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Electronic Theses, Treatises and Dissertations
The Graduate School
2008
Angelo Notari and His Prime Musiche
Nuove of 1613
Stanley Matthew Henson
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FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
ANGELO NOTARI
AND HIS PRIME MUSICHE NUOVE OF 1613
By
STANLEY MATTHEW HENSON
A Thesis submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Master of Music
Degree Awarded:
Summer Semester, 2008
The members of the Committee approve the thesis of Stanley Matthew Henson defended on January
17, 2008.
____________________________________
Jeffery T. Kite-Powell
Professor Directing Thesis
____________________________________
Larry Gerber
Outside Committee Member
____________________________________
Charles E. Brewer
Committee Member
The Office of Graduate Studies has verified and approved the above named committee members.
ii
Per mia moglie é mio Amico. Anche il gatto.
iii
ACKNOWLEDGMENTS
I would like to take the opportunity to thank Jeffery T. Kite-Powell, my director and mentor, for his
tireless optimism, Charles Brewer and Larry Gerber for their editorial eyes, and Anthony Rooley for
introducing me to Signor Notari.
iv
TABLE OF CONTENTS
List of Tables
List of Figures
Abstract
vi
vii
viii
1. ANGELO NOTARI, BIOGRAPHY AND CONTEXTUAL HISTORY
1
2. PRIME MUSICHE NUOVE
11
Notari’s Performance Instructions
11
Source Description, Transcription, and Critical Apparatus
14
Critical Notes
22
Texts and Translations
29
3. ANGELO NOTARI’S MUSICAL STYLE, HIS CONTEMPORARIES,
AND POSSIBLE INFLUENCES
36
APPENDIX A
40
Facsimiles
40
APPENDIX B
42
Prime musiche nuove, modern edition
43
BIBLIOGRAPHY
87
BIOGRAPHICAL SKETCH
89
v
LIST OF TABLES
Table 2.1. Notari's Table of Contents
22
vi
LIST OF FIGURES
Figure 2.1. Portrait page from Prime musiche nuove
15
Figure 2.2. Mesta ti scorgo, Brace 5, mm. 2-5
16
Figure 2.3. Mesta ti scorgo, Brace 5, mm. 2-5, transcription 1
16
Figure 2.4. Mesta ti scorgo, Brace 5, mm. 2-5, transcription 2
17
Figure 2.5. Piangono al pianger mio fere, Brace 2 recto, final measure, first soprano
18
Figure 2.6. Che farai, Meliseo, Brace 3, mm. 3-4, solo bass
19
Figure 2.7. Che farai, Meliseo, mm. 36-37, solo bass
19
Figure 2.8. Ecco, ch'un'altra volta, Brace 3 verso, mm. 2-3
20
Figure 2.9. Cosí di ben amar, Brace 3 verso, mm. 1-2
21
Figure A.1. Original Dedication Plate from Prime musiche nuove
40
Figure A.2: Original Table of Contents and Bilingual Performance Instructions
41
vii
ABSTRACT
Angelo Notari published a book of Italianate madrigals and songs in England late in 1613.
Notari had been employed in the home of Prince Henry Stuart, but after Stuart’s death Notari held
positions both within the royal household and beyond. His only known published work, Prime musiche
nuove, has been largely forgotten. Only two copies are known to exist, one in London and one in
Copenhagen. This work presents the most complete biographical sketch of Notari to date, and contains
a modern edition of Prime musiche nuove with critical apparatus.
viii
CHAPTER 1
ANGELO NOTARI: BIOGRAPHY AND CONTEXTUAL HISTORY
When compared to other years of the sixteenth century, the year 1566 turned out to be
somewhat dull. It was not a year filled with radical upheaval and cultural change; things generally
stayed the same in Europe as they were in 1565. Pope Pius V was elected, the Spanish doubloon was
first minted, and the Eighty Years' War began in the Netherlands. James I of England was born on June
19, and the Sultan Suleiman the Magnificent died in September. And, of course, Angelo Notari was
born in Padua.
The name Angelo Notari probably does not elicit immediate recall from anyone who is not a
musicologist. Even then, his name is still fairly obscure and his work is all but unknown. He was a
composer and musician who was talented enough to command the ear of an English prince and two
English Kings.
He was long-lived enough to see England's Civil War, its Interregnum, and the
restoration of the Crown. In fact, he was approaching his 98th birthday when he died in December,
1663. A lifespan that long is somewhat rare today, and in the seventeenth century it was significantly
rarer still.
So, how could an Italian man who lived to an enormous age, who saw England split itself apart
and reunite, and who composed for kings be almost completely forgotten by history? Simply put,
Notari did not write many things down. Much of his music was probably never widely disseminated
and copied, and he wrote no memoirs. History favors written record, and the records that exist
regarding Notari's extraordinary life could fit in a large envelope. He did, however, leave one lasting
artifact: a book of printed music from 1613 called Prime musiche nuove, or “First New Music.” It
turns out that this book was, in many ways, as extraordinary as the man who wrote it.
History often selfishly revolves around so-called giants and ignores most of the people who
helped create it. Angelo Notari led an unusual life when compared with his contemporaries, and his
story has never been fully assembled and told in one place. More importantly, his surviving work,
history's greatest link to his life, has never received more than cursory evaluations. The goal of this
paper is to change that, and hopefully recreate the cultural landscape in which Signor Angelo Notari
lived. This paper makes no claims at uncovering long lost truths regarding one of the world’s greatest
geniuses. Instead, it builds on the work of others in recapturing the life and works of a forgotten artist.
Information on Notari's birth and young life is almost non-existent. The only record that
1
mentions them is an astrological natal chart that is located in the British Library.1 This chart has been
obscured by time, but it still clearly says that:
This man was born in Padua, an Italian by nationality and parentage. He was a servant to three
English princes in their private music and a celibate of the Roman religion, and his life was
prolonged into old age.2
As the existing records only show one Angelo Notari working for three English princes, it stands to
reason that this horoscope belongs to Notari the composer. Thus, we know he was born in Padua, and
his birthplace gives us our first insight into the forces that shaped Notari's life. The above passage also
implies that Notari had at least taken minor orders in the “Roman religion,” and therefore may have
been a Catholic.
Padua is an ancient city in the Veneto region of northern Italy. It can trace its roots to the
Kingdom of Troy and is often claimed to be the oldest city in northern Italy. By 1566, Padua could
boast a rather impressive list of cultural and intellectual accomplishments. Giotto had painted his
masterpiece at the Scrovegni Chapel by 1305. The famous theorist/composer Marchetto da Padua
(c.1274-c.1319) had contributed heavily to the Ars Nova movement. Most importantly, the University
of Padua had been founded around 1222 and had become a center of learning for the Renaissance
world. The city itself was a territory of the Venetian Republic in 1566, and travel to Venice was
common and fairly easy.
