YEARBOOK OF THE ALAMIRE FOUNDATION

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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 .
ORLANDO DI LASSO ET AL.: A NEW READING <strong>OF</strong> <strong>THE</strong> ROMAN VILLANELLA BOOK (1555) VILLANELLE D’ORLANDO DI LASSUS: INCIPIT CONCORDANCES ARRANGEMENTS 1. Credo sia meglio 2. Tu hai più anni 3. Non te fidare de santo 4. Basta madonna mia 5. Se tu non mi voi ben Cornet, 1563 6. Come t’haggio lassata Azzaiolo, 1557 7. Chi me l’havesse 8. Son morto e moro I Fn, Magl. XIX.67 Tudino, 1554 GB Lbl, Roy. App. 59-62 Waelrant, GB Wcc, MS 153 RISM B, 1562 10 9. Io piango ed ell’il volto GB Lbl, Roy. App. 59-62 Le Jeune, 1585 10. Amor pietad’hormai Cornet, 1563 11. Meschina me che nova Cornet, 1563 Scandello, 1566 12. Tal par il visco I Fn, Magl. XIX. 67 13. Donna crudel tu m’hai RISM B, 1560 12 Cornet, 1563 14. Canzona mia fame 15. Voria che tu cantass’ GB Lbl, Roy. App. 59-62 Nasco, 1556 Azzaiolo, 1557 Scandello, 1566 Ferretti, 1570 La Grotte, 1583 Le Jeune, 1585 16. S’io canto e tu mi spacci Scandello, 1566 Le Jeune, 1585 17. Ogni villano è ric’ 18. Bona sera como stai Scandello, 1566 Le Jeune, 1612 19. Tu traditora m’hai Lasso, 1555 20. Se Dio ti guarde 21. La manza mia si chiama Barges, 1550 Azzaiolo, 1557 Tubal, GB Wcc, MS 153 22. Latra traitora tu mi fai GB Lbl, Roy. App. 57-62 Le Jeune, 1585 Table 2. Villanelle d’Orlando di Lassus: RISM B 1555. Concordances and arrangements. (See also Key to Sources at the end of this article.) 135
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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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Figure 4. Plan of the Marienkirche
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78 LUMINITA FLOREA The Hague, 6 and
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202 BERNHOLD SCHMID 1610-2 RISM 161
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226 SUSAN LEWIS HAMMOND Figure 1. M
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