Biblioteca Nazionale Centrale Firenze, I-Fn, MS Magl. XIX. 164-167
“As in FlorBN BR 229, FlorBN Magl. 121, and FlorBN Magl. 122-5, the edges of the folios are painted gold, and bear tooled designs”, Crawford.
One of the watermarks resembles Briquet #5963; the same mark or a similar one is also found in BolC Q21 (Rifkin), FlorBN Magl. 111, 112, and 122-5.
Original covers of brown tooled leather, with impressed medallion flanked by 'S' and 'C' and surrounded by 'Divus Augustus'.
Foliation: Old foliation only in Altus book; new foliation only in Bassus book. The scribe also appears in portions of FlorC 2440 and FlorBNMagl. 178; the pieces by this scribe in FlorC 2440 were evidently copied directly from this manuscript (Rifkin). Copied in Florence. The Te Deum and one of the Italian pieces are later additions.
Becherini, Bianca, Catalogo dei manoscritti musicali della Biblioteca Nazionale di Firenze, Kassel, New York, Bärenreiter, 1959.
Brown, Howard Mayer, Florence, Biblioteca Nazionale Centrale, MSS Magl. XIX, 164-167, 1987. Renaissance music in facsimile, v. 5
XVIe s. Papier 110 x 164 mm. 4 livres: Cantus (167), 116ff. + 3ff. limin. portant la Table et 1 f. à la fin; les ff. 56r-v, 85 à 86v, 113 à 115, 116 sont blancs. Au f. 112v, pièce instr. copiée postérieurement. Altus (164), 122ff. + 3ff. limin. et 3 à la fin; les ff. 42r-v, 62r-v, 91v à 92v sont blancs. Tenor (166), 120ff., les ff. 2, 40v, 60v, 87v à 90v, 116 à 119, 120 sont blancs. Au f. 1, Table incomplète du ms. Bassus (165), 120ff. + 2ff. limin. et 2ff. à la fin; les ff. 38 à 40v, 59v à 60v, 89v à 90v, 115v, 116, 117v à 119, 120 sont blancs. Aux ff. 116v-117, pièce instr. copiée postérieurement. Foliotation moderne au bas des ff. et numérotation ancienne de chaque pièce en ch. romains. Au Tenor, foliotation et numérotation anciennes. Notation mesurée blanche. 3 portées par p. Au 1er f. limin. de tous les vol. cachet portant: Med. Palat. Bibl. Caes. Reliures anciennes (dos refait au Cantus) cuir estampé avec médaillon orné d'un buste entouré de l'inscription: Divus Augustus. Il est très clair que le scribe a suivi un plan préétabli quant à l'ordre des pièces dans le ms. où l'on distingue 3 sections: 1. Chansons italiennes (nos 1 à 45); 2. Chansons françaises (nos 46 à 69); 3. Motets latins (nos 70 à 81), les nos 82 et 83 ayant été copiés postérieurement. Le ms. où la nouvelle école (avec Pisano et S. Festa) côtoie les valeurs sûres (comme Josquin, Isaac ou Compère), se présente ainsi comme le ms. idéal conçu à la fois pour la distraction et pour l'édification d'un amateur de musique, et il est probable qu'il a été compilé dans ce but pour quelque mécène de noble famille florentine. Les datations proposées ne montrent pas de divergences sensibles: 1515-1516 (Bragard); ca. 1520 (Einstein, Rifkin); 1520-1525 (Pannella); ca. 1525 (D'Accone); 1514-1529 (Jeppesen qui s'appuie sur les filigranes du papier que l'on retrouve aussi dans I-Bc 21). Les concordances qui s'établissent avec des recueils imprimés chez Petrucci, Antico et Dorico entre 1510 et 1531, ou avec des mss. copiés ca. 1515-1520, confirment les dates émises ci-dessus, situant ainsi le ms. à l'époque où la musique italienne s'engageait sur la voie du madrigal.
