YEARBOOK OF THE ALAMIRE FOUNDATION

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124 THOMAS HOLME HANSEN 1989 CHARLOTTE SMITH, A Manual of Sixteenth-Century Contrapuntal Style, Newark, 1989. 1990 *NILS GRINDE, Kontrapunkt etter palestrinastilen. Konsentrat fra regler i Knud Jeppesen: Kontrapunkt (Vokalpolyfoni), 2. Udg. Kbh. 1946 [Counterpoint in Palestrina Style. A Concentrate of Rules in Knud Jeppesen, Counterpoint … ], Oslo 1990. 1992 *HAROLD OWEN, Modal and Tonal Counterpoint. From Josquin to Stravinsky, New York, 1992. 1994 CLAUS GANTER, Kontrapunkt für Musiker. Gestaltungsprinzipien der Vokal- und Instrumentalpolyphonie des 16. und 17. Jahrhunderts in der Kompositionspraxis von Josquin-Desprez, Palestrina, Lasso, Froberger, Pachelbel u.a., Munich - Salzburg, 1994. 1994 CHRISTOPH HOHLFELD and REINHARD BAHR, Schule musikalischen Denkens. Der Cantus-firmus-Satz bei Palestrina (+ Lösungen), Wilhelmshaven, 1994. 1994 ROBERT STEWART, An Introduction to Sixteenth-Century Counterpoint and Palestrina’s Musical Style, New York, 1994. 1994 *H. GILBERT TRYTHALL, Sixteenth Century Counterpoint, Madison– Dubuque, 1994. 1997 THOMAS DANIEL, Kontrapunkt. Eine Satzlehre zur Vokalpolyphonie des 16. Jahrhunderts (+ Notenbeiheft), Cologne, 1997. 1999 *PETER SCHUBERT, Modal Counterpoint, Renaissance Style, New York– Oxford, 1999.
ORLANDO DI LASSO ET AL.: ANEW READING <strong>OF</strong> <strong>THE</strong> ROMAN VILLANELLA BOOK (1555) Donna G. Cardamone Jackson University of Minnesota, Minneapolis This article focuses on the second book in a series published by Valerio Dorico in 1555 to inaugurate the marketing of three-voice villanelle in Rome. 1 The first book has not survived, but it was probably published under the same title as the second: Villanelle d’Orlando di Lassus e d’altri eccellenti musici. Although Lasso’s name figures prominently on the title page, Dorico failed to attribute any villanelle to him or the ‘other excellent musicians’, in effect producing an anthology that was anonymous by design. It seems that Dorico regarded villanelle – by nature short, formulaic pieces – as categorically anonymous in character in order to acquire for himself a quasiauthorial role in promoting the genre. 2 The production of anthologies was a highly commercial process that required hiring musicians to fulfill multiple roles, such as obtaining pieces by colleagues known to work quickly at cheap rates, writing new pieces as needed, and collecting desirable compositions circulating casually on loose sheets. Hand-to-hand transmission was a well-established tradition in Rome by mid-century, enabling professional editors to compile and publish works by upcoming composers without contractual agreements. But they took pains to cover their tracks with flattering dedications that polished the images of all concerned, including their own capacity for happening upon rare works by chance and rescuing them from oblivion. 3 Before launching his villanella project, Dorico often relied on the financial support of local editori. However, by 1555 he had obtained a generous subsidy from Francesco Guidobono, a pre-adolescent priest, to whom he offered the villanelle in the second book as gifts of amusement. 4 Significantly, in his dedicatory letter Dorico did not take credit for collecting the villanelle, nor did he mention the featured composer who, by 1555, had settled in Antwerp. Thus some scholars believe that he placed Lasso’s name on the title page 1 Two partbooks have survived: the cantus from the 1555 edition (D LEm) and the tenor from Dorico’s reprint of 1558 (USSR Lsc). The bass parts of six villanelle can be reconstructed through concordances (see Table 2). 2 M. FELDMAN, Authors and Anonyms: Recovering the Anonymous Subject in Cinquecento Vernacular Objects, in K. VAN ORDEN ed., Music and the Cultures of Print, (Critical and Cultural Musicology, 1; Garland Reference Library of the Humanities, 2027), New York – London, 2000, pp. 169–175. 3 For dedications to Roman books printed in the 1550s by Dorico and Antonio Barré, which include compositions by Lasso, see D. CARDAMONE, The Salon as Marketplace in the 1550s. Patrons and Collectors of Lasso’s Music, in P. BERGQUIST ed., Orlando di Lasso Studies, Cambridge, 1999, pp. 75, 77, 79. 4 For Dorico’s dedication, see CARDAMONE, The Salon as Marketplace, p. 68. 125
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YEARBOOK OF THE ALAMIRE FOUNDATION
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Yearbook of the Alamire Foundation
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... NEC NON TYRONIBUS QUÀM EIUS AR
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DRINKING MOTETS IN MEDIEVAL ARTOIS
