3 5 Marco Cara (ca. 1470-ca. 1525) Frottola: Io non compro piii speranza a] fom. propiti spedran.za Chéplitfal . sa mercanfei . a, ataten.do fei. a Quetta} To nonfeom . pro pik spe fran. 2a Ché lief aciea, | cheglié fase meccantct Note values halved, Notes inthe ute part ith dot under them are played with an upward stoke Bars thsoughthe ate stave re original. Those between the voce par and lute accompaniment ae added by the present eitorto show the true metial organization. Franciscus Bossnenss ed Tenor e contrabass mtu: la col sgpron in cnt fguate pr cantare omar col ee, libro primo (Venice, 1509) Benvenuto Dsetoi, ‘ed, Le Frotle per canoe Lut ntabulote da Franciscus Bovine (ils: Ricord, 1968), pp. 390-81 Copyright by CASA RICORDI-BMG RICORDI pA, Milan. Reprinted by permision.eas sed by the ‘ahaa Diseron, oot MARCO CARA Lo Tettersle Tonon compro pit speranca Che gi falsa mercancia ‘Adar sol attendo via Quella poca che m'avania Jo non compro pid speranza Che gid falsa mereancia Cara un tempola comprai, Hor la vendo a bon mercato E consiglio ben che mai Non ne compri un sventurato Ma piit presto nel suo stato Sene resti con costanza, Tonon [2] Elsperate & come el sogno CChe per pit riesce in nulla, El sperar é proprio il bisogno De chi al vento si tastulla, Elsperare sovente anulla Chi continaa la sua danza. [@] fonon... non compro pit speranza 183 Tetterdle F'llbuy no more hope, Which is fake goods; can't wait to ive away the lite that Ihave let, Plbuy no more hope, which is fake goods. Once I bought it dear; now Tell it cheap; and I would advise that never should the wretched buy it; rather let them in their condition remain in constancy. Tibuy... ‘Tohope slike a dream that mostly results in nothing, and hoping is the craving need ‘of him who plays with the wind, Hoping often annihilates the one who continues its dance. Fbuy.... a This lighthearted complaint of a disappointed lover appeared in Petrucci’s first book of frottole (Venice, 1504). The barring in four beats of the lute tablature ob- scures the dance rhythm of six beats to the measure, as marked off by the bars in- serted between the voice and the lute parts, These six beats are organized now in duple groups, now in triple, producing zonets popular throughout the century the hemiola'so characteristic of the can- and later @dopted in seventeenth-century monody. The harmonization consists almost entirely of root chords,a style that was to have a far-reaching effect on music produced in Italy in the sixteenth century by both native composers and foreigners.MARCO CARA Tonom compro pit speranca + ‘Although the term “frottola” is epplied to musical settings of various types of popular poetry, this song manifests the poetic and musical form of the frottola proper, also called barzelletia, The poem consists of a four-line ripresa, whose first two Lines return as a refrain, and a six-line starza, consisting of two two-line piedi (literally, feet) and a two-line volta (a turning back). The music is coordinated with this poetic structure through the following scheme: Music Poeticlines Rhyme Poetic mm. form 1-3' Iononcompro pit speranea. a 46 Che glie fal mercancia > : iF 5S Risfaolewendo va Beene 35 10-12 Quella pocache mavanza, 8 B15 Tononcompropibpenma 8 _ pein 16-27 Chel falsa mercancia. b Stanza L 1-3 Garnuntempolacomprat = _ pede ve 46 — Horlavendoabonmercato 1-3 Bconsiglio ben che mai « 2 . £6 — Nonnecompriunsventursio a) ~Pide 7-9 Mapiupretonelsuosaio 6 _vaeg 10-12 Sene esti con costanza. a 13-15 Tomoncompropitisperanza a ; 16-27 Ché glié falsa mercancia. b ) T Refrain ie cr Notevala