1 Te Deum, 12 motets, 24 French secular pieces, 49 Italian secular pieces = 86 (Bruhier)-3, (Cara/Pesenti/Tromboncino)-1, (Carpentras)-1, (Compere)-6, (S. Festa)-6 + 2?, (Isaac)-2, (Josquin)-9, (Mouton) -3, (Musicola)-1, (Ninot le Petit)-5, (Obrecht)-1, (Ostia or Santacroce? F.P.)-2, (Pesenti)-2, (Pipelare)-1, (Pisano)-12 + 7?, (Silva)-1, (Tromboncino)-2, anon-20 4 paper partbooks (D-116 folios, A-122, T-120, B-120), 107x167. Old foliation in altus book; new foliation in bassus. Original covers of brown tooled leather, with impressed medallion flanked by "S" and "C" and surrounded by "Divus Augustus." Original index in discantus book. The scribe also appears in portions of FlorC 2440 and FlorBN Magl. 178; the pieces by this scribe in FlorC 2440 were evidently copied directly from this manuscript (Rifkin). As in FlorBN BR 229, FlorBN Magl. 121, and FlorBN Magl. 122-5, the edges of the folios are painted gold, and bear tooled designs (Crawford). One of the watermarks resembles Briquet #5963; the same mark or a similar one is also found in BolC Q21 (Rifkin), FlorBN Magl. 111, 112, and 122-5. The Te Deum and one of the Italian pieces are later additions. 1530-40 (BecherTI); 1520-5 (PanneCP); ca. 1515-ca. 1522 (Rifkin). Copied in Florence. Vol 4 Composers: Add "(Leo X)-1"; change "(S. Festa)-6 + 2?" to "(C. Festa/S. Festa)-1, (S. Festa)-5 + 2?"; change "(Ostia or Santacroce? F.P.)-2" to "(Santacroce)-2"; change "anon-20" to "anon-19."
B. Becherini, 67: MAGL. XIX. 164, 165, 166, 167. Cart., prima metà XVI sec., anepigr ., adesp.; mm. 115 X 175; 4 voll. ( Cantus, Altus, Tenor, Bassus). Cantus, cc. 116 modem. numerate, tre guardie in principio, scritte (Tav. d'indice), una in fìne, scritta : bianche le cc. 56a-56b, 85a-86b, 113b-115a, 116a . Altus, cc. 122 modem. numerate, tre guardie in principio, una scritta; tre in fìne, una scritta: bianche le cc. 42a-42b, 62a-62b, 91b-92b. Tenor, cc. 120 (115 con esatta numerazione antica + 5 modem. numerate), due guardie in principio, una scritta (frammento d'indice), e tre in fine, una scritta: bianche le cc. 87b-90b, 116a-119a, 120a . Bassus, cc. 120 modem. numerate, due guardie in principio, scritte; tre guardie in fine, una scritta: bianche le cc. 38a-40b, 59b-60b, 89b-90b, 115b-116a, 117b-119a. All'inizio dei vari voll. (guardie o 1 a c.) ex libris, Med. Palat. Bibl. Caes. Legatura coeva in pelle con impressioni a secco, taglio dorato. In ambedue i piatti di ciascun vol., al centro, un medaglione con un busto romano e la scritta : S. Divus augustus C. Mottetti, canzoni, villote e chansons a quattro voci. N. B. - Numerose delle composizioni contenute nella prima parte del presente ms. si trovano pure - benchè in esemplare mutilo, cioè limitato alle sole parti dell' Altus e del Bassus - nella stampa petrucciana (23 Maggio 1 520, unicum, Siviglia, Bibl. Capitolare Colombina), Musica de meser / Bernardo pisano sopra le Canzone del / petrarcha. Ved. C. SARTORI, Bibliografia delle opere musicali stampate da Ott. Petrucci, Firenze, 1948, pp. 190-191.
copy
Jam pris amours (Jam pris amours Nous amys scaramella / Jam pris amours non dormite / Ma buce rit)
Pisano, Bernardo, Collected Works, Frank A. D'Accone (ed.), 1966, p. 52-56.
Pisano, Bernardo, Collected Works, Frank A. D'Accone (ed.), 1966, p. 20-22.
Pisano, Bernardo, Collected Works, Frank A. D'Accone (ed.), 1966, p. 29-32.
Fenlon and Haar 1988, 171 (Arcadelt or Festa)
Concordant manuscript bibliographic description/catalog record URL
Concordant manuscript full digitisation URL
Copied in Florence; once owned by the Braccesi family of Florence (coat of arms on f. iv).
