Cipriano de Rore

(1515-1565)

Tutti i Madrigali
a Quattro Voci
SPARTITI ET ACCOMMODATI PER

sonar dogni sorte dIstrumento perfetto, & per

Qualunque Studioso di Contrapunti

Venezia 1577

Clefs

Published by Maurizio M. Gavioli

 ViMa 4 g Version 1.0 August 2011.
A V i s t a M a r e publication by Maurizio M. Gavioli.
http://www.vistamaresoft.com/editions/.
Editing and typesetting 2011 Maurizio M. Gavioli. Licensed under the Creative Commons license
Attribution - Share Alike (in simple words, do with it whatever you like as long as you give me proper credit
and share derivative works like this one; for details, see http://www.creativecommons.org/licenses/by-sa/3.0).
Typeset with MuseScore (http://musescore.org).
 Tavola delli Madrigali
di Cipriano a Quattro Voci
Libro I
Canzone
(1) Alla dolc ombra prima stanza.....6
Non vide l mondoseconda stanza.8
Un lauro terza stanza....10
Per quarta stanza..12
Selve sassi quinta stanza..14
Tanto mi piacque sesta stanza....16
Madrigali
(2) Signor mio caro................................18
(3) Carit di Signore..............................20
(4) Io canterei damore..........................22
(5) Non chil duol mi scema..............24
(6) La bella netta ignuda......................27
(7) La giustitia immortale....................30
(8) Anchor che col partire...................32
(9) Amor ben mi credevo......................34
(10) Come havran fin..............................36
(11) Io credea chl morire.......................38
(12) Quel foco............................................40
(13) La inconstantia................................42
(14) Donna chornata sete......................44
(15) Di tempo in tempo...........................47
(16) Se l mio sempre...............................50
(17) Non gemme non fin oro..................52
(18) Qual pi grand amore.............54
(19) Chi con eterna legge........................56
Libro II
(20) Unaltra volta..................................58
(21) Chi non s.........................................62
(22) Schiettarbuscel................................64
(23) Beato mi direi...................................68
(24) O sonno prima parte.....70
Ov l silentio seconda parte.72
(25) Fontana di dolore.............................74
(26) Datemi pace......................................77
(27) Mentre la prima mia.......................80
(28) Mia benigna fortuna prima parte84
Crudele accerba seconda parte.86
Altri
(29) Ben qui si mostra l ciel..................88
(30) Nellaria in questi d.......................90
(31) Era il bel viso suo prima parte.....94
E ne la face seconda parte.96
(32) Chi vuol veder prima parte.....98
Vedr i biondi capei seconda p.te98
(33) Se qual il mio dolore..................102
(34) Felice sei Trivigi.............................104
(35) Musica dulci sono..........................107
(36) Calami sonum ferentes.................110
2

Preface
This edition follows as faithfully as possible the 1577 edition by Angelo
Gardano (Venice), a movable-type printing originally in score format, without
text. The source used for the edition is the copy in the Library of the Museo
internazionale e biblioteca della musica in Bologna, Italy; it is indicated as O in
the critical notes below.

The text has been collated with the following other sources:
Libro I, Cantus and Altus: Di Cipriano de Rore il primo libro de madrigali a
quattro voci, Venezia, Angelo Gardano, 1575 (A in the critical notes)
Libro I, Tenor and Bassus: Di Cipriano de Rore il primo libro de madrigali a
quattro voci, Venezia, Giorgio Angelieri, 1573 (B in the critical notes)
Libro II: Di Cipriano de Rore il secondo libro de madrigali a quattro voci, Venezia,
Claudio Merulo, 1569 (C in the critical notes).

Two versions are available: one with treble, alto and bass clefs (viol clefs)
and one with treble, treble 8 bassa and bass clefs (recorder clefs); they are
identical under any other account.

Remarks:
Editorial additions are marked by parentheses or dotted lines. Corrections or special
issues are marked by note numbers referring to the critical notes below.
Original time signatures and note values have been retained.
All marked accidentals have been retained, even when superfluous according to
modern conventions; however, they have been silently modernized when current
conventions dictate a different sign (i.e.: a sharp used to raise a flattened note has
been converted to a natural sign).
Bar lines are original.
Accidentals above the stave are editorial suggestions.
Ligaturae are indicated by square slurs ().
Coloration is indicated by angle brackets ( ).
Triplets generated by coloration has been indicated (by a 3 above or below the stave)
only when explicitly marked in the original (by a 3 prefixed); otherwise triplet
indications are implied by coloration brackets.

