In 1547, Perissone Cambio's first book of madrigals for 4 voices was published by the Gardano press in Venice. It contained 3 pieces by Cipriano de Rore. By this time, de Rore had already published two books of 5 voice madrigals, and one 4-voice book of note nere madrigals. In the next several decades, this piece would become one of the most popular and widely distributed madrigals across Europe, ported to many different instrumental arrangements, as well as used as a melodic model for at least two masses, and a magnificat.
The original prints:
The poem used is attributed to Alfonso d'Avalos (1502-1546), a Spanish condottiero who saw considerable military success in early 16c Italy. The text displays the typical eroticism of many mid-century madrigals.
Ancor che col partire
io mi sento morire,
partir vorrei ogn' hor, ogni momento:
tant' il piacer ch'io sento
de la vita ch'acquisto nel ritorno:
et cosi mill' e mille volt' il giorno
partir da voi vorrei:
tanto son dolci gli ritorni miei.
Although when I part from you
it is a kind of dying,
I would be glad to leave you every hour, every moment,
so great is my joy
as life comes flooding back to me on my return:
and so a thousand times a day
I would that I could part from you:
for so my heart leaps when we are reunited.
translation by Mick Swithinbank at CPDL
Below is a transcription of the original madrigal:
The madrigal was used as a model for several prints and manuscripts of viola bastarda repertoire. The below version by Rognoni (from his 1591 Passagi per potersi essercitare) is one of the more accessible bastarda pieces:
The popularity of the madrigal is also demonstrated by the numerous transcriptions made of it to other instrumental formats, including the lute and keyboard. Quite a number of lute versions exist, in German, Italian, and French lute tab. The below version is from Antonio di Becchi's 1568 print from the Scotto press in Venice:
Keyboard intabulations also exist. The first below is from Ammerbach's 1583 volume, printed in German organ tablature, which is exceptionally concise for transmitting pieces of 4 voices for keyboard:
In 1591, Giovanni Bassano published a volume of highly decorated single lines of music from many well-known madrigals, motets, and French chansons of the past several decades. Included are 3 versions of voices of Ancor che col partire, two canto and one basso. They work well-enough on their own with simple chordal accompaniment, or in consort with the other parts (though the bass part occasionally uses snippets of the tenor voice, bastarda-like). Here is the bass and first canto one (I haven't completed the second):
One final very popular Renaissance thing to do was to use melodies from motets or secular songs as models for masses or other liturgical music. The traditional modern term would be parody mass, though some prefer "imitation mass".
There are at least two extant masses based on Ancor che col partire, by Jacquet of Mantua and Philippe de Monte (I don't have access to scans of these--anyone help me in getting them?). Orlando di Lasso also used the tune for a 5 voice magnificat, published posthumously:
NEW for 2018-10-14:
Andrea Gabrieli composed a giustiana (Venetian dialect poem/piece) that parodies both the original poem and de Rore's setting of the poem, which speaks of running around in circles and shitting a thousand times a day:
Here's another lute intabulation, from the Hewarth collection, BSB Mus. MS 266 (c.1560s):
|Cipriano's original madrigal:
Cipriano's version, played on renaissance viols:
Another version of the original:
Ammerbach's keyboard transcription:
Andrea Gabrieli's keyboard transcription:
||Orlando di Lasso's Magnificat:
Bassano's version with canto diminutions:
Bassano's version with basso diminutions:
Gail Schroeder playing the Rognoni that I HAVEN'T finished transcribing:
Brady also because I can't find Rognoni's version 1!:
|Gabrieli's vulgar parody: