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Music

Sources used for collation: Vi-1587; Am-1587; AnGa-1593; Sc-heir-1603; AnGa-1605

Other sources: Ph-1594; Ka-1608; Ph-1610; 159713; 159029 (English contrafactum When Meliboeus’ soul, flying hence, departed / Now twinkling stars do smile, and dance)

Measures Sources – Voices Variants
5 Vi-1587 (I-Vnm copy only) – C

dotted g4 instead of f4; in all other consulted copies, the g4 is clearly corrected to an f4

20 Vi-1587 – Q

d4 corrected by erasing and reprinting, except for I-Bc and GB-Obl(?) where the correction is done with a pasted cutout

10 AnGa-1605 – C

missing

71 Vi-1587 – C

dotted SM instead of F

94 Vi-1587 – all voices

proportion sign 2/3, except in the B partbook of the F-Pn copy, where the proportion sign is 3/2

94

AnGa-1593

Sc-heir-1603

B

proportion sign 3/2, later erased and corrected in C

128 Vi-1587 – C

added later in all copies

Vi-1587 (I-Vnm copy only) – dotted g4 instead of f4; in all other consulted copies, the g4 is clearly corrected to an f4
Vi-1587 – d4 corrected by erasing and reprinting, except for I-Bc and GB-Obl(?) where the correction is done with a pasted cutout
AnGa-1605 – missing
Vi-1587 – dotted SM instead of F
Vi-1587 – proportion sign 2/3, except in the B partbook of the F-Pn copy, where the proportion sign is 3/2
AnGa-1593 – Sc-heir-1603 – proportion sign 3/2, later erased and corrected in C
Vi-1587 – added later in all copies
Text
Lines Sources – Voices Variants
2

Am-1587 – all voices

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1605 – all voices

rapto fui
2

Vi-1587 – Q

Am-1587 – all voices

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1605 – all voices

com’in chiusa
3

Am-1587 – Q

guerier’in
4

Vi-1587 – C

ond’egl’è
5

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1605 – all voices

dolc’arringo
5

AnGa-1593 – B

arring’alteramente
6

Am-1587 – C2T2

legiadra
10

AnGa-1593 – CATQS

colp’impressi
10

Vi-1587 – C

impresi
10

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1605 – all voices

perch’a voto
10

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1605 – all voices

arm’e tai
12

AnGa-1605 – T3

e aon si sdegni
14

Am1587 – all voices

AnGa-1593 – CATQS

Sc-heir-1603 – CATQS

AnGa-1605 – CATQS

a l’una
14

AnGa-1593 – C

Sc-heir-1603 – C

AnGa-1605 – C

erroneous repetition at the end of the phrase o fra le due fa terzo fra le, instead of the correct o fra le due fa terzo Amor.
rapto fui (Am-1587 – all voices)
rapto fui (AnGa-1593 – all voices)
rapto fui (Sc-heir-1603 – all voices)
rapto fui (AnGa-1605 – all voices)
com’in chiusa (Vi-1587 – Q)
com’in chiusa (Am-1587 – all voices)
com’in chiusa (AnGa-1593 – all voices)
com’in chiusa (Sc-heir-1603 – all voices)
com’in chiusa (AnGa-1605 – all voices)
guerier’in (Am-1587 – Q)
ond’egl’è (Vi-1587 – C)
dolc’arringo (AnGa-1593 – all voices)
dolc’arringo (Sc-heir-1603 – all voices)
dolc’arringo (AnGa-1605 – all voices)
arring’alteramente (AnGa-1593 – B)
legiadra (Am-1587 – C2T2 )
colp’impressi (AnGa-1593 – CATQS)
impresi (Vi-1587 – C)
perch’a voto (AnGa-1593 – all voices)
perch’a voto (Sc-heir-1603 – all voices)
perch’a voto (AnGa-1605 – all voices)
arm’e tai (AnGa-1593 – all voices)
arm’e tai (Sc-heir-1603 – all voices)
arm’e tai (AnGa-1605 – all voices)
e aon si sdegni (AnGa-1605 – T3 )
a l’una (Am1587 – all voices)
a l’una (AnGa-1593 – CATQS)
a l’una (Sc-heir-1603 – CATQS)
a l’una (AnGa-1605 – CATQS)
erroneous repetition at the end of the phrase o fra le due fa terzo fra le , instead of the correct o fra le due fa terzo Amor . (AnGa-1593 – C)
erroneous repetition at the end of the phrase o fra le due fa terzo fra le , instead of the correct o fra le due fa terzo Amor . (Sc-heir-1603 – C)
erroneous repetition at the end of the phrase o fra le due fa terzo fra le , instead of the correct o fra le due fa terzo Amor . (AnGa-1605 – C)

Edition and commentary

Di nettare amoroso ebro la mente / Sonar le labra, e vi restaro i segni

Torquato Tasso

Sonnet: ABBA ABBA CDE CDE

(Prima parte)
Di nettare amoroso ebro la mente[With] my mind drunk on love’s nectar
Ratto fui, né so come, in chiusa chiostra,I was captured, and know not how, into a sealed cloister,
E due belle d’amor guerrier’in giostraAnd two of Love’s warrior beauties in a joust
Vidi con l’arme ond’egli è sì possente. I saw, with the weapons whereby he is so mighty;
5Vidi ch’in dolce arringo alteramenteI saw that in the sweet fight proudly
Fer pria di lor beltà leggiadra mostra, They first made a graceful show of their beauty,
Poi, movendosi incontra ove s’inostra Then, moving together where their mouth turns to ruby,
La bocca, si ferir di bacio ardente.They wounded each other with an ardent kiss.
(Seconda parte)
Sonar le labra, e vi restaro i segni Their lips resounded, and on them remained the signs
10Di colpi impressi. Amor, deh, perché a vòto Of the blows [that] bruised [them]. Love, oh why
Tant’arme e tai percosse usar da scherzo?[Are] such weapons and such strikes used emptily in jest?
Provinsi in vera pugna, e non si sdegni Let them prove themselves in a real fight and not disdain
Scontro d’amante. Amor, me tuo devotoA lover’s skirmish. Love, [let] me, your devotee
Opponi all’una, o fra le due fa terzo. Oppose one—or, between the two, make me a third.

Translation from the Tasso in Music Project (available online as of August 2021).

Contemporary editions

Rime del signor Torquato Tasso. Parte prima. […] (Venice: Manuzio, 1581), 63 (available online as of September 2024).

Notes

The Marenzio and the Tasso 1581 versions correspond; thus the composer could have derived his text from the print. In Vi-1587 (I-Vnm copy only), “T. Tasso” is added by hand on the upper margin. For the use of the Aldine edition by Marenzio, see also the notes to n. 12.