Critical notes:
1) O: F F 8) B: no .
2) A: added by hand. 9) A: .
3) sic A; O has . 10) sic O; A has with coloration.
4) B: . 11) O: .
5) A: punctum divisionis after the note. 12) B: C erased.
6) sic O; A has F. 13) A has .
7) sic O; A has E. 14) B: ECD in ligatura.
 3
15) A: . 37) No slur (or ligatura) in C.
16) O: . 38) sic C; O has .
17) sic B; O has D. 39) sic C; O has E.
18) sic B; O has on C. 40) O: added by hand. C has in print.
19) B has . 41) sic C; O lacks .
20) A: only. 42) O: .
21) B: only. 43) sic O; C has F.
22) A: C. 44) sic O; C has .
23) A has on first G. 45) C: ligatura D C.
24) A: only. 46) O: measure is empty.
25) sic B; O has . 47) C has .

26) A has . 48) C has on second F.

27) B has . 49) C: time signature .

28) sic B; O lacks . 50) sic C; O lacks .

29) A has . 51) C: B and E in key.

30) sic O; A has G 52) C: E implicit, because of key signa-
31) sic O; A has . ture.
53) C: repeated.
32) sic A; O has .
33) B: ligatura. 54) C has because of key signature; is
34) O has a erased, present also in C. needlessly copied in O.
55) C has because of key signature.
35) C: ligatura.
36) sic C; O has . 56) O: .
57) O: .
Madrigali
a quattro voci
 (1) Canzone
Alla dolc ombra Cipriano de Rore (1515-1565)

Alla dolc ombra. Prima stanza.

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Non vide l mondo. Seconda stanza.

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Un lauro. Terza stanza.

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Per Quarta stanza.

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Selve sassi Quinta stanza.

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Tanto mi piacque Sesta stanza.

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(2) Signor mio caro Cipriano de Rore (1515-1565)

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(4) Io canterei damor Cipriano de Rore (1515-1565)

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(5) Non chil duol mi scema Cipriano de Rore (1515-1565)

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(6) La bella netta ignuda Cipriano de Rore (1515-1565)

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(7) La giustitia immortale Cipriano de Rore (1515-1565)

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(8) Anchor che col partire Cipriano de Rore (1515-1565)

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(9) Amor ben mi credevo Cipriano de Rore (1515-1565)

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(10) Come havran fin Cipriano de Rore (1515-1565)

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(11) Io credea che l morir Cipriano de Rore (1515-1565)

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(12) Quel foco Cipriano de Rore (1515-1565)

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(13) La inconstantia Cipriano de Rore (1515-1565)

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(14) Donna chornata sete Cipriano de Rore (1515-1565)

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(15) Di tempo in tempo Cipriano de Rore (1515-1565)

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(16) Se l mio sempre Cipriano de Rore (1515-1565)

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(17) Non gemme non fin oro Cipriano de Rore (1515-1565)

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(18) Qual e piu grand amore Cipriano de Rore (1515-1565)

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(19) Chi con eterna legge Cipriano de Rore (1515-1565)

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Qui finisse il Primo Libro de Madrigali di Cipriano A 4 Voci Et seguita il Secondo.

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(20) Unaltra volta Cipriano de Rore (1515-1565)

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(21) Chi non sa Cipriano de Rore (1515-1565)

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(22) Schiett arbuscel Cipriano de Rore (1515-1565)

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(23) Beato me direi Cipriano de Rore (1515-1565)

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(25) Fontana di dolore Cipriano de Rore (1515-1565)

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Qui finisse il Secondo Libro
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(29) Ben qui si mostral Ciel Cipriano de Rore (1515-1565)

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(31) Era il bel viso suo Cipriano de Rore (1515-1565)
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(32) Chi vuol veder Cipriano de Rore (1515-1565)

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(33) Se qual el mio dolore Cipriano de Rore (1515-1565)

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(34) Felice sei Trivigi Cipriano de Rore (1515-1565)

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(35) Musica dulci sono Cipriano de Rore (1515-1565)

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(36) Calami sonum ferentes Cipriano de Rore (1515-1565)

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