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A Gift of Madrigals and Motets, Volume 2 - Transcription (Paperback, New edition)
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A Gift of Madrigals and Motets, Volume 2 - Transcription (Paperback, New edition)
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Near the end of the third decade of the sixteenth century, a
five-volume set of madrigal and motet partbooks was assembled in
Florence and sent as a gift--or "musical embassy"--to the English
court of Henry VIII. The manuscript set--minus the missing altus
part--has been owned since 1935 by the Newberry Library in Chicago;
but until H. Colin Slim's exhaustive efforts, no thorough study of
the history or contents of the partbooks had been undertaken.
At first encounter, these partbooks yield no clues concerning their
provenance, their composers' names, or the reasons for their
dispatch to England. In his search for this information, Professor
Slim used the musicologists' customary tools, namely,
biobibliography, concordances, and textual and musical analysis.
But he also used bibliographers' tools not always employed by
musicologists: watermarks, bindings, script, orthography, and
illuminations.
As a result of his efforts, the author was able to identify nearly
all the works' composers and the manuscripts' expert illuminator.
He also presents a detailed description of the binding process and
the probably background of the scribe, places the political and
social references in the works, and determines the route the
volumes may have taken after they left Henry's library.
By placing the date of the partbooks' arrival in England around
1528, Professor Slim suggests that the musical culture of the early
Tudor court was less French than has hitherto been thought. Indeed,
the presence of the partbooks in Henry's library makes them the
earliest evidence of the Italian madrigal in England. The author
also provides new and significant data on the artistic and
historical position ofPhilippe Verdelot, the partbooks' most
extensively represented composer.
In Volume II, Professor Slim has transcribed the music of the
thirty motets and thirty madrigals for modern performance. The
parts are cantus, tenor, bassus, and quintus et VI; the altus
partbook is missing. Concordant sources provide the altus parts for
all but four of the motets and six of the madrigals. These ten have
been composed by Professor Slim. Notes at the end of each selection
provide variant readings for both music and text. The Latin texts
of the motets, the Italian of the madrigals, and an English
translation of each appear at the end of the volume.
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