Biblioteca Nazionale Centrale I-Fn MS Banco Rari 229
2 motets, 163 French secular pieces, 1 French/Latin secular piece (with Latin incipit only in this manuscript), 15 Italian secular pieces, 1 Flemish secular piece (many of the preceding have text incipits or titles only), 86 textless pieces = 268
All folios have illuminated initials; the parchment folios at the beginning and end have elaborate illuminations laid over a solid, deep-blue background, including a portrait which is probably that of Alessandro Braccesi, the owner of the manuscript (Howard M. Brown); miniatures and initials attributed to the brothers Gherardo and Monte de Giovanni del Fora, who worked in Florence between 1470 and 1495 (BragardM); ParisBNF 15123 was also decorated by the same workshop. Edges of folios are painted gold and bear tooled designs. F. iii' has a circular canon with an homage to Ramos written inside: 'Mundo et musice et totus concentus Bartholomeus Ramis.'
Brown tooled leather covers, with 'Sonate di vari autori' stamped on spine.
Closely related to ParisBNF 15123, VatG XIII.27, RomeC 2856, and FlorBN Magl. 178. Copied in Florence; once owned by the Braccesi family of Florence (coat of arms on f. iv').
Garey, Howard, and Leeman L Perkins (eds.) 1979. The Mellon Chansonnier. New Haven and London. Pages: I,10-5; II,159, 214ff, passim. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.
Bernstein, Lawrence F. 1982. Notes on the Origin of the Parisian Chanson. The Journal of Musicology, 1: 275-326. Pages: 285,296,317-8,321. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Brown, Howard Mayer (ed.) 1983. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229. Monuments of Renaissance Music. Chicago and London: University of Chicago Press, 1983.
XVe s. 325ff. (+ 5ff. limin. en parchemin ch. I-V). Papier, 235 x 177 mm. Foliotation moderne au bas des ff. Les ff. 1, 195v à 200v, 291 à 325v. sont blancs. Notation mesurée blanche. 8 portées par p. Miniatures et marges ornées or et coul. aux ff. IIv, IIIv, IVv et V. Capitales ornées en couleurs jusqu'au f. 180v. Tranches dorées. Rehure ancienne cuir estampé, dos refait portant par erreur „Sonate di vari autori." Ce ms. («Provenienza Gaddi no 1024») a toujours été considéré comme ayant été compilé à Florence aux environs de 1491-1492 pour la famille Braccesi dont les armoiries figurent au f. IVv. Mais H. M. Brown a démontré récemment que le recueil fut d'abord préparé pour Mathias Corvin, puis à sa mort en 1491 racheté par Lorenzo Medici qui l'aurait finalement offert à Alessandro Braccesi. Brown pense aussi que le portrait au f. V, considéré jusqu'à présent comme celui de Johannes Martini, serait plus probablement celui de Braccesi lui-même. En tout cas, celui-ci ayant quitté Florence pour Rome en 1494, le ms. n'aurait pu être copié après cette date. D'autre part, Gherardo et Monte di Giovanni del Fora auxquels sont attribuées les miniatures, tinrent un atelier à Florence de 1470 à 1495. Enfin, les deux compositeurs les mieux représentés, Isaac et Agricola avec plus de 20 pièces chacun, étaient à Florence entre 1491 et 1492. Au f. III, un canon circulaire porte l'inscription «Mundo et musica et totus concentus Bartolomeus Rami», avec, à l'intérieur du cercle les injonctions pour la résolution du canon données par le théoricien Ramos de Pareja qui avait d'ailleurs séjourné à Florence entre 1482 et 1487 (Seay). Parmi les 268 pièces (en majorité ch. françaises), à côte d'Isaac et Agricola, on trouve J. Martini avec 21 pièces et aussi un grand nombre d'autres musiciens franco-flamands comme Collinet de Lannoy (n° 98), chantre à S. Giovanni en 1490, et "ietrequin lui aussi à S. Giovanni dont les adieux à Florence (n° 146) ont dû être composés en 1492, date où il disparaît des archives.