Padua was a cradle of intellectual and artistic development. In Venice, Padua had the protection
and support of one of the most powerful cities in the sixteenth century, and it had one of the finest
research institutions in the world. This was the environment into which Angelo Notari was born.
Nothing is known about Notari's time in Padua. It can be assumed from his later life that he
was born into a family of some means. It is improbable that he was not exposed to Padua's plethora of
art and learning from an early age. The University of Padua was famed for its research in the natural
world and for its law school, and the city itself had strong musical roots. However, Notari also lived
near one of the musical and cultural centers of his time, and chose to seek education and employment
there. He moved north to Venice.
We cannot be sure when Notari left Padua for Venice, but a time frame from 1580-86 make a
great deal of sense. Notari would have been of university age by around 1580, and if he possessed
musical talent and potential for a musical career, an education in Venice would have been more
1
2
Discussion of the chart adapted from Christopher Egerton, “The Horoscope of Signor Angelo Notari (1566-1663),”
Lute Society Journal 28 (1988), 13-18.
Ibid, 13 (original text in Latin, translated by Egerton).
2
appropriate than one in Padua. In Venice there were more institutions that supported music, more
social groups that were steeping in new musical styles, and more opportunity for musical publication
and transmission. While Padua was a center for sixteenth-century learning, Venice was one of the most
important focal points of the sixteenth-century world.
At the end of the sixteenth century, the Venetian Republic was at the height of its power. It
controlled lucrative trade routes along the Adriatic and was a cultural crossroads between the
Occidental and Oriental worlds. La Serenissima, or “the most serene” as the Republic was referred to,
was in the last throes of freeing herself from the papacy's unquestionable influence and was controlled
by a quasi democratically elected government. The Republic had expanded to its greatest size, and
with additions like Padua it was a microcosm of learning, trade, and experimentation. The heart of the
Republic was Venice, the floating city. Venice, by this point, was one of the major cities of the world.
The wealth and power of the Republic flowed through her streets, and Venetian style became European
style.
Not surprisingly, Venice was a great center of European musical innovation. Along with
Florence, Venice and its musicians were ultimately responsible for the stylistic changes that brought
about the stile nuovo. Venice invented the mass music-printing industry in 1501, and by the turn of the
century it was one of the most important printing hubs for Western music. Several institutions in
Venice strongly supported music, and each of these institutions could be potential paths to fame and
financial security. For a young Angelo Notari, there is likely no question where he should go to further
his musical education.
In Venice, the major paths to music were through the churches, the Doge and his chapel at San
Marco, and the academically oriented institutions. Notari seems to have chosen a more academic path;
his name is not associated with the documents of San Marco, or those of any other Venetian church.
Yet, he would have been heavily influenced by the ecclesiastical institutions.
Therefore, an
examination of the musical minds influencing Venice in the 1590s will be illuminating in our
discussion of Notari.3 Foremost, it should be noted that Venice itself had both conservative and
experimental musical factions. While neither group was ever really “in control” of the musical scene,
both radically influenced the direction of Venetian music. Arguably, no group or individual exerted
more influence than those who held the posts of highest privilege and power, those associated with the
Doge and San Marco.
Around the time Notari arrived in Venice, the maestro di cappella of San Marco, Gioseffo
3
Composer dates and biographical facts have, (unless otherwise noted) been retrieved from their respective entries in
Grove Music Online ed. L. Macy (Accessed 17 December 2007), <http://www.grovemusic.com.proxy.lib.fsu.edu>.
3
Zarlino (1517-1590) was either winding down his career or dead. In his wake he left a strong sense of
“tradition” and adherence to the principles of the stile antico. Zarlino was by no account a musical
experimenter. Instead, his magnum opus of 1588, Le istitutioni harmoniche, was a masterpiece of
prima prattica musical theory. Zarlino was not a successful composer, but was one of the greatest
minds of his generation.4 He succeeded the famous madrigalist Cipriano de Rore (c.1515-1565) to the
post at San Marco, and he held it until he died. Zarlino was a font of musical conservatism and did not
share de Rore's enthusiasm for the Italian madrigal.
One of the Venetian madrigal writers who eventually followed de Rore was Andrea Gabrieli
(1532-1585) who, with his nephew Giovanni (1554-1612), kept madrigal writing alive in Venice.
Andrea was the organist at San Marco during a great portion of Zarlino's tenure there. The second
organ post at San Marco was occupied by Giovanni Gabrieli a year before his uncle's death. Thus, a
Gabrieli was at the organ the entire time Zarlino was the maestro. Both of the Gabrielis were famous
composers during their lifetimes, and they helped propel San Marco's polychoral style to its greatest
heights. They (notably Giovanni) were on the forefront of the development of the instrumental sonata.
They were also both madrigalists and taught their students to embrace the Italian madrigal style.
After Zarlino's death, the music of San Marco began to see changes. Zarlino was replaced by
the conservative Baldassare Donato (?1529-1603). Donato had an uncomfortable relationship with
Zarlino and ultimately worked at the scuola grande de San Rocco rather than with Zarlino. Donato's
major stylistic trait was in the development of lighter secular styles, which would also be a defining
trait of his successor, Giovanni Croce (1557-1609).
Croce was a prominent madrigalist, and his tenure at San Marco was during the last portion of
Notari's stay in Venice. Croce was a major player in the development of the canzonetta, and Notari’s
Prime musiche nuove contains several canzonettas. It therefore seems impossible that he would not
have known Croce's work, as Croce was at the forefront of progressive Venetian music at the end of the
sixteenth century.
Notari would surely have been schooled in the modern music of the day. We know that while in
Venice, he attended the meetings of the Accademia degli Sprovisti (the Academy of the Unexpected).
This information comes from an engraved portrait of Notari that includes two testimonials to Notari's
skill as a musician and singer.5 The accolades are a play on Notari's first name, Angelo, and they
constantly refer to him as an angel. The engraving also informs us that at the Accademia, Notari's
4
5
H.C. Landon and John Norwich, Five Centuries of Music in Venice (London: Thames and Hudson Ltd., 1991), 49.
The engraving is reproduced in this paper as Figure 2.1, and was taken from Arthur M. Hind, Engraving in England in
the Sixteenth and Seventeenth Centuries, (Cambridge: Cambridge UP, 1955), plate 211.
4
nickname was Il Negligente (the negligent).6 Not much information is available on the Accademia
itself. It was one of several Italian academies, which were very much analogous to social/intellectual
clubs (the Florentine Camerata is a prime example of such an accademy). Being in Venice, the
Accademia would have probably been on the progressive edge of European music. However, in the
first notable study on Notari the British scholar Ian Spink states that the Accademia was not one of the
most illustrious Venetian academies.7
Regardless of the Accademia's standing, Notari would have been exposed to the music of de
Rore, the Gabrielis, Donato, and Croce, and he would have known the musical teachings of Zarlino.
