YEARBOOK OF THE ALAMIRE FOUNDATION

134 DONNA G. CARDAMONE JACKSON
in 1547, the year in which Fabrizio Dentice arrived in Rome. 20 The likelihood that
Tudino arranged one (perhaps more) of Fabrizio’s villanelle as an act of emulation,
is increased by the presence of a composition in Tudino’s first book of madrigals
(Rome, 1564) that praises a certain nobleman named ‘Fabricio, deemed without peer
as lute player since his arrival in Rome’. 21 If ‘Fabricio’is indeed a reference to Fabrizio
Dentice, which seems plausible, then Tudino may have fraternized with him and
obtained copies of his Neapolitan songs. In fact, Tudino stands apart from other
arrangers at mid-century, because he worked from models transmitted in manuscript
before they were published or copied into anthologies. 22 Moreover, in selecting models
he demonstrated a consistent preference for pseudo-Petrarchan laments similar to
those discussed above, and thus potentially composed by Dentice.
Documentation for Tudino’s activities in Rome during the 1550s is sparse, owing
to gaps in surviving payment records. But he appears to have made a living freelancing
as organist, tuner and repairer, holding posts intermittently at San Giovanni
in Laterano and Santa Maria Maggiore. 23 No. 5 in Dorico’s anthology, the lament of
a martyred lover, might have been composed by Tudino, because it displays trademarks
of his napolitane for three voices published later in two anthologies compiled
by Nicolò Roiccerandet Bourgognone: 24 a tendency to highlight expressive words at
the ends of verse lines with the progression B-flat (or B-natural) to A, and to direct
the tune precipituously upward into a higher register at the refrain.
20 L. DELLA LIBERA, L’attività musicale nella basilica di S. Lorenzo in Damaso nel Cinquecento, in
Rivista Italiana di Musicologia, 32 (1997), p. 56.
21 FABRIS, Da Napoli a Parma, p. 43.
22 Tudino’s book of 1554 contains seven arrangements of Neapolitan laments. Two of his models are
located in GB Lbl, MS Royal Appendix 59–62 (copied ca. 1566), and another in I Fn, MS Magl. XIX.67
(copied after 1571); others were published in the following anthologies: RISM B, 1555 30 , 1557 19 , 1560 12 .
23 Tudino worked at the Lateran Church in 1548 and also from July 1558 to June 1559; see R. CASA-
MIRI, Cantori, maestri, organisti della Cappella Lateranense negli atti capitolari (sec. XV–XVII), in
Quadrivium, 25 (1984), pp. 73 and 209. In August 1558, he also served as organist at Santa Maria
Maggiore; see L. DELLA LIBERA, Repertori ed organici vocali-strumentali nella Basilica di Santa
Maria Maggiore a Roma: 1557–1624, in Studi Musicali, 29 (2000), p. 53. I am indebted to Marco
Della Sciucca for his assistance in matters relating to Tudino’s residence in Rome.
24 RISM B, 1566 9 and 1566 10 .