2 motets, 163 French secular pieces, 1 French/Latin secular piece (with Latin incipit only in this manuscript), 15 Italian secular pieces, 1 Flemish secular piece (many of the preceding have text incipits or titles only), 86 textless pieces = 268 (Of the textless pieces, the following have been identified from concordant sources: 5 Mass Ordinary sections, 3 motets, 20 French secular pieces, 4 Flemish secular pieces, 3 Italian secular pieces, 1 German secular piece = 36) A. Agricola-23, A. Agricola/Rompere)-1, (A. Agricola/Compere)-2, A. Agricola/(Fresneau)-1, (A. Agricola/Fresneau)-1, A. Agricola/(Ghiselin/Isaac)-1, J. Agricola/(Elive)-1, Barle-2, (Basin)-1, (Bosfrin)-1, Busnois-18, Busnois/(Caron)-1, Busnois/ (Compère/Mureau)-1, (Busnois/Hayne van Ghizeghem)-2, (Busnois/Japart)-1, Caron-8, Caron/(Busnois)-2, Caron/(Dusart)-1, (Caron/Morton)-1, Compère-6, (Compère/Pietrequin)-1, (Compère/Tinctoris)-1, Congiet-1, Congiet/(Japart)-1, (Dufay)-1, (Fresneau/Hayne van Ghizeghem)-1, (Hayne van Ghizeghem)-4, Hémart-1, Isaac-23, (Isaac/Japart/Obrecht)-1, Japart-4, Japart/ (Busnois/La Rue Pirson)-1, Japart/(Josquin/Joye)-1, Josquin -4, Josquin/(A. Agricola)-1, (Joye)-2, Lannoy/(Josquin)-1, Martini-20, Martini/(Isaac)-1, Martini/(Malcort/Ockeghem)-1, Mureau Murian-1, Obrecht-3, (Obrecht-Virgilius)-1, (Phillipet de Pres)-1, Pietrequin/(La Rue)-1, Planquard-1, Regis-1, Rubinet-5, Rubinet/(Isaac)-1, (Stokhem)-2, Stokhem/(Compère/Rubinet)-1, Tinctoris-1, (Vincenet)-1, (Weerbecke)-4, anon-98 v parchment + 325 paper + i parchment folios, 240 x 170. Modern foliation. Brown tooled leather covers, with "Sonate di vari autori" stamped on spine. No index. All folios have illuminated initials; the parchment folios at the beginning and end have elaborate illuminations laid over a solid, deep-blue background, including a portrait which is probably that of Alessandro Braccesi, the owner of the manuscript (Howard M. Brown); miniatures and initials attributed to the brothers Gherardo and Monte de Giovanni del Fora, who worked in Florence between 1470 and 1495 (BragardM); ParisBNF 15123 was also decorated by the same workshop. Edges of folios are painted gold and bear tooled designs. F. iii' has a circular canon with an homage to Ramos written inside: "Mundo et musice et totus concentus Bartholomeus Ramis." The manuscript is closely related to ParisBNF 15123, VatG XIII.27, RomeC 2856, and FlorBN Magl. 178. 1492-3 (RifPB). Copied in Florence; once owned by the Braccesi family of Florence (coat of arms on f. iv').
formerly owned by the Biblioteca Mediceo Palatina
2 copyists: 1 main hand (C1-XIX.99-102) and a later one (C2-XIX.99) responsible only for the instrumental pieces at the end of Magl.XIX.99.
Madrigali a 4 di incerto (by a later hand and only in Magl.XIX.100, cover)
56 italian madrigals 3 two-part instrumental pieces (only in Magl.XIX.99)
initials, only for the first piece in each partbook, anthropomorphic cadels in XIX. 99 and XIX. 102, decorated cadels in XIX.100 and XIX.101bis.
Briquet #5919 is also found or is similar to the watermark used I-Fn| II.I. 350 (Census)
Briquet #5926 is also found or similar to the watermark used in MSS I-Fn| Magl. XIX.122-125 (identical, Fenlon and Haar 1988, 164), I-Fn| Magl. XIX.125bis, B-Bc|MS 27511, B-Bc|MS 27731, I-Rv|S1 35-40 (Census).
Parchment, old, part title for each book with decorated cadels
Donated by the Gaddi Family (Becherini 1959: 20)
large plain initials for the first four pieces, made with the same ink of music and text
cover in sixteenth-century leather, edges in gold (? to be double-checked)
François Roussel: A Northern Musician in Sixteenth-Century Rome
perhaps Niccolò Gaddi, Cavaliere di San Iacopo della Spada (Garden 1977:113)
Composer, Performer, Singer, Maestro di cappella
Anthropomorphic (C and A) and decorated (T and B) cadels
The Index indicates "Helas quel at a mon gré". Ct et T seulement
[2 T., nella tav. d'indice si legge: del gardinale di Medici, certamente Giovanni, Papa Leone X].
[2 frammenti, mutila] [S. T., mutila] Ct. Et fin du T seulement
[Frammento di Lamentazione] [A. B., mutila]
[S., mutila] Attention: DIAMM indique la foliation pour toutes les parties de la messe, tout en indiquant les titres de différentes parties séparemment. / Pleni sunt: Sup. et T seulement / Benedictus di fortuna : CT et fin T seulement
Nella tavola d'indice, Benedictus si dedero
F-Pn|Départ. de la Musique, Rés. Vm7 676
La notte 'l giorno e tutte quante l'hore
Ricercari di Jacques Buus 1 ° Primo Tuono
Same hand and brown ink for all pieces, texts, and decorations. Apparently a non-professional copyist.