Furthermore, he would likely know the work of illustrious composers outside of Venice, as their works
were often printed and distributed in Venice itself.
Among these non-Venetians, the foremost names would be Claudio Monteverdi (1557-1643) in
Mantua, Luzzasco Luzzaschi (1545-1607) in Ferrara, and Giulio Caccini (1551-1618) in Florence.
Monteverdi's books of madrigals 1-6 (and his 1609 Venetian printing of L'Orfeo) were printed in
Venice during the time that Notari was living there. Luzzaschi, the composer for the famed concerto
della donne, had some of his madrigal books printed in Venice, and the others surely circulated there.
Caccini's genre-altering Le musiche nuove was printed in Florence in 1602, but the composer himself
says in the introduction that the pieces had been circulating in Italy for years prior to publication. As
Venice was a center for the musical avante-garde, Caccini's work, as well as that of the entire
Florentine Camerata, would have been known and probably even taught in the academies.
Angelo Notari lived and studied in Venice during one of its most musically fruitful times. He
would have known the works associated with San Marco, and would have had access to the editions
that were rolling off of Venetian presses. Thus, Notari was uniquely positioned to learn both the prima
and seconda prattica. This makes the next episode in his life quite perplexing. Rather than stay in
Venice and become an established part of its musical culture, Notari chose to leave Italy and set out for
England.
Notari's motivations for moving to England are utterly unknown.
He appears in English
documents for the first time around December, 1610, employed in the household of Prince Henry
Frederick Stuart, the Prince of Wales and heir to the throne of England.8 He would have been 44 and
approaching his 45th birthday. This is a man who, by the standards of the day, was approaching the last
few decades of his life. Why would Notari leave Venice and make the arduous journey to London at
6
7
8
Ibid.
Ian Spink, “Angelo Notari and his 'Prime Musiche Nuove',” Monthly Musical Record 87 (Sept.-Oct.1957), 170.
Spink, “Angelo Notari,” 170.
5
the age of 44? After he left, Claudio Monteverdi was appointed maestro at San Marco, and Venice
became the first premier center for opera in all of Europe. It is not known if Notari returned to Venice
for any considerable length of time during his life, but it appears that he cut all of his ties there. As a
well-established (or at least well-aged) composer, why would Notari travel to a foreign land to work in
the household of a crown prince? There are many possible answers. Perhaps Notari simply reassessed
his life upon reaching middle age and decided that the Venetian scene was not the best fit for him.
Perhaps the turning tides of Venetian music caused Notari to question his future viability as a
composer. Perhaps he simply could not find employment in the musical institutions. Whatever the
reason, Notari's move was surely influenced by the potential of his new benefactor, Henry Stuart, the
Prince of Wales.9
Henry Stuart was, by all accounts, a great monarch in the making. In the uncertain days of
James I, Henry was England's hope. Henry was born in 1594, and he began assembling his household
around 1609. James I was never an extremely well-respected monarch, and in the wake of Elizabeth I
the English people placed their hopes and ambitions on James's oldest son Henry. By 1609, it looked
as if their hopes would become reality. Where James was seen as weak, Henry was the picture of
physical and mental health. When James had drained England's coffers, Henry was working within a
balanced budget to staff his household. Where James was contemptuous, Henry was seen as regal.
The English people held the young prince with almost mythical reverence, and he did not often
disappoint them.
Henry's household would have been an enormous draw for many in Europe. Instead of stacking
his positions with favorites, as his father had done, Henry filled his house with poets, philosophers,
artists, experienced statesmen and soldiers, and musicians. He drew luminaries from across England
and beyond. Henry had an affinity for the Medici courts in Florence and for Italian Renaissance
culture en masse. Thus, Angelo Notari likely found welcome employment in the court of the budding
Prince.
Henry and his household held the promise of no less than a full-blown cultural Renaissance for
the English. It was believed that the Stuart prince would bring back the golden days of Elizabeth and
propel England into the forefront of European cultural, economic, and military power. This belief was
doomed to be short-lived. Henry abruptly died of typhoid fever in November of 1612, and the nation
was cast into darkness. The mourning for Henry was also a mourning for England's lost future, as
doubt and uncertainty crept across the land. Lost in their “ocean of tears,” the English now looked to
9
The following discussion on Henry Stuart is drawn from Roy Strong, Henry, Prince of Wales and England's Lost
Renaissance (New York: Thames & Hudson, 1986).
6
Henry's brother Charles.10
It appears as if a great deal of Henry's household also looked to Charles. The promised boon in
England's musical scene quickly became an outpouring of lamentations for the dead prince. With the
memorial works came works dedicated to Royal favorites, which suspiciously look like composers’
bids at future employment. Angelo Notari was no exception, and he hastily had his only collection of
printed materials engraved and published by November of 1613.
The book was engraved and published by William Hole in London. Hole's engraving career
began in London around 1607, and by 1618 he was appointed “Head Sculptor of the Iron for money in
the Tower and elsewhere for life.”11 Nothing more is known about the man's life; even the records of
court payments to him no longer exist. Yet, Hole must have been closely associated with Henry's
household, as he single-handedly provided portraits and engraving work for most of Henry's circle.12
Hole is also notable in that he engraved and published the first musical score engraved in England,
Parthenia (or the Maydenhead of the first musicke that ever was printed for the Virginalls) around
1611. Parthenia contains keyboard works by the famous English composers William Byrd, John Bull,
and Orlando Gibbons. These men were the English musical giants of their day, and Parthenia was a
landmark publication—and Hole was responsible for its first edition. As Notari's Prime musiche nuove
was printed by Hole in 1613 (Hole is specifically mentioned on the title page), it was the second
engraved book of music to come from English presses. Hole and Notari's reasons for the 1613
publication are unknown, but due to the nature of score engraving, a good guess can be made as to their
motivations and financial backers.
Even though Henry had died the previous year, engraving was a slow process, and in England it
was often politicized. In the dedication of his Prime musiche nuove, Notari notes that he had the honor
of serving Prince Henry, and that the book was issued in Prince Henry's glorious memory. It is more
likely that Notari had already initiated the engraving during Henry's life. Henry was a lover of many
things Italian, and it is quite possible that he financially backed the engraving project. When he died,
Notari had surely completed the music, and the engraving may have already begun. A simple change in
the dedication was likely all that was needed to glorify Henry's memory.
Yet, the book is not actually dedicated to Henry. Instead it was dedicated to James I's royal
favorite, Robert Carr, the Earl of Somerset. It looks as if Notari was hedging his future employment
bets by currying up to the King's inner circle. It is extremely likely that Henry's emerging influence
10
Ibid, 7.
Hind, 316.
12
Strong, 130.
