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 |
Lines | Sources – Voices | Variants |
---|---|---|
1 | quest’ordì | |
2 | l’herb’il tese | |
3 | quest’il | |
4 | trarl’in | |
4 | mezz’a | |
4 | mez’a | |
4 | fiamm’accese | |
6 | vendett’Amor |
Questa ordì il laccio, questa
Giovanni Battista Strozzi il Vecchio (1504–71)? / Torquato Tasso?
Madrigal: aB(b)ABcc
Questa ordì il laccio, questa | This 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 presta | and 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. | |
5 | Or 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).
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
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.