8 Italian polyphonic vernacular songs (madrigals?)
notated music
Small, simple initials, same hand and ink of text and music
The only tenor from a set of partbooks, containing 4 folios and 8 pieces. It is possible however that this is only a fragment of a larger collection. Frontpage and index are missing. All musics and texts are from unknown authors
O nostra eccelsa duce, serenissima Aurora
O nostr' eccelsa duce, serenissima Aurora
Small, simple initial, same ink as text and music
Alla fìne si legge : 3° ricercare con 3 fughe e rouesci. Ma esso non c'è : in calce alle cc. Sb-9\ sono lasciati in bianco 4 righi musicali].
In fìne si legge : Joannis de Macques Psalmodiare Finis.
Nella parte superiore della stessa c. 42a si hanno poche misure di una composizione religiosa, con le parole : Cum Patre et almo spiritus.
mutila 2a p. della 1a strofa di Vergine bella di F. Petrarca.
Probabilmente - come scrive il Ghisi, op. cit., si tratta del testo di un intermedio .
Per la mancanza di un gruppo di cc. il testo della c. 48a non appartiene a questa composizione.
La Dafne di O. Rinuccini, Scena VI, Aria d'Apollo
La Dafne di O. Rinuccini, Prologo di Ovidio
La Dafne di O. Rinuccini, Scena II, Amore
Music notation engraving library for MEI with MusicXML and Humdrum support and various toolkits (JavaScript, Python)
Catalogo dei manoscritti musicali della Biblioteca nazionale di Firenze
Biblioteca nazionale centrale di Firenze
UNA PRIMIZIA RINUCCINIANA: LA DAFNE PRIMA DELLA «MIGLIOR FORMA»
The article describes an unpublished draft of Ottavio Rinuccini’s «favola di Dafne», which was the first theatrical work designed to be set to music and sung from beginning to end. This 212-line version precedes the earliest hitherto known printed editions (one undated but prior to 1600, the other dated 1600) which have 445 lines. This draft is examined both from the point of view of its poetic and formal structure and within its contextual setting.The first section of the essay focuses on the dating of the manuscript by analysing the handwriting, the format, and the watermark. The second examines the metrical structure and the formal organization of the poetic text, comparing it to contemporary models such as the madrigale, which was popular in Florence at the end of the sixteenth century, and the odi-canzonette resulting from Gabriello Chiabrera’s experiments. The third describes the extant musical fragments. Those connected until now with the 445-line Dafne are compared with this unpublished shorter draft. Hypotheses are formulated about the presumed style of the music that has not survived. The fourth section addresses the often-debated topic of the theatrical genre to which Rinuccini’s dramas are to be assigned. The compositional structure of this first favola in musica, even in this earliest of all known versions is already the one used by the poet in subsequent theatrical texts; models can best be found in the discussions held by the Accademici Alterati concerning ancient theater. The fifth and last section offers some new biographical information about Rinuccini and his friend and patron the banker Jacopo Corsi, in particular, his love life and favourite forms of entertainment, and allows us to speculate about the potential spectators of the earliest version of Dafne.The article sheds new light on the intellectual journey in both theory and practice which laid the foundations for the theatrical genre we now call melodramma – a genre of which Rinuccini, with his striking penchant for poetic and theatrical experimentation, can legitimately be considered a founder.
UNA CACCIA INEDITA DAL CODICE DI S. LORENZO: PROBLEMI E PROPOSTE ESEGETICHE
The palimpsest Florence, Archivio del Capitolo di San Lorenzo, 2211 is one of the latest Florentine anthologies of the Italian Trecento tradition. It is the unicum source for works by authors who were approximately contemporary at the time of its creation (Giovanni and Piero Mazzuoli, Ugolino da Orvieto and Hymbert de Salinis). The manuscript is also precious because of its transmission of older repertory and, in particular, for the collection of cacce that are transmitted without attribution in Fascicle XVI (which also contains compositions that other codices attribute to Gherardello da Firenze, Vincenzo da Rimini and Francesco Landini).This article discusses and proposes an edition of the first caccia of the collection, an unicum previously known only by name and labeled using the last line of the text, which corresponds to the second section of the work («E così cominciò la nostra caccia»). Among the unica transmitted by the codex, it appears to be one of the very few that can be attributed to the oldest repertory. With the exception of a single line of poetry, the difficulty in reading the palimpsest has not made the reconstruction of the text an impossible task. It is a caccia on a hunting topic whose incipit can now be securely established as «O tu, di qua, o tu, di là, lasciate». Some clues about the poetic text suggest a Tuscan and even more probably Florentine origin, while the interaction of the parts and the way dissonance is used indicate a date around mid-14th century. In all probability its composer belonged to the generation preceding that of Landini. Some technical details (the use of the fourth as a consonant interval, the extremely bland attention to dissonances and the abundance of perfect parallel consonances) also seem compatible with the style of Lorenzo da Firenze, although the caccia bears no trace of the typical ornamentation to be found in many works by this composer.