11
7
had drawn Notari to London, and after his death, it makes sense that Notari would want to stay
associated with the court. Unfortunately for Signor Notari, a quick series of political scandals and
intrigues forced Carr to retire from James's court by 1614, and Notari lost whatever political capital he
may have gained through Carr.13 Instead of a foothold into the Chapel Royal, Notari became employed
in the household of Prince Charles around the year 1621. What he did in the interim period is
unknown. His duties for Charles were as lutenist and singer.
Once working for the new Prince of Wales, the official and unofficial records show that Notari
had repeated encounters with the Spanish. In his book, Notari makes mention of a Spanish song in his
introduction, and one of the last pieces in the book is in Spanish. Regardless of how he came to know
them, Notari obviously had some contact with Iberian culture by 1613. This contact would prove to be
troublesome for Notari.
The Venetian ambassador to England, Girolamo Lando, repeatedly alleged that Notari was
working as a spy for the Spanish ambassador, Diego Sarmiento de Acuña, Count of Gondomar. In a
letter to the Inquisitors of State, Lando said:
The Republic has no more bitter enemies here than some of her own subjects...I mention next
Angelo Notari, of Padua, who traffics with the Spanish Ambassador.14
There is no direct proof to uphold the Venetian ambassador's allegations, but Notari did have enough
connections with the Spanish that it is not improbable that he was a spy. The Count was known for
subterfuge, and in an era where English/Spanish relations were tenuous at best, it seems logical that
both sides would look for inroads into political circles. Notari's involvement with the Count obviously
increased, because he and John Drew were dismissed from Charles's household in 1622 for singing
Mass in the Spanish embassy on Christmas.15 Upon the complaint of a new Venetian ambassador,
Notari and company were reinstated. This was during the famous Spanish Match fiasco at the English
court,
16
and Spink states that Notari's quick reinstatement was out of the need to keep the Spanish
17
The Count would go on to ask Notari to perform at the Spanish embassy at Easter of 1622.
happy.
When Charles was crowned Charles I of England in 1626, Notari was retained as a musician in
the King's court. There are no details of Notari's life from this period, other than pay records which
13
Spink, “Angelo Notari,” 170-71.
Ibid, 171.
15
Ibid, 172.
16
The Match was an ill-fated series of negotiations to broker a marriage between Charles and Spain’s princess, Maria
Anna.
17
Ibid.
14
8
record his annual salary as 40 and a livery allowance of around 17 for the services of playing the lute
and singing.18 We do not know how long Notari stayed with Charles I, or what became of his
employment. What is known though, is Charles's history.
The King turned out to be a believer in political absolutism, and like his father he had a
penchant for the divine right of kings. In reality, Charles was so in contrast with the expectations of
Henry that a modern observer can truly be shocked between the two. A rather large bit of bad business
with Parliament occurred, and by 1642 Charles found himself unsafe in London and in the midst of the
English Civil War. Ultimately, Charles lost his head in 1649, and the English Commonwealth and
Interregnum were born shortly thereafter.
Angelo Notari, it seems, sensed the way the wind was blowing and abandoned ship. At some
point during the decades between Charles's ascension and 1642, Notari left the Royal court and entered
service in the home Sir Richard Herbert, the son of Edward, Lord Herbert of Cherbury. We know these
facts because a letter exists from May 25, 1642 by Angelo Notari.19
The letter, which some believe has led to the identification of Notari's musical hand, is
addressed to “Your Excellency” and was probably meant for a Dr. Samuel Bave of Bath.20 Notari notes
that he has completed copying a medical book for his excellency, that he needs a prescription for an
ailment, and that he hopes to see the doctor in person in Gloucester. It also notes that Notari was
currently living in Grainge. The letter mentions a Lady Herbert, who Willetts has concluded was Mary
Herbert.21
It is not surprising that the Herberts would be interested in hiring Notari. Lord Edward Herbert
was a great lover of music. His autobiography notes that he studied and played the lute, and he
amassed a large collection lute music.22 Such a music lover would undoubtedly want to have a
professional lutenist in his service. By 1642, Lord Herbert was engaged in supporting Charles I, and
thus it makes sense that Notari would have been working around Herbert's oldest son and his wife
Mary. It is not known how long Notari stayed in the Herbert’s service, but by 1642 he would have
been approaching his mid-70s. It has been suggested by Spink that Notari may have traveled on the
Continent during the Commonwealth, but little to no evidence exists to prove that suggestion.23
After the dissolution of the Commonwealth and the Restoration, Notari was employed in the
18
19
20
21
22
23
Ibid, 173.
Described in Pamela J. Willetts, “Autographs of Angelo Notari,” Music & Letters 50/1 (Jan. 1969), 124-25.
Ibid, 124.
Ibid.
Thurston Dart, “Lord Herbert of Cherbury's Lute-Book,” Music & Letters 38/2 (April 1957), 136-37.
Ian Spink, “Notari, Angelo,” Grove Music Online ed. L. Macy (Accessed 17 December 2007),
<http://www.grovemusic.com.proxy.lib.fsu.edu>.
9
new household of King Charles II in 1660. He was restored to the same place, salary, and allowance
that he had received prior to the Civil War.24 However, by this date Notari was 94 years old, and Spink
does not believe that his restoration was anything more than a sentimental gesture.25
The last known information on Notari's life is his death date, and even then this must be
deduced through logic. Notari's duties were augmented by the hiring of Henry Purcell (senior) in 1662.
Papers that later describe Purcell's position note that he took possession of “Segnor Angello's” place in
the chapel in 1663 on St. Thomas' Day.26 Thus, it is likely that Notari passed away in late December,
1663. His horoscope implies that he would have died of old age or heart failure, but the official cause
of death is unknown.27
What remains to be discovered of Notari is still debatable. Based on paleography, Pamela
Willetts believes that Notari was responsible for a large copy of Italian monodies in the British Library
(Add. 31440).28 If this is true, then several works in the collection are probably his, and a truly indepth study of Notari's style could be undertaken. The only copies of his Prime musiche nuove that
still exist are in the British Library (currently available via EEBO [Early English Books Online]) and
the Danish Royal Library. Five of the pieces were transcribed into modern notation in 2004 by Anders
Stenberg of Finland, but these transcriptions do not cover the entire work and generally have some
difficult rhythmic idiosyncrasies. They are distributed freely at the Choral Domain Public Library
(http://www.cpdl.org). The contents of Prime musiche nuove were recorded in 1984 by Anthony
Rooley and the Consort of Musicke as “Angelo Notari: Prime Nuove Musiche (1613)” (originally for
the Hyperion label as #66140 and reissued on the Musica Oscura label as #70988). The transcriptions
used in the recording have not been made available, and the current transcription project has Anthony
Rooley's blessing.
The book is likely not ready to be closed on Signor Angelo Notari. Any lost details of his life
that are found could radically alter his biography in modern times, and there still exists potential for
research. However, for the first time in history, Notari's biography and work are now fully presented in
a single source.
24
Ibid, 174.
26
27
Egerton, 18.
28
Willetts, “Autographs,” 125.
25
10
CHAPTER 2
PRIME MUSICHE NUOVE
Notari's Performance Instructions
As in Caccini’s introduction to Le musiche nuove, Notari originally printed performance
instructions with his table of contents. These instructions do not reach the philosophical depths of
Caccini's and are not nearly as long. Rather, he provides basic performance instructions in Italian and
English. Here is the English version of Notari's introduction:29
Advertisments upon the Compositions following.
1)There came lately to my handes a Spanish songe of two partes,
2)which seeminge to me very delightfull and pleasant, I have for
3)my owne particular gust added to it a third part, altering only
4)in some sort the Bassus, and as I thought most agreeable with
5)the Composition, where in is to be observed (as in the rest of all
6)theis songes) that wheresoever in the lyne of the Bassus
7)you finde the notes with this
mark they
8)must be playde only and not sunge, as for example in the
9)songe Si de me
But when you come to the
10)letter, t, ether with one or two notes as
then
11)you must use a kinde of sweetnes in your voice by us cal12)led the Trillo: for Intend to satisfie my selfe, and of others
13)I desire to be understood, though I cannot be ignorant but
29
The original English and Italian instructions are reprinted in facsimile in the Appendix.
11
14)these my diligence of the skilfull musition will be reputed
15)superflous.
16)The Madrigall of Cipriano de Rore, that beginnes, Ben qui
17) (as I have reduced it) may as well be sunge upon the same
18)Bassus; as played upon the Violl: In all the rest observe
19)the generall rule of musike. Vale.
The above text indicates that several performance practice issues are present in Notari's work.
Foremost, Notari indicates in lines 7-9 that some parts of one of the vocal lines must also be performed
on an instrument. This line is always the bass/continuo line. It is not known whether Notari intended
for the continuo player to also be a singer, or if a bass singer and a continuo player were both required,
if the bass was only supposed to play the notes marked with a +. Notari uses this device in pieces 9,
10, 12, 14, 16, and 17. It occurs in all of the actual three-voice madrigals,30and in the two-voice piece,
Se nasce in Cielo. The played notes never span great stretches of time and generally are not played
while the bass is singing. Thus, Notari's performance instructions are somewhat enigmatic.
The best possible explanation for the singing continuo player is that Notari—known as both a
lutenist and a vocalist31—actually wrote the bass part for himself. It is plausible that, like Caccini,
Notari had been working on his collection for quite some time before its initial publication. They could
very well have been performance pieces that he was using in Henry's court, in which he was singing
the bass and playing continuo. This would explain the strange indications for the bass vocalist to
perform instrumental notes, as Notari would have been quite capable of doing both. If we assume that
Notari was indeed the bass for his ensemble, he must be given credit as a vocalist. His bass monody
Anima eletta (No. 15) covers a two-octave range descending to C2.
Unfortunately, while the above hypothesis does provide an explanation for Notari's performance
markings, there is not a shred of evidence to support it completely. We know that Notari was, in some
capacity, a vocalist. We also know that he played lute, so it is not beyond reason to see him playing
continuo on a lute or theorbo. Since the continuo-playing bass singer is a rare commodity today,
performance practice could easily allow Notari's pieces to be performed by three vocalists and a
30
Madrigal No. 11, Ecco, ch'un'altra volta, is listed in Notari's table of contents as having three voices. While three
individuals do sing in the madrigal, they do not perform at the same time.
31
See Spink, “Angelo Notari,” 174. When Henry Purcell (senior) replaced Notari in Charles II's chapel, it was for the
duties of lute and voice “in the same place with Angelo Notari.”
12
separate continuo.
The next performance practice issue concerns Notari's use and description of a trillo. In lines
10-12 he briefly describes the trillo as a kind of vocal sweetness. His instructions in Italian are even
more vague: che vi si debba fare il trillo (that you must make a trillo). Taken together, the English
statement in line 11 —“by us [read: Italians] called”—and the Italian instruction—“make a trillo—
indicate that Notari's trillo was something new to the English, yet common among the Italians. For this
reason, it seems likely that Notari's trillo is also Caccini's trillo from Le nuove musiche. The trillo only
occurs in No. 18 (Ben qui si mostra in Ciel) of Prime musiche nuove, so Notari's vague explanation
would not have affected the performances of the other works. For the purposes of this edition, trillos
have been simply marked trillo in the musical scores. This is to avoid confusing the modern performer
with a mark that resembles tr.
Notari's instructions harken back to Caccini once more when one considers lines 12-14 and 1819. Here, Notari expresses his wish that his music is understood, and that the general rules of music
are followed. In other words, he wants performers to play the music he has written, not use his work as
a springboard for improvisational fantasy. In the preface to Le nuove musiche, Caccini famously
expressed his disdain for unwarranted ornamentation.32 Here, Notari seems to do the same. When
viewed through modern performance practice, Notari's remarks seem to encourage tasteful
ornamentation (follow the rules of music) while discouraging excessive ornamentation. Since Notari
did write out difficult passages for his vocalists, ornamentation at cadences and repeated sections seems
in order, while ornamentation that detracts from the written line seems out of place.
32
See Giulio Caccini’s Preface to Le nuove musiche in Leo Treitler, Strunk’s Source Readings in Music History (New
York: W.W. Norton, 1998), 607-11.
13
Source Description, Transcription, and Critical Apparatus
Before speaking about Prime musiche nuove's specifics, it is necessary to describe the rules that
governed the transcription process. The first goal of this transcription project was to produce an edition
that is clearly usable by non-specialist performers and yet still remain valuable to scholars. Thus, each
transcription remains as true to the original as possible and contains a bare minimum of extraperformance markings, resulting in an uncluttered score.
The scholar is served by the critical
commentary, where miscellaneous information such as clef changes and other idiosyncrasies are noted.
The second goal of this transcription is to preserve, as best as possible, Angelo Notari's musical
style. This means that care has been given to preserve his musical phrasing and tactus. The score has
only been deviated from in places where Notari's instructions were either vague or
musically/mathematically impractical in modern notation. In such instances, the original and the
modern adaptation have been noted in the critical apparatus.
Prime musiche nuove, as it exists in the British and Danish Royal Libraries, is a twenty-one leaf
book of musical scores, with the full title Prime musiche nuove di Angelo Notari à una, due, et tre voci,
per cantare con la Tiorba, et altri strumenti, nouamente poste in luce.33 Con priuilegio. As previously
noted, the score is entirely engraved. Apart from the eighteen pieces, it contains a dedication,
performance instructions in English and Italian, and a table of contents. The title page bears the
inscription Londra:
Intagliate da Guglielmo Hole; simply an Italianization of William Hole's
previously mentioned London print shop.
