YEARBOOK OF THE ALAMIRE FOUNDATION

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250 SUSAN LEWIS HAMMOND Melodia olympica. Transcription of title page, from Canto partbook, fol. 1r. [title page within a decorative frame] | MELODIA OLYMPICA | DI DIVERSI ECCELLEN- | TISSIMI MVSICI A IIII. V. VI. ET VIII. | VOCI, NVOVAMENTE RAC- COLTA | DA PIETRO PHILLIPPI INGLESE, | ET DATA IN LVCE. | Nella quale si contengonô i più Eccellenti Madrigali | che hoggidi si cantino. | CANTO. [voice designation within a decorative frame] | IN ANVERSA. | Appresso Pietro Phalesio & Giouanni Bellero. | [rule] | 1591. Dedication (fol. 1v) to Guilio Balbani, signed Pietro Phillippi. RISM 1591 10 Later editions: 1594 7 , 1611 11 , 1630 3 COMPOSER TEXT INCIPIT FOLIATION A4. Andrea Peuernage O come grand martire 2r Cornelio Verdonch A che piu strali Amor 2v Pietro Philippi Voi volete ch’io muoia e mi date dolor si crud’e 3r Luca Marenzio Non al suo ama[n]te 3v Francesco Farina Morirò cor mio 4r Rugiero Giouanelli Ahi che farò ben mio 4v Gio. Palestina Morì quasi il mio core 5r Paulo Bellasio Donna i begli occhi vostri 5v Gio. Battista Moscaglia Sì dolci son gli sguardi 6r Gio. Maria Nanino Legò questo mio core 6v Gio. Palestina Veramente in Amore 7r Pietro Philippi Amor sei bei rubini (1.pt.) 7v Perche non poss’ahime (2.pt.) 8r Gio. de Macque Se d’altro mai non viuo 8v Guglielmo Blotagrio Amor io sent’vn respirar si dolce 9r Gio. Battista Moscaglia Solo e pensoso in piu deserti campi 9v A5. Gio. Battista Mosto Dolci al pestre parole 10r d’Incerto Lvmi miei cari 10v Luca Marenzio Spuntauan gia per far il mo[n]do adorno (1.pt.) 11r Qvando’l mio viuo sol (2.pt.) 11v Gio. Maria Nanino Qvesta si bianca neue 12r Giacomo Gastoldi Clori mia pastorella 12v Gio. Maria Nanino Dolce fiammella mia 13r Guglielmo Blotagrio Amor io no[n] potrei 13v Cornelio Verdonch Fiammeggiauan due stelle’a me d’intorno 14r Hippolito Baccusi Qvesto è quel chiaro fonte 14v Luca Marenzio Deggio dunque partire (1.pt.) 15r Io partiro ma il core (2.pt.) 15v Ma voi caro ben mio (3.pt.) 16r
SELLING <strong>THE</strong> MADRIGAL: PIERRE PHALÈSE II AND <strong>THE</strong> FOUR ‘ANTWERP ANTHOLOGIES’ Anibal Zoilo Chi per voi no[n] sospira 16v Giacomo Gastoldi Caro soaue e desiato bene (1.pt.) 17r Perche se troppo tardi tu vedrai (2.pt.) 17v Gianetto Palestrina Non son le vostri mani 18r Oratio Bassani Poi che ne prieg’ancor ne pia[n]to impetra 18v Fabritio Dentici Ahi crudel stato mio 19r Lelio Bertani Moui il tuo plettro Apollo 19v Felice Anerio Il giouenil mio core 20r Gio. Maria Nanino Qvando fra bia[n]che perle al canto (1.pt.) 20v Sentomi aprirsi tutto il lato manco (2.pt.) 21r Giaches de VVert Vaghi bohscteti di soaui Allori 21v d’Incerto Mille siate o dolce mei guerira 22r And. Peuernage Infinita beltà ch’in voi risple[n]de 22v A6. Pietro Phillipi Amor che vuoi ch’io facci 23r Andrea Gabrieli [Sperar non si potea] (Sestina, 1.pt.) 23v Vincenzo Bellhauer [Sparve ogni Nume] (2.pt.) 24r Claudio da Correggio Tra pure neui alme purpuree rose (3.pt.) 24v Baldissera Donati Tratto fuora del Mar (4.pt.) 25r Oratio Vecchi Italia bella alta nudrice d’Arno (5.pt.) 25v Tiburtio Massaino Poi disse hor che’l tuo amor stima (6.pt.) 26r Tiburtio Massaine Va Musa inanz’ àl’ALBA (Chiusa) 26v Oratio Vecchi La mia Candida Ninfa 27r Luca Marenzio Potro viver io piu 27v Alessandro Striggio La ver l’aurora che si dolce l’aura 28r d’Incerte Tirsi morir volea (1.pt.) 28v Frenò Tirs’il desio (2.pt.) 29r La bella Ninfa sua (3.pt.) 29v Cosi moriro i fortunati amanti (4.pt.) 30r Alessandro Striggio Ancor ch’io possa dire 30v Gio. Turnhout Vorria parlare e dire 31r Gio. Battista Moscaglia Del secco incolto Lauro 31v Hippolito Sabino Vestiua i colli e le campagne intorno (1.pt.) 32r Cosi le chiome mie (2.pt.) 32v Luca Marenzio Ne fero sdegno mai Donna(1.pt.) 33r Talche douunque vò (2.pt.) 33v Gio. Battista Mosto Io mi son giouinetta e volentieri 34r Giulio Eremita Poiche’l mio largo pianto 34v Giulio Eremita Arsi del vostr’amor 35r Cornelio Verdonch Tirsi son io quel misero 35v A8 Pietro Filippi [Ditemi o diva mia] 36r TAVOLA. 36v 251
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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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78 LUMINITA FLOREA The Hague, 6 and
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80 LUMINITA FLOREA Regardless of th
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82 LUMINITA FLOREA THE SCRIPTOR IN
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84 LUMINITA FLOREA At any rate, thi
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86 LUMINITA FLOREA normally result
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88 LUMINITA FLOREA instance, on fol
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90 LUMINITA FLOREA planets, and the
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92 LUMINITA FLOREA The pictor of Ca
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94 LUMINITA FLOREA open buds comfor
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UT HEC TE FIGURA DOCET: THE TRANSFO
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THE TRANSFORMATION OF MUSIC THEORY
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CHANGE AND CONTINUITY IN TWENTIETH-
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ORLANDO DI LASSO ET AL.: ANEW READI
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ORLANDO DI LASSO ET AL.: A NEW READ
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(1) Son morto e moro e pur cerco mo
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(1) Latra traitora tu mi fai morire
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(1) Bona sera como stai core mio be
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THE TWO EDITIONS OF LASSO’S SELEC
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160 RICHARD FREEDMAN Lasso’s chan
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162 RICHARD FREEDMAN prints, but by
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164 RICHARD FREEDMAN It seems likel
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166 RICHARD FREEDMAN II, who ruled
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168 RICHARD FREEDMAN Authorial cont
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170 RICHARD FREEDMAN APPENDIX Docum
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172 RICHARD FREEDMAN Royaume que bo
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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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Page 203 and 204: MUSIQUE ET POLITIQUE À FLORENCE DA
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Page 209 and 210: Corsini, n° 28 Deh perche si rebel
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