UNA CACCIA INEDITA DAL CODICE DI S. LORENZO
IL PATRIMONIO MUSICALE: ENTITÀ MATERIALE E IMMATERIALE
Josquin des Prez: proceedings of the International Josquin Festival-Conference held at the Juilliard School at Lincoln Center in New York City, 21-25 June 1971
New York International Josquin Festival-Conference
Burney and Ambros as Editors of Josquin's Music
The Cappella Giulia chansonnier: Rome, Biblioteca apostolica vaticana, C.G. XIII.27
Die Messen Heinrich Isaacs: Band II : Quellenstudien zu Heinrich Isaac und seinem Messen-Oeuvre : Anhang : Materialien
Publikationen der Schweizerischen Musikforschenden Gesellschaft. Serie 2 = Publications de la Société Suisse de Musicologie. Série 2
American Institute of Musicology : Hänssler-Verlag
The "First" Edition of the "Odhecaton A"
Journal of the American Musicological Society
The works of Philippe Basiron (Philippon?): transcription and commentary
The works of Philippe Basiron (Philippon?
A Florentine chansonnier from the time of Lorenzo the Magnificent: Florence, Biblioteca nazionale centrale, MS Banco rari 229
Biblioteca nazionale centrale di Firenze Manuscript Banco rari 229
Biblioteca nazionale centrale di Firenze Banco rari 229
Biblioteca nazionale centrale di Firenze. Manuscript. Banco rari 229
A Florentine chansonnier from the time of Lorenzo the Magnificent
Vereniging voor Nederlandse Muziekgeschiedenis
Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance
Notes on the Origin of the Parisian Chanson
The Journal of musicology (St. Joseph, Mich.)
I canti carnascialeschi nelle fonti musicali del XV e XVI secolo
Gesellschaft zur Herausgabe von Denkmälern der Tonkunst in Österreich
Austria Ministerium für Cultus und Unterricht
Austria Bundesministerium für Inneres und Unterricht
Kleine Handbücher der Musikgeschichte nach Gattungen ; Bd. 8
Der Kopenhagener Chansonnier; das Manuskript Thott 291⁸ der Königlichen Bibliothek, Kopenhagen,
Kongelige Bibliotek (Denmark) Manuscript Thott 291⁸
Vijftiende en zestiende eeuwsche Muziekhandschriften in Italië met werken van Nederlandsche Componisten
Tijdschrift der Vereeniging voor Nederlandsche Muziekgeschiedenis
Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik
John Milton and Ruth Neils Ward Collection
The chanson albums of Marguerite of Austria: manuscripts 228 and 11239 of the Bibliothèque royale de Belgique, Bruxelles
Margaret, of Austria, Regent of the Netherlands, 1480-1530
The chanson albums of Marguerite of Austria
Heinrich Isaacs Motetten in italienischen Quellen
Studien zur italienisch-deutschen Musikgeschichte
Aspects of medieval and Renaissance music; a birthday offering to Gustave Reese
Un manuscrit florentin du Quattrocento: le Magl. XIX, 59 (B. R. 229)
Flemish music and society in the fifteenth and sixteenth centuries
LE COMPOSIZIONI PROFANE DI UNA RACCOLTA FIORENTINA DEL CINQUECENTO
Some Neglected Composers in the Florentine Chapels, ca. 1475-1525
Rome, Biblioteca Apostolica Vaticana, Cappella Giulia X111.27, and the dissemination of the Franco-Netherlandisn chanson in Italy, c. 1460-c. 1530
Biblioteca apostolica vaticana. Manuscript. Cappella Giulia XIII 27
The first printed book of motets: Petrucci's Motetti ... A (Venice, 1502) and Motetti ... B (Venice, 1503) : a critical study and complete edition
Census-catalogue of manuscript sources of polyphonic music, 1400-1550
University of Illinois at Urbana-Champaign Musicological Archives for Renaissance Manuscript Studies
American Institute of Musicology ; Hänssler-Verlag
The New Grove dictionary of music and musicians
Macmillan Publishers ; Grove's Dictionaries of Music
Möglichkeiten und praktische Anwendung der Verfasserbestimmung an anonym überlieferten Kompositionen der Josquin-Zeit
Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis
Recent researches in the music of the Middle Ages and early Renaissance
http://id.loc.gov/authorities/genreForms/gf2014026677 Cacce (Part songs)
Cacce (Part songs) <http://id.loc.gov/authorities/genreForms/gf2014026677>
Copyist of the text of Magliabechiano XIX.62
The late sixteenth-century repertory of Florentine lute song