Hole also printed a portrait page of Notari, and also two accolades in Italian. It is possible that
this portrait was meant to be included in a printing of Prime musiche nuove. However, neither the copy
in the British Library nor the Danish copy has this portrait page. The portrait is likely the first
engraved portrait of a composer on a musical work in England. After all, Parthenia contained no
composer portraits, and Prime musiche nuove was the second English-engraved book of music. As
such, it is lamentable that the portrait is not still with the original copies. Here are the portrait and the
frontispiece, as reproduced in Hind.34 An original copy is preserved in the Fitzwilliam Museum,
Cambridge, under the accession number P.2245-R.
33
British Library Music Collections, K.1.i.10 and Danish Royal Library Music Manuscripts U230-mo U202 mu
6511.0834.
34
Hind, plate 211.
14
Figure 2.1: Portrait page from Prime musiche nuove.
Early English Books Online (EEBO) states that the British Library's copy of Prime musiche
nuove is a second edition, indicating that the book received more than one printing. It is unknown how
many editions were printed, and what the size of the production run was. This, however, is potentially
incorrect. The copy in the British Library has a single publication date of 1613, as does the Danish
copy. Neither contains a mention of a second printing. It is therefore likely that EEBO is incorrect.
The book generally contains one piece on each page. Some shorter pieces, such as Se nasce in
Cielo, fill half of a page, and another piece fills the other half. If extra verses are present, they are
printed in block text below the main score. Each page contains a page number, and Notari's table of
contents is generally accurate. However, it seems that Notari may have envisioned a different page
arrangement than what Hole actually printed. On pages that contain two pieces, there are two page
numbers; each piece has its own number. For instance, No. 9, Musa, Amor and No. 10, Si da me are
15
both printed on the same physical page, but they both have independent page numbers.
The pieces themselves are engraved very carefully. The only significant discrepancy is in No.
16, Con esperanças espero, of the British Library copy. In the third brace, the bass is blacked out in
ink at the end of the sixth measure. This marking does not appear in the Danish copy, and it is
therefore safe to assume that it was added after publication. Other printing anomalies will be discussed
in the piece-specific commentary.
The most unusual aspect of Notari's edition concerns the score's barlines. Every work contains
barlines drawn through every staff. The lines are not drawn with any regularity, and thus their
significance is not immediately clear. Take, for example, the following excerpt from No. 14, Mesta ti
scorgo:
Figure 2.2: Mesta ti scorgo, Brace 5, mm. 2-5 (measure 1 included for cleffing).
16
If the transcriber assumes a 1:1 ratio and holds to Notari's regular barlines, the following
transcription results:
Figure 2.3: Mesta ti scorgo, Brace 5, mm. 2-5, transcription 1.
This is completely unsatisfactory, given the desire for an easily accessible score. The performer should
not be expected to change meters each bar. Notari did not indicate a metrical shift, and one should
therefore not be expressed in the transcription.
Yet, if the transcriber holds true to the 1:1 ratio and ignores Notari's given barlines, the
following results:
Figure 2.4: Mesta ti scorgo, Brace 5, mm. 2-5, transcription 2.
This is much more accessible to the modern performer, and the lines now gain a sense of metrical
movement.
Yet, this version fails to account for Notari's original barlines. How is ignoring Notari's barlines
honoring his conception of the music? The easiest solution would be to simply place a tick mark where
Notari's original barlines appeared. That way, a modern performer would have normal barlines, and the
17
scholar would have Notari's barlines. Yet, this method fails the basic rule of creating an uncluttered
score. The only solution, then, is to explore the meaning behind Notari's barlines for an acceptable
substitute.
After examining all eighteen of Notari's pieces, it becomes obvious that the barlines are, in fact, of no
metrical significance. It is his norm to insert barlines in multiples of the integer valor. For instance, in
a piece in 4/4 (notated C in the time signature), the bars often contain 4, 8, 12, 16, or 20 beats.
However, there is little consistency in this beat pattern, and a literal transcription could result in the
previously-shown metric chaos. Notari's printed notes and proportions are rhythmically precise, and by
simply reading the notes and rests on the page, a performer could ensure correct rhythm. Thus, there is
little use for a barline as a measure of rhythmic precision.
To make matters more confusing, the musical phrases often awkwardly cross Notari's barlines, as do
the syllables of his text. In Figure 2 above, note that Notari sets the word dinante across the barlines.
While text running across bars is common, text and musical phrasing that are often independent of bars
call the very nature of the barlines into question. If the music and text are not bound by the barlines,
then what exactly do the barlines accomplish? The answer is vertical alignment.
In the Mesta ti scorgo facsimile above (Figure 2), note the vertical alignment of the half notes. There
appears to be an alignment anomaly in bar three of the bass, unless one remembers Notari's instructions
regarding notes with a “+” symbol. When read with alignment in mind, each bar becomes a discrete
musical unit whose function is to align notes and text. Instead of attempting to align the pieces on a
large scale—i.e., by musical phrase—, either Notari or William Hole chose to align the score measure
by measure. This system undoubtedly made text underlay questions easier to resolve and also helped
to remedy mistakes in the printed parts, since each measure could be treated as a discrete unit; and
because all vertical measures have the same number of beats, one could simply insert any missing beats
or diminute the existing notes..
With this discovery in mind, the transcriptions have been made using regular modern barring. The
alignment powers of modern notational software negate the original need for Notari's barlines; they
simply become unnecessary and cumbersome. One could argue that the transcribed versions actually
present a better rhythmical flow than the original engraving, in that the music is now free of nonmetrical barring. The modern bars mark equal units of time and thus serve to rhythmically propel the
pieces to cadential points. That being said, Notari's original barlines did have a purpose for their point
in time.
Other notational oddities include Notari's text elisions and strange beaming patterns. Take, for
instance, the last measure in system 2 recto of No. 4 (Piangono al pianger mio le fere):
18
Figure 2.5: Piangono al pianger mio fere, Brace 2 recto, final measure, first soprano.
Notari generally leaves his eighth notes unbeamed. However, he sometimes includes both a
beam and note flags, as seen above. There is little consistency in this practice, and the beaming does
not seem to be dependent on text underlay. It is quite possible that his beaming choices are simply
random and of no significance.
Less enigmatic and far more practical are his choices in text abbreviation and elision. Even
with his carefully constructed measuring system, Notari occasionally ran out of room for his text
underlay. To solve that problem, he often replaced letters of common words with commas. He also
commonly elides the word e with another syllable, both to fit the text under his notes and to save space
on the page. No. 8, Che farai, Meliseo contains a common example of Notari's elision:
Figure 2.6: Che farai, Meliseo, Brace 3, mm. 3-4, solo bass.
Here is a transcription of Figure 3 into modern notation, showing the textual elision:
Figure 2.7: Che farai, Meliseo, mm. 36-37, solo bass.
