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Remigio Romano's Collection of Lyrics for Music

Published online by Cambridge University Press:  01 January 1983

Silke Leopold
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Extract

When the subject of research into Italian solo song in the first half of the seventeenth century comes under discussion – in itself a rare enough event – such discussion is mostly limited to the Florentine style of solo song with chordal accompaniment, and its followers. The harmonic daring, the declamatory ideas, and the ornamental practices of such solo madrigals have proved more interesting to scholars than strophic, dance-like compositions, which have tended to be relegated to the sidelines as unimportant, at best entertaining, little tunes. Even Nigel Fortune, who argues in his highly convincing thesis, presented in several articles, that the Florentine style led only to a dead end, while the future of solo song lay in the strophic compositions, has not yet been able to rewrite the history books, immune as they seem to change.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 110 , 1983 , pp. 45 - 61
Copyright
Copyright © 1985 The Royal Musical Association and the Authors

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References

1 Nigel Fortune, ‘Italian Secular Monody from 1600 to 1635, An Introductory Survey’, Musical Quarterly, xxxix (1953), 171–95; ‘Solo Song and Cantata’, New Oxford History of Music, iv (London, 1968).CrossRefGoogle Scholar

2 Carlo Calcaterra, Poesia e canto (Bologna, 1951), 1033 ff.Google Scholar

3 A list of the in tabulated texts, in alphabetical order, will be found in Appendix 1.Google Scholar

4 See Appendix II, 1.Google Scholar

5 See Appendix II, 2.Google Scholar

6 Ibidem.Google Scholar

7 See Appendix II, 1.Google Scholar

8 Gabriello Chiabrera, Preface to a new edition of the Maniere de' versi toscani (1599) from the year 1605. Compare here my article ‘Chiabrera und die Monodie: Die Entwicklung der Arie’, Studi musicali, x (1981), 75–106.Google Scholar

9 ‘Al fonte, al prato’ (Romano II), ‘Arde il mio petto misero’ (Romano IV), ‘Apertamente’ (Romano I), ‘Un di soletto’ (Romano I) ‘Vaga su spina ascosa’ (Romano II).Google Scholar

10 ‘Alma mia, dove te'n vai’ (Romano I), ‘Altro non è il mio amore’ (Romano I), ‘Dal tuo impero’ (Romano II), ‘Intenerite voi, lagrime mie’ (Romano II), ‘Lasciatemi morire’ (Romano I), ‘Non havea Febo ancora’ (Romano I).Google Scholar

11 ‘O tronchi innamorati’ (Romano III).Google Scholar

12 ‘Anime pellegrine, anime velle’ (Romano I), ‘Ch'io non t'ami cor mio’ (Romano II).Google Scholar

13 See Appendix I.Google Scholar

14 Primo scherzo delle ariose vaghezze commode da cantarsi a voce sola nel clavicembalo, chitarrone, arpa doppia, & altro simile stromente. Con le littere dell'alfabetto, con l'intavolatura, e con la scala di musica per la chitarra alla spagnola. Di Carle Milaxuzzi da Santa Natoglia. Venezia, Magni, 1622.Google Scholar

15 Candade et arie ad une voce sola con alcune a doi (…) del Sig. Gio. Pietro Berti (…) Racolte da Alessandro Vincenti. Venezia, Vincenti, 1624.Google Scholar

16 Cantade et arie ad una voce sola (…) Libro secando. Del Sig. Gio. Pietro Berti (…) Racolte da Alessandro Vincenti. Venezia, Vincenti, 1627.Google Scholar

17 Quarto scherzo delle ariose vaghezze camode per cantarsi sola (…) di Carlo Milanuzzi (…) con una cantata e altre arie del Signor Monteverde, e del Sig. Francesco suo figliolo. Venezia, Vincenti, 1624.Google Scholar

18 Libro secondo di Villanelle a 1.2. & 3. voci (…) del Sig. Gio. Girolamo Kapsberger nobile alemauno. Raccolte dal Sig. Ascanio Ferrari. Roma, Robletti, 1619.Google Scholar

19 Giovanni Battista Doni, ‘Trattato della musica scenica’, Lyra Barberina, facsimile reprint of the Florence edition of 1763 (Bologna, 1974), vol. 2.Google Scholar

20 See Appendix II, 3.Google Scholar

21 See Appendix II, 4.Google Scholar

22 ‘Chiabrera und die Monodie’ (see footnote 8), 81.Google Scholar