole nella musica profana italiana del Trecento e del primo Quattrocento', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 93-120.
17. WILKINS, Nigel. 'The late mediaeval French lyric: with music and without', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, pp. 155-174.
18. NADAS, John. 'Editorial practices in early Quattrocento Florentine anthologies of secular polyphony', L'Ars nova italiana del Trecento VI: Certaldo 1984, Certaldo: Centro di Studio L'ars nova italiana, 1992.
19. STROHM, Reinhard. The rise of European music, 1380-1400, Cambridge: Cambridge University Press, 1993, p. 88.

Recordings

1. Italian Secular Music of the Trecento, Hortus Musicus, directed by Andres Moustonen: Chant du Monde LDX 78.665 (FRA).
2. Das Fest des Pierbaldo (Le Festin de Pierbaldo) nach dem Sonettenkranz "Mundus Pacidus" des Simon d'Orvieto, Les Ménestrels - Wiener Ensemble für alte Musik (1973): Musical Heritage Society MHS 3289.
3. Every Delight and Fair Pleasure, Ian McDonald (countertenor), John Griffiths (lute), Ruth Wilkinson (vielle), Ensemble of the Fourteenth Century, directed by John Griffiths and John Stinson (1991): Move MD 3092.

Text

La doulse cere d'un fier animal
se poit entendre pour sanefiance
grant ardimant et umble semblance.

Le vis human, le buste d'un lion.
intre segiTs d'un brief allegier
que dit "lialmant sans doctier".

A son col porta une scuto tout blans.
que de gonbrier il fut tout garans.

Translation

The gentle countenance of a wild animal
can be taken to signify
great daring combined with a humble appearance.

The human face, a lion's bust.
girt together by writing which brings relief.
which speaks in an honest fashion without preaching.

He wears, suspended from his neck, a shield, completely white.
that he might afford protection from all assailants.
Text revision and translation © Robyn Smith

Content Approved by: MMDB Director
Last updated: Wednesday, 19 March 2003

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