Ryan Little Music 214-0 Sec 20 Recent Researches in Music of the Renaissance – Alessandro Striggio The volume that

I researched was R143. This volume contains music by Alessandro Striggio, one of the greatest Italian composers during the Renaissance. There are three main sections of music in this volume. The first and main section is Striggio’s Il primo libro de madrigal a cinque voci (First Book of Madrigals for Five Voices). This book contains twenty-seven of Striggio’s madrigals that have a wide variety of themes. This volume also contains the three “additional” madrigals that Striggio was able to add in one of the later editions of Primo libro a cinque that was published in 1560. These madrigals are titled “Voi, se col raggio di virtute ardent”, “Madonna, se non sete” and “Lavinia, se non sete.” The later two madrigals have the same exact text, while only the first word of each change. David Butchart was able to find this music through microfilms of the eight editions of Primo libro a cinque voci with the help of libraries in Bologna, London, Munich, Naples, and Rome. Butchart also received printed editions from Ulrike Patow in Hamburg.1 In the beginning of this volume, there is a copy of the alto part from the first page of Il primo libro de madrigal a cinque voci. It is interesting to compare this to the modern notated version afterwards, because it looks exactly like I would expect it to. As we were taught this “formula” of converting the renaissance notation to our modern notation, it is easy to decide whether or not the editor has changed anything. In this case, the editor has done very little and keeps the piece very much the same to the original. If I were to have done the editing, I would have done it the same way because you want to honor the intention of the composer. This editor has done a great job of keeping everything the same as the original, but simply changing the notation so that our modern eyes can understand

this edition has barlines throughout. Trained musicians should be able to read this music fairly easily. In the most recent edition. It is not so much that the edition looks confusing. all punctuation and accents are editorial. thus confusing the performer from the real interpretation that the composer would have liked to hear. Many times an editor tries to put their own stamp on the music that they are editing. The edition maintains the original note values. One way that the editor could have improved his edition was to change the time signature and fit the number of beats per measure into a more userfriendly format.what is written. and time signature. so that when it is being sung the text is able to flow in a more steady sense of time. Unlike the original score. One of my favorite things about this edition is that all accidentals in the original have been reproduced. This edition definitely could have been improved by taking the performers into consideration. but I would not expect a church congregation to understand how two whole notes fit into cut time. key. barlines have been added in measures with two half-notes. but the note values do not click automatically with what I would look for in a cut time piece. The order of the madrigals has been adopted from a single Alto partbook in the Biblioteca Nazionale in Naples. although if this edition . Barlines have been added in measures of four half-notes in cut time. Every line begins with a capital letter except when repeated. Our modern natural sign has replaced the sharp sign used in the print to show the cancellation of a flat sign. you can see the original partbook designation. with a fermata placed above it. The original transcription was made from the Gardano edition of 1564. the original clef. In the works with common time (time) signatures. and the first note of the piece for each voice part. The last note of each piece is notated as equivalent in duration to a whole measure.2 This edition is relatively easy to use. As for the poetry in this edition.

For the most part.4 Although he was invited. Because of Striggio’s publishing success in the 1560’s.were being made primarily for early music performers. Striggio was very well known as a virtuoso on the viol. I was able to find one recording of O de la bella Etruria invitto Duce performed by the I Fagiolini ensemble with Robert Hollingsworth conducting. Unfortunately. He was this highest paid of the ten musicians who served the Medici family in Florence. which I think is a relatively different interpretation of what Striggio would have wanted. The third child. but there are still a few discrepancies here and there that seem to be more of an artistic and ensemble choice. Striggio was actually being commissioned by the Grand Duke Francesco de’ Medici to set some madrigals in the Farrarese style. and the lirone. the ensemble does follow the edition. Carlo Gesualdo’s “Io parto” e . Munich. The must surprising thing about this recording is that the ensemble uses a trumpet and trombone. Paris and London to show off his mastery of composition and renaissance instruments. Striggio was connected to the Gonzaga court. Striggio married Virginia Vagnoli of Siena and had three children. they would love it the way it is written now. which meant he was mostly in charge of the Medici musical life. the lira da braccio. Alessandro the younger eventually became Monteverdi’s librettist. One of the most interesting things about Striggio is that in July 1584 he visited Alfonso Il d’este in Ferrara.3 Alessandro Striggio was one of the leading virtuoso performers and composers of his time. Although Alfonso was unaware of this. Striggio was really trying to steal this form of art for his own. the information available in Oxford Music Online is very much the same as the information provided by the editor. and he visited courts in Vienna. where he probably first began developing his musical talent. he took over as the Medici’s maestro di cappella.

If I were to perform this music. I think that this program would have an interesting connection to Striggio’s music. The texture of the five voices is another thing that reminds me of Striggio.non più dissi is the madrigal that comes to mind from the Norton Anthology. many years after Striggio would have visited these cities himself. I would really like to also program Beethoven’s Missa solemnis. and Haydn’s Symphony No. Munich. and London. It is mostly the length of notes that make me think that these two pieces are similar. Strauss’ Vier letzte Lieder. and it would give the audience a chance to hear the music of Vienna. 104 “London”. .

Barbara R. 4 Dec. Alessandro (i).northwestern. The Free Encyclopedia.turing. Oxford Music Online.northwestern. 21 Nov. p. "Striggio.” Grove Music Online. <http://www." The Oxford Companion to Music. Bibliogrophy Hanning. Ed. Web." The Oxford Dictionary of Music.com. Carter.com. “R143: Il primo libro de madrigali a cinque voci. 7. Web. “R143: Il primo libro de madrigali a cinque voci. 2012. "Alessandro Striggio. Alessandro. p. accessed December 4. David Butchart. 2006). Oxford Music Online.” in Recent Researches in the Music of the Renaissance (Middleton: A-R Editions. Ed. 2nd ed.library. 2012.oxfordmusiconline. p. .library. 2006). 2006). Oxford Music Online.” in Recent Researches in the Music of the Renaissance (Middleton: A-R Editions.com. David Butchart. Inc. Wikipedia contributors. "Striggio. 178." Wikipedia. Oxford University Press.turing.Works Cited 1. 3.oxfordmusiconline.northwestern.turing. rev. Inc." Grove Music Online. 2012.edu/subscriber/article/g rove/music/26957. 4 Dec.oxfordmusiconline. 4 Dec. accessed December 3. Oxford University Press. David Butchart.library. Wikipedia. Web. “R143: Il primo libro de madrigali a cinque voci. 2012. 2012. 2-3. 2. Iain Fenlon. The Free Encyclopedia. http://www.turing. Alessandro (ii)...” in Recent Researches in the Music of the Renaissance (Middleton: A-R Editions. 17. Oxford Music Online.northwestern.com.. Alison Latham. “Striggio. Inc. Oxford University Press. Tim. <http://www. http://www. "Striggio.edu/subscriber/article/g rove/music/26958.edu/subscriber/article/ opr/t114/e6503>. 4.library. Alessandro. Oxford University Press. Michael Kennedy.oxfordmusiconline. 2012.edu/subscriber/article/ opr/t237/e9901>.

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