The actual text of the line is “sua meco communiche,” but Notari drops the second “m” of
19
communiche and inserts an elision tie. Seemingly, he does this to save space in a tight area. Since the
elided words are usually common in Italian, trained Italian singers would have no trouble filling in
necessary letters. In the above case, a missing “m” does not even change the word itself. Yet, one
wonders if English singers would be so adept at catching subtle Italian elisions.
One last oddity remains. As previously mentioned, Notari indicates that at times, a singer must
also perform specific notes on an instrument. He marks those notes with a “+,” and they have been
transcribed thusly.
However, at other times Notari indicates that a resting vocalist or resting
instrumentalist is to perform entire sections of music. He writes these sections on the existing staves,
presumably to save space. After all, it does not make a great deal of sense to insert an entirely new
staff line for what amounts to an interlude. For instance, in No. 11, Ecco, ch'un'altra volta, Notari
inserts a brief tenor monody as the two soprano lines cadence. He writes the monody on the second
soprano line, and the only indication that a personnel change has occurred is the clef change:
Figure 2.8: Ecco, ch'un'altra volta, Brace 3 verso, mm. 2-3
This is not to say that Notari's clef changes always indicate a change in voice type. In this particular
case, it appears that he is simply inserting a tenor soloist, and thus chooses a tenor clef.
A similar personnel change may have occurred in No. 18, Ben qui si mostra il Ciel. This
monody, which is actually a reduction of the four-voice madrigal by Cipriano di Rore, has a range of
F2-A4 and is written in three clefs.35 The clef changes are not simply to avoid leger lines, as Notari's
staves in bass clef commonly ascend above middle C. The piece is generally for a bass singer, as it
often cadences on F2 and G2. However, Notari either had an exceptional bass with a powerful falsetto
at his disposal, or the monody is actually for more than one singer. The former is likely true, given that
Notari lists No. 18 for a single voice and not for several, as he did in No. 11. Again, if Notari
35
See Cipriano de Rore, Opera omnia, ed. Bernhard Meier (Rome: American Institute of Musicology, 1959-1977).
20
conceived the bass parts with his own voice in mind, Ben qui si mostra il Ciel is a testament to his
virtuosity.
Notari's last and most significant example of part insertion occurs in No. 17, Cosí di ben amar.
While he indicates that the piece is for three vocalists, it begins as a duet which is interrupted by a
violin sinfonia:
Figure 2.9: Cosí di ben amar, Brace 3 verso, mm. 1-2
In this example, one can see where the soprano lines are taken over by the violins. In this particular
case, Notari provides a clef change and an actual textual indication—Sinfonia—, (the only such
indication of personnel change in Prime musiche nuove). Interestingly, No. 17 is also a madrigal in
which the continuo player is required to sing. Thus, Notari was able to fit five parts into a three-system
score.
21
Critical Notes
What follows are the critical notes from the transcription process. Measure numbers alone will
refer to the modern transcriptions, but measure numbers coupled with brace and page numbers will
refer to the original edition. Notari's use of coloration, which only occurs when he is writing a hemiola
in 3/2 or 6/8 time, is notated in the transcriptions by broken brackets over the affected notes.
The original clefs will be listed in descending order (top staff to bottom staff) as follows:
S=Soprano clef
M=Mezzo soprano clef
A=Alto clef
T=Tenor clef
G=Treble clef
B=Bass clef
In three-voice pieces with two female lines, the top line shall be referred to as soprano and the middle
as alto.
Here is a formatted version of Notari's original table of contents:
Table 2.1: Notari's Table of Contents
Voci 2
Facciate 1
Occhi miei, che vedeste.
2
2
Su la riva del Tebro.
2
ibidem
Piangono al pianger mio Pa. 2a 3a 4a
2
4 et 5
Occhi, un tempo mia vita.
2
6
Girate, occhi, girate.
2
7
Ahi, che s'accresce in me.
1
8
Che farai, meliseo.
1
9
Musa, Amor.
3
10
Si de me.
3
ibi
Ecco, ch'un'altra volta.
3
12 et 13
Se nasce in Cielo.
2
14
O bella Clori.
2
15
Mesta ti scorgo.
3
16
Anima eletta.
1
17
Intenerite voi.
Tavola
22
Con esperanças espero. Spagnnola.
3
18
Cosí di ben amar. con una Sinfonia.
3
19 et 20
Ben qui si mostra il Ciel.
1
21
1. Intenerite voi
Original clefs: SSB
Original time signature:
Likely voicing: soprano, soprano/alto, bc
Description36: chamber duet (madrigal)
Text by: Ottavio Rinuccini
 The bass in m. 14 was given a dot. The dot appears as a speck in the original.
 A repeat was added from the end to m. 38 in accordance with Notari's original indication
Although Notari sometimes uses repeat signs, he often indicates repeats by writing out the first
note and syllable of the repeat at the end of the repeated section.
 The C5 in the soprano line, m. 15 originally had a flat assigned to it. This was to cancel a
preceding sharp, and is therefore not needed in the transcription.
 The final longa has been transcribed as a whole note with a fermata.
2. Occhi miei, che vedeste
Original clefs: SSB
Description: chamber duet (madrigal)
Text by: Giovanni Battista Guarini
3. Su la riva del Tebro.
Original clefs: SSB
Description: canzonetta
Text by: Anonymous
 The third word in m. 10 of the alto was changed from i to gli, to match the soprano. In this
case, the elision omission would be cumbersome for English speakers.
4. Piangono al pianger mio
Original clefs: SSB
Description: strophic variations on a Romanesca bass
Text by: Ottavio Rinuccini
a. a a a
 Note: P 2 3 4 in the table of contents refers to the four variations of this madrigal.
36
These compositional descriptions have been adapted from Spink, “Angelo Notari,” 176.
23








In the original, the rest at the soprano, brace 3 verso, m. 1, is incorrect. It was written as a
quarter rest, but has been transcribed in m. 19 as a half rest.
The alto, brace 4 verso, m. 1, contains what appears to be a dotted G3. The dot is either a
printing artifact or an error.
There is no custos in the soprano, brace 1 recto, m. 5. It appears that a courtesy E-flat was at
one time written into the edition at the British Library, but only a faint outline remains.
There is a printing error in the bass, brace 4 recto, m. 1. The E-flat in the key signature runs
together with the B-flat. Notari marked all of the E-flats in this brace, so the flat in the key is
not very useful and has not been transcribed.
Notari marks an E-sharp in the bass, brace 4 recto, m.3. This accidental is to negate the E-flat
in the bass key signature. As the E-flat was dropped from the key signature in the transcription,
this accidental is not necessary.
In brace 4 recto, mm. 2-3, there is a signum in the soprano and alto that does not line up
vertically. Moreover, there is no signum present in the bass.
In mm. 31-32, the text has been elided from Mosso to moss' and from anch to anc'. These are
Notari's elisions and have been retained.
The longas at the ends of the four verses have been transcribed as whole notes with fermatas.
