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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; 159029 (English contrafactum The Fates, alas)

Measures Sources – Voices Variants
8 Vi-1587 – B

F instead of SF

8 Vi-1587 (GB-Obl and F-Pc only) – B

b2 instead of g2. In the other copies the note is corrected to G by a pasted cutout.

20 Am-1587 – T

SM instead of F

22 Sc-heir-1603 – Q

a3b3 instead of b3a3

23 Vi-1587 – Q

F instead of SF

33 Vi-1587 – B

c2 corrected from a d2 in all copies

42 Sc-heir-1603 – C

b3 instead of c4

51-52 Vi-1587 – S

SM instead of dotted SM

Vi-1587 – F instead of SF
Vi-1587 (GB-Obl and F-Pc only) – b2 instead of g2. In the other copies the note is corrected to G by a pasted cutout.
Am-1587 – SM instead of F
Sc-heir-1603 – a3b3 instead of b3a3
Vi-1587 – F instead of SF
Vi-1587 – c2 corrected from a d2 in all copies
Sc-heir-1603 – b3 instead of c4
Vi-1587 – SM instead of dotted SM
Text
Lines Sources – Voices Variants
1

AnGa-1593 – TQ

AnGa-1605 – TQ

quest’ordì
2

Vi-1587 – A1S1

AnGa-1593 – C2TBS2

Sc-heir-1603 – C2A2BQ2S2

AnGa-1605 – C2A1B2Q2S2,3

l’herb’il tese
3

Vi-1587 – Q1

AnGa-1593 – A

quest’il
4

Vi-1587 – C1A1T1Q1S1

trarl’in
4

Vi-1587 – C2A2T2B2Q2S2

Am-1587 – C2A2T2B2Q2S2

Sc-heir-1603 – C2A2T2B2Q2S2

AnGa-1593 – all voices

AnGa-1605 – CATB1QS

mezz’a
4

Sc-heir-1603 – C1A1T1B1Q1S1

mez’a
4

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1605 – all voices

fiamm’accese
6

Vi-1587 – CAT3B3Q1,2,3S

Am1587 – C3,4A4,5T3,4B3,4Q2,3,4,5S

AnGa-1593 – all voices

Sc-heir-1603 – all voices

AnGa-1505 – all voices

vendett’Amor
quest’ordì (AnGa-1593 – TQ)
quest’ordì (AnGa-1605 – TQ)
l’herb’il tese (Vi-1587 – A1S1 )
l’herb’il tese (AnGa-1593 – C2TBS2 )
l’herb’il tese (Sc-heir-1603 – C2A2BQ2S2 )
l’herb’il tese (AnGa-1605 – C2A1B2Q2S2,3 )
quest’il (Vi-1587 – Q1 )
quest’il (AnGa-1593 – A)
trarl’in (Vi-1587 – C1A1T1Q1S1 )
mezz’a (Vi-1587 – C2A2T2B2Q2S2 )
mezz’a (Am-1587 – C2A2T2B2Q2S2 )
mezz’a (Sc-heir-1603 – C2A2T2B2Q2S2 )
mezz’a (AnGa-1593 – all voices)
mezz’a (AnGa-1605 – CATB1QS)
mez’a (Sc-heir-1603 – C1A1T1B1Q1S1 )
fiamm’accese (AnGa-1593 – all voices)
fiamm’accese (Sc-heir-1603 – all voices)
fiamm’accese (AnGa-1605 – all voices)
vendett’Amor (Vi-1587 – CAT3B3Q1,2,3S)
vendett’Amor (Am1587 – C3,4A4,5T3,4B3,4Q2,3,4,5S)
vendett’Amor (AnGa-1593 – all voices)
vendett’Amor (Sc-heir-1603 – all voices)
vendett’Amor (AnGa-1505 – all voices)

Edition and commentary

Questa ordì il laccio, questa

Giovanni Battista Strozzi il Vecchio (1504–71)? / Torquato Tasso?

Madrigal: aB(b)ABcc

Questa ordì il laccio, questaThis one set the snare, this
Sì bella man fra fiori e l’erba il tese;beautiful hand hid it among grass and flower;
E questa il cor mi prese, e fu sì prestaand this one cought my heart, and was so quick
A trarlo in mezzo a mille fiamme accese.to throw it among a thousand burning flames.
5Or che l’ho qui ristretta,Now that I hold her fast,
Vendetta, Amor, vendetta!let’s have revenge, Love, let’s have revenge!

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

Rime del signor Torquato Tasso. Parte prima. […] (Venice: Manuzio,  1581), 113 (available online as of September 2024) and Madrigali di Giovambatista Strozzi (Florence: Sermartelli, 1593), 62

Notes on attribution and different versions

First published and attributed to Tasso in Rime del signor Torquato Tasso. Parte prima. […], Manuzio, Venice 1581, 113. The attribution to Tasso is contested by the medorn critical literature on the ground that the Aldine print was not authorized by the poet, and Questa ordì does not appear in any other authentic source. See Lanfranco Caretti, Studi sulle rime del Tasso (Rome: Edizioni di Storia e Letteratura, 1950), 25, n. 30.  The madrigal appears also, but with variants, in Madrigali di Giovambatista Strozzi (Florence: Sermartelli, 1593), 62. According to its Preface, the print is a posthumous collection edited by the sons of Giovambattista Strozzi the Elder (1504-1571), Lorenzo and Filippo, thus the attribution should be considered quite uncertain as well.  The text used by Marenzio corresponds exactly with the one in the Tasso edition, and also coincides with the text as set to music by Lelio Bertani’s First book of madrigal for five voices (1584) and Monteverdi’s First book of madrigals (1587). Thus, the three composers must have used the Manuzio edition as their common source. Marenzio clarly used the Aldine not only for this text, but also for the other two Tasso poems of this book, Arsi gran tempo, e del mio foco indegno / Lasso, e conosco or ben che quanto i’ dissi and Di nettare amoroso ebro la mente / Sonar le labra, e vi restaro i segni.