The present study examines the repertory of lute song in eight Florentine sources dating from the 1570s to the 1590s. These sources are the lute books of Raffaello Cavalcanti (Brussels, Bibliotheque du Conservatoire royal de musique, Cod. 704) and Cosimo Bottegari (Modena, Biblioteca Estense, Ms. C311), two manuscript collections by Vincenzo Galilei (Florence, Biblioteca nazionale centrale, Ms. Landau-Finaly Mus. 2; Florence, Biblioteca Riccardiana, Ms. F III 10431), his Fronimo dialogo (Venice: her. di G. Scotto, 1584), and three anonymous manuscripts (Florence, Biblioteca nazionale centrale, Mss. Magliabechiano XIX 109 and 168; Haslemere, Dolmetsch Library, Ms. II C 23). The Florentine repertory of late sixteenth-century lute song is a rich and unique collection that covers a variety of secular and sacred genres, some of which are poorly or not at all represented in non-Florentine sources. Many of the pieces have been arranged from part-music, and others are original works for voice and lute. The lute songs in each of the sources are described in the main body of the study, with the discussion centering on concordances, texts, genres of composition, musical style, and arranging techniques. The study also includes an introduction that briefly surveys lute song throughout Italy during the last half of the sixteenth century. Appendices One through Three provide a catalogue of the Florentine lute song repertory, lists of the complete contents of the sources concerned, and bibliographical information concerning non-Florentine sources of Italian lute song. Appendix Four is an index of the contents of the lute book of Hieronimo Ferrutio.
NOTES ON FOUR SIXTEENTH-CENTURY TUSCAN LUTEBOOKS
Journal of the Lute Society of America, Inc.
Amateur lutenist, associated with Jacopo Corsi (Falkenstein 1997: 71)
Tablature de luth italienne dit Siena manuscript: ca 1560-1570 : facsimilé du Ms. 28 B 39 (ancienne Bibliothèque Scheurleer), La Haye, Gemeentemuseum
Tablature de luth italienne dit Siena manuscript
The main copyist of MS Magl.XIX.99-102. According to Rifkin (Census: I, 222.3), the same copyist was also responsible for the second section of I-Fc MS Basevi 2495. Fenlon and Haar (1980:164) disagree.
Collected secular works for 2, 3, 4 and 5 voices
Music research in Italian libraries; an anecdotal account of obstacles and discoveries
The Italian madrigal in the early sixteenth century: sources and interpretation
The Italian madrigal in the early sixteenth century
Artist responsible for the cadels of Magl.XIX.99-102
Published by the American Institute of Musicology in collaboration with the American Musicological Society
Collected secular works for 2, 3, 4 and 5 voices (Layolle)
The Maecenas and the madrigalist: patrons, patronage, and the origins of the Italian madrigal
Memoirs of the American Philosophical Society v. 253
The lion's ear: Pope Leo X, the Renaissance papacy, and music
Ms Florence, Biblioteca nazionale centrale, Magl. XIX, 164-167
Royal Musical Association monographs ; no. 15
Biblioteca nazionale centrale di Firenze. Manuscript. Magl. XIX, 164-167
The politicized muse: music for Medici festivals, 1512-1537
Review: "During the years between the restoration of the Medici to Florence and the election of Cosimo I, the Medici family sponsored a series of splendid public festivals, reconstructed here by Anthony M. Cummings. Cummings has utilized unexpectedly rich sources of information about the musical life of the time in contemporary narrative accounts of these occasions - histories, diaries, and family memoirs. In this interdisciplinary work, he explains how the festivals combined music with art and literature to convey political meanings to Florentine observers. As analyzed by Cummings, the festivals document the political transformation of the city in the crucial era that witnessed the end of the Florentine republic and the beginnings of the Medici principate."--BOOK JACKET. "This book will interest all students of the life and institutions of sixteenth-century Florence and of the Medici family. In addition, the author furnishes new evidence about the contexts for musical performances in early modern Europe. By describing such contexts, he ascertains much about how music was performed and how it sounded in this period of music history and shows that the modes of musical expression were more varied than is suggested by the relatively few surviving examples of actual pieces of music."--BOOK JACKET.
