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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; 159110; 15947; 16059; 161111; 16303; 159029 (English contrafacta In chains of hope and fear and O hear me, heavenly powers); 160915 (devotional contrafactum); D-Mbsb, Ms Mus. 259 (devotional contrafactum Immobilis adsto / Hoc experiunt)

Measures Sources – Voices Variants
7 Vi-1587 – Q

SM instead of F

17

AnGa-1593

Sc-heir-1603

AnGa-1605

T

d3 instead of e3

17 AnGa-1605 – S

b2 instead of c3

38 all – all voices

mensuration sign 3

43 Sc-heir-1603 – A

g3 instead of c3

43 AnGa-1603 – S

SM instead of M

49 Sc-heir-1603 – C

e3 instead of d3

51 AnGa-1605 – Q

d4 instead of e4

53

Am-1587

AnGa-1593

Sc-heir-1603

AnGa-1605

C

missing

58

AnGa-1593

Sc-heir-1603

AnGa-1605

C

SB instead of M

58 Am-1587 – S

SM instead of F

102-103 Am-1587 – A

dotted F instead of dotted SM

125 Sc-heir-1603 – T

a2 instead of b2

Vi-1587 – SM instead of F
AnGa-1593 – Sc-heir-1603 – AnGa-1605 – d3 instead of e3
AnGa-1605 – b2 instead of c3
all – mensuration sign 3
Sc-heir-1603 – g3 instead of c3
AnGa-1603 – SM instead of M
Sc-heir-1603 – e3 instead of d3
AnGa-1605 – d4 instead of e4
Am-1587 – AnGa-1593 – Sc-heir-1603 – AnGa-1605 – missing
AnGa-1593 – Sc-heir-1603 – AnGa-1605 – SB instead of M
Am-1587 – SM instead of F
Am-1587 – dotted F instead of dotted SM
Sc-heir-1603 – a2 instead of b2
Text
Lines Sources – Voices Variants
2

AnGa-1593 – CS

AnGa-1605 – CS

Sc-heir-1603 – S

lontananz’alcuna
3

Am-1587 – A1

ne movrài mai
3

Am-1587 – Q

mandami pu Fortuna
4

AnGa-1593 – ABQS

AnGa-1605 – ABQS

Sc-heir-1603 – ATBQS

l’ond’azzurr’errando
4

AnGa-1593 – CT

AnGa-1605 – CT

Sc-heir-1603 – C

l’ond’azzurre errando
4

Am-1587 – C2T2B2

azzure
4

Am-1587 – QS

Errado
6

AnGa-1593 – AQS

nostr’al
10

Vi, 1587 (D-Hs copy only) – S

l’on ch’io frango (-de missing)
14

Vi-1587 – A6

chr non vi posso
14

Vi-1587 – Q2S2

poss’amar
14

Vi-1587 – C4

quanto vorrrii
lontananz’alcuna (AnGa-1593 – CS)
lontananz’alcuna (AnGa-1605 – CS)
lontananz’alcuna (Sc-heir-1603 – S)
ne movrài mai (Am-1587 – A1 )
mandami pu Fortuna (Am-1587 – Q)
l’ond’azzurr’errando (AnGa-1593 – ABQS)
l’ond’azzurr’errando (AnGa-1605 – ABQS)
l’ond’azzurr’errando (Sc-heir-1603 – ATBQS)
l’ond’azzurre errando (AnGa-1593 – CT)
l’ond’azzurre errando (AnGa-1605 – CT)
l’ond’azzurre errando (Sc-heir-1603 – C)
azzure (Am-1587 – C2T2B2 )
Errado (Am-1587 – QS)
nostr’al (AnGa-1593 – AQS)
l’on ch’io frango (-de missing) (Vi, 1587 (D-Hs copy only) – S)
chr non vi posso (Vi-1587 – A6 )
poss’amar (Vi-1587 – Q2S2 )
quanto vorrrii (Vi-1587 – C4 )

Edition and commentary

Né fero sdegno mai, Donna, mi mosse / Talché dovunque vo, tutte repente

Luigi Tansillo

Sonnet: ABBA ABBA CDE CDE

Prima parte
Né fero sdegno mai, Donna, mi mosseNo fierce disdain, my Lady, had ever
Ancor da voi, né lontananza alcunataken me away from you, nor any distance
Ne movrà mai! Mandami pur, Fortuna,will ever do it! O Fortune, send me even wandering
Per l’onde azzurre errando e per le rosse;in blue or red waters;
5Se quante spume fan l’acque percosseIf for every wave beaten by our oars
Dai remi nostri al sol e a la luna,during the day or the night,
Tante nascesser Veneri, e ciascuna one Venus would be born, and each of them
Di lor d’un novo Amor gravida fosse;would be announcing a new love;
Seconda parte
Talché dovunque vo, tutte repenteif wherever I go, the waves
10Partorissero Amor l’onde ch’io frangothat I break would immediately generate Love,
E fosser le lor cune i pensier miei,and my thoughts would be their cradle,
Non arderia più ch’arde questa mente;still, I would not burn more than this spirit burns;
Con tutto ciò, talor mi doglio e piangodespite all that, sometimes I regret and lament
Che non vi posso amar quanto vorrei.that I cannot love you as much as I wish.

The translations are partially indebited to the ones by Barbara Reynolds in Luca Marenzio, The Complete Six Voice Madrigals. Vol IV: The Fourth Book of Madrigal for Six Voices, ed. John Steele and Suzanne Court (New York: Gaudia, 2002).

Contemporary editions

Il sesto libro delle rime di diversi eccellenti autori, nuovamente raccolte, et mandate in luce. Con un discorso di Girolamo Ruscelli (Venice: Giovan Maria Bonelli, 1553), 35v (as: Né lungo essilio il cor, Donna, mi mosse) (available online as of September 2024).

also in: I fiori delle rime de’ poeti illustri, nuovamente raccolti et ordinati da Girolamo Ruscelli (Venice: Sessa, 1558), 472 (as: Né lungo essilio il cor, Donna, mi mosse) (available online as of September 2024).

Notes on different versions

The Marenzio text differs considerably from both 16th-century editions, especially in the first lines. The critical edition of Luigi Tansillo provides some variants, one of which corresponds to the musical text (v. 8 di lor d’un novo amor). It does not appear, though, that the literary tradition preserves a text that coincides with the musical one. The sonnet is part of the poems written between 1546–1550 and dedicated by Tansillo to Gonzalo Fernández de Córdoba, a Spanish aristocrat and governor of Milan (1520–1578). See Luigi Tansillo, Rime. Introduzione e testo cura di Tobia R. Toscano. Commento di Erika Milburn e Rossano Pestarino (Rome: Bulzoni,  2011),  vol. 1, 358–9 and 243–44.