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 |
|
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 |
|
missing |
||
| 58 |
|
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 |
| Lines | Sources – Voices | Variants |
|---|---|---|
| 2 | lontananz’alcuna | |
| 3 | ne movrài mai | |
| 3 | mandami pu Fortuna | |
| 4 | l’ond’azzurr’errando | |
| 4 | l’ond’azzurre errando | |
| 4 | azzure | |
| 4 | Errado | |
| 6 | nostr’al | |
| 10 | l’on ch’io frango (-de missing) | |
| 14 | chr non vi posso | |
| 14 | poss’amar | |
| 14 | quanto vorrrii |
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 mosse | No fierce disdain, my Lady, had ever | |
| Ancor da voi, né lontananza alcuna | taken 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; | |
| 5 | Se quante spume fan l’acque percosse | If 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 repente | if wherever I go, the waves | |
| 10 | Partorissero Amor l’onde ch’io frango | that 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 piango | despite 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).
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).
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.