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TRIPLUM (TRANSLATION) Hare hare hye
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TRIPLUM (TRANSLATION) Domine ainz q
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TENOR (TRANSLATION) Domine tant ai
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FROM VARIETY TO REPETITION: THE BIR
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Vir - - - go se - re - - FROM VARIE
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ANEW KIND OF PATRON FROM VARIETY TO
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THE ROLE OF ACOUSTICS IN THE PERFOR
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Figure 4. Plan of the Marienkirche
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POLYPHONY AND WORD-SOUND IN ADRIAN
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Page 76 and 77: 78 LUMINITA FLOREA The Hague, 6 and
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Page 80 and 81: 82 LUMINITA FLOREA THE SCRIPTOR IN
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Page 88 and 89: 90 LUMINITA FLOREA planets, and the
Page 90 and 91: 92 LUMINITA FLOREA The pictor of Ca
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Page 95 and 96: UT HEC TE FIGURA DOCET: THE TRANSFO
Page 97 and 98: THE TRANSFORMATION OF MUSIC THEORY
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Page 158 and 159: 160 RICHARD FREEDMAN Lasso’s chan
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174 RICHARD FREEDMAN machen unnd ei
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176 RICHARD FREEDMAN prejudice both
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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182 BERNHOLD SCHMID sei senza parol
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184 BERNHOLD SCHMID Beispiel 1a: Ko
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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188 BERNHOLD SCHMID Beispiel 5: Num
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190 BERNHOLD SCHMID Beispiel 6: Num
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192 BERNHOLD SCHMID Mensur in Numme
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194 BERNHOLD SCHMID Bis Takt 20 sin
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196 BERNHOLD SCHMID Beispiel 9b: Nu
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198 BERNHOLD SCHMID beschriebenen G
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200 BERNHOLD SCHMID Anhang 2: Die Q
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202 BERNHOLD SCHMID 1610-2 RISM 161
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MUSIQUE ET POLITIQUE À FLORENCE DA
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MUSIQUE ET POLITIQUE À FLORENCE Po
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MUSIQUE ET POLITIQUE À FLORENCE N
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Corsini, n° 28 Deh perche si rebel
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MUSIQUE ET POLITIQUE À FLORENCE Ro
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MUSIQUE ET POLITIQUE À FLORENCE So
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MUSIQUE ET POLITIQUE À FLORENCE me
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MUSIQUE ET POLITIQUE À FLORENCE D
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MUSIQUE ET POLITIQUE À FLORENCE Le
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MUSIQUE ET POLITIQUE À FLORENCE da
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226 SUSAN LEWIS HAMMOND Figure 1. M
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228 SUSAN LEWIS HAMMOND PRODUCING M
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230 SUSAN LEWIS HAMMOND YEAR RISM C
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232 SUSAN LEWIS HAMMOND Figure 2. M
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234 SUSAN LEWIS HAMMOND The title p
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236 SUSAN LEWIS HAMMOND Harmonia ce
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238 SUSAN LEWIS HAMMOND Tra romor d
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240 SUSAN LEWIS HAMMOND of King Chr
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242 SUSAN LEWIS HAMMOND the product
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244 SUSAN LEWIS HAMMOND APPENDIX: C
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246 SUSAN LEWIS HAMMOND Harmonia ce
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248 SUSAN LEWIS HAMMOND Symphonia a
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250 SUSAN LEWIS HAMMOND Melodia oly
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252 SUSAN LEWIS HAMMOND 1 The listi
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