Il primo libro de' madrigali a quattro voci (1533) di Philippe Verdelot nel contesto dell'età della canzone (1520-1530)
24: Western art music -- History. To ca. 1600 (Renaissance)
45: Sound sources -- Wind (aerophones). General
Arcadelt, Jacques -- works -- Il bianco e dolce cigno -- recorder performance -- articulation
articulation -- recorder playing -- madrigal performance
instruments—wind (woodwind, flute family) -- recorder playing -- vocal music -- madrigals -- articulation
madrigal -- Renaissance -- recorder performance -- articulation
Exploration of articulation technique applied to the playing of Renaissance madrigals on recorders, as illustrated by an approach to Jacques Arcadelt's Il bianco e dolce cigno.
Popularity in the sixteenth-century madrigal: A study of two instances
Arcadelt, Jacques -- works -- Il bianco e dolce cigno -- reception -- 16th c.
De Rore, Cipriano -- works -- Ancor che col partire -- reception -- 16th c.
criticism—by subject -- Renaissance -- concept of successful work
reception -- Arcadelt, Jacques -- Il bianco e dolce cigno -- 16th c.
reception -- De Rore, Cipriano -- Ancor che col partire -- 16th c.
Arcadelt's Il bianco e dolce cigno and Rore's Anchor che col partire were these composers' most popular madrigals. Some educated guesses are made as to the source of this popularity, with possible relevance to the phenomenon of the successful piece in early music.
Studies in musical sources and style: Essays in honor of Jan LaRue
Popularity in the sixteenth-century madrigal
A later hand, responsible for the copy of three instrumental pieces at the end of Magl.XIX.99
Copyist and decorator of Magl.XIX.122-125. A professional scribe, active in Florence in the first half of the sixteenth century. He identifies himself as "Antonius" in several places of the MS.
Madrigals from the Last Florentine Republic
Copist and decorator of Magliabechiano XIX.113. Apparently a non-professional copyist.
Copyist and decorator of Magliabechiano XIX.113. Apparently a non-professional copyist.
Copyist of I-Fn|Magliabechiano.XIX.111 and I-Fn|Magliabechiano.XIX.112. Characterised by a rapid cursive hand. Consistent spelling mistakes in the Italian texts suggest that the copyist may be a french native speaker.
Copyist of I-Fn|Magliabechiano.XIX.111 and I-Fn|Magliabechiano.XIX.112. Uses a rapid cursive hand and black ink. Some trivial mistakes in Italian may suggest they are a French native speaker
Un canzoniere musicale italiano del cinquecento: Bologna, Conservatorio di musica "G.B. Martini" ms. Q 21
Biblioteca (Historiae Musicae Cultores (Florence, Italy)) ; l3
Civico museo bibliografico musicale Q 21
Un canzoniere musicale italiano del cinquecento
Sermisy, Claudin de, approximately 1490-1562. Chansons
Music in the French secular theater, 1400-1550
Mainly for musicians, this book also has a great deal to say to people interested in the theater of the past. As Elizabethan music is part of Shakespearean drama so the chansons, dances, fanfares, and street cries were inseparable from the early French stage. The author shows what pieces would have been chosen for different contexts and how a fanfare, for example, would have sounded; and he finds in the dramatic chansons, the hit tunes of their day, a sequence that differs significantly from that of conventional music history. He begins with an account of plays and performances - an unprecedented correlation of widely dispersed materials. Later he makes a unique study of the whole scope of theatrical chansons: no one before has tried to determine the extent and character of the popular chanson's influence on polyphonic settings. A complete catalogue of songs mentioned in the plays of the period, their various polyphonic settings and how they differ is included.
La Courone et fleur des chansons a troys: A Mirror of the French Chanson in Italy in the Years between Ottaviano Petrucci and Antonio Gardano
La Courone et fleur des chansons a troys