5. Occhi, un tempo mia vita.
Original clefs: TTB
Likely voicing: tenor, tenor, bc
Description: chamber duet (madrigal)
Text by: Giovanni Battista Guarini
 The C-natural in top line of m. 20 was made natural because Notari did not mark it as sharp.
He did mark each individual C-sharp and D-sharp in the preceding measures, but not the final
C4 in m. 20. Therefore, it has been transcribed with an accidental natural that negates the
preceding C-sharp.
 The text underlay of mm. 21-22 was not directly notated by Notari, but is implied by
sequencing.
 In the top voice of brace 3, m. 2, gran was elided to gra due to spatial issues. The n has been
retained in the transcription.
 In the top voice, brace 3, m. 3, Notari elides torcete il as torcetil. This is presumably due to a
lack of space, and it has been transcribed as torcete il.
6. Girate, occhi, girate.
Original clefs: SSB
(proportio sesquialtera) with a proportional shift to
at brace 2, m. 5.
Text by: Gabriello Chiabrera
 The first measure has been made a pickup measure.
 The B# in soprano, brace 1 m. 4, has been rendered as a B-natural, as the sharp simply cancels
the flat in the key signature.
 A D.S. has been created during the last proportional change in accordance with Notari's original
repeat instructions.
24
7. Ahi, che s'accresce in me
Original clefs: SB
Likely voicing: soprano soloist, bc
Description: monody
Text by: Anonymous
 The E-flat in the bass of m. 5 has been made ficta, as Notari did not specifically notate it as
such.
 A coda and D.S. al Fine have been added in accordance with Notari's original instructions.
8. Che farai, meliseo
Original clefs: BB
Likely voicing: bass soloist, bc
Description: strophic variations
Text by: Jacopo Sannazzaro
 In the title, Meliseo has been capitalized (it is a proper name) and the question mark has been
added.
 The second half note in the continuo, brace 3, m. 4, is incorrectly dotted. This dot could be an
error or a printing artifact.
 In brace 3, m. 4, the elision on communiche has been removed, and the full text has been
transcribed.
9. Musa, Amor
Original clefs: SSB
with a proportional changes to and
Likely voicing: soprano, soprano/alto, bass, bc
Text by: Anonymous
 The second F4 in m. 22 has been made an F-natural, as Notari did not mark it as a sharp.
 A repeat has been added between m. 22 and the end in accordance with Notari's original
instructions.
10. Si de me
Original clefs: SSB
 The first measure has been made a pickup.
 The second F-sharp in the soprano, m. 4 and and alto, m. 10 are editorial. Notari did not mark
those specific notes as sharps, but context seems to indicate an F-sharp.
 Notari's repeat signs are slightly vague. A repeat has been added to both sections in accordance
with his written instructions.
25

The final longa has been transcribed as a whole note with a fermata.
11. Ecco, ch'un'altra volta.
Original clefs: SSB
Likely voicing: soprano, soprano/alto, tenor soloist, bc
Description: chamber duet with tenor recitative (madrigal)
 In the alto, brace 3 verso, m. 3, there is a clef change to tenor clef. This is the beginning of a
tenor solo. In the modern transcription, the clef changes from treble to treble-eight.
 The second soprano/alto re-enters at brace 3 verso, m. 4. This is rendered as a change back to
treble clef in the transcription at m. 55.
 The text underlay at brace 1 recto, m. 3 is ambiguous. Normally, Notari employs a ditto mark
when he wants the previous line of text repeated under a set of notes. Such a mark is not
present here, but the sequencing of the notes suggests that a ditto was meant and omitted. It has
been transcribed with the ditto in mm. 61-64.
12. Se nasce in Cielo
Original clefs: SB
with a proportional change to
Likely voicing: soprano, bass, bc
Text by: Anonymous
13. O bella Clori
Original clefs: SB
with a proportional change to
Likely voicing: soprano, bass, bc
14. Mesta ti scorgo
Original clefs: ATB
Likely voicing: tenor, tenor, bass, bc
Description: chamber trio (madrigal)
Text by: Anonymous
 The top voice is missing its custodes in braces 1 and 4.
 The F-natural in the top voice of m. 46 is not in the original score. However, Notari did not
mark it an F-sharp, and thus the accidental is a notational courtesy in the transcription.
26
15. Anima eletta
Original clefs: BB
Description: monody
 Notari's printed B-sharps have been rendered as B-naturals, as the sharps simply negate the Bflat in the key signature.
16. Con esperanças espero
Original clefs: SSB
Text by: Anonymous
 This is the only piece in Prime musiche nuove that is not texted in Italian.
 The first measure has been rendered as a pickup measure.
 The whole note in the alto of brace 2, m. 1, is missing a dot.
 Both whole notes in the soprano, brace 2, m. 2, are missing dots.
 The quarter note in the soprano, brace 3, m. 4, has been changed to a half note due to missing
beats.
 Brace 4, m. 4 has been rendered as a pickup measure into the third set of text.
 A repeat has been added from m. 39 to the end in accordance with Notari's instructions.
17. Cosí di ben amar
Original clefs: SSB
with a proportional change to .
Likely voicing: soprano, soprano/alto, bass, bc, tenor soloist, violins
Description: Chamber duet, with recitatives for soprano and tenor, a violin sinfonia, and final threevoice chorus.
Text by: Petrarch
• In the soprano, brace 1 verso, m. 5, Notari's text is abbreviated to save space. The entire text
has been rendered in the transcription.
• The eighth rest on beat 3 of the soprano, m. 23 was written as a quarter rest in the original.
• The whole note in m. 73 of the bass has been dotted.
• Measure 1 of the bass, brace 2 recto has two extra beats. The first whole note in the measure
has been rendered as a half note to compensate.
• The top two lines originally change to G clefs at m. 39.
• The second soprano/alto solo holda into the violin sinfonia at measure 39, as per Notari’s
written score.
• The second line originally shifted to tenor clef at m. 91 and back to soprano clef at m. 107.
• The final longa has been transcribed as a whole note with a fermata.
27
18. Ben qui si mostra il Ciel
Original clefs: TB
Description: divisions on de Rore's original bass (monody)
Text by: Cipriano di Rore
 The solo and continuo originally changed to alto clef on beat 3 of m. 9.
 The continuo returned to bass clef on beat 2 of m. 11.
 The solo returned to bass clef at m. 16.
 The solo changed to tenor clef on beat 4 of m. 28.
 The solo returned to bass clef on the first eighth note of m. 35.
 The solo changed to tenor clef at m. 42.
 The solo returns to bass clef twelve notes before the final.
 The solo is missing a custos and a clef change at the end of brace 5.
 The seventh note of m. 40 was originally (and incorrectly) a quarter note. It has been changed
to a sixteenth.
 The eighth notes on beats 3 and 4 of m. 51 were originally sixteenth notes.
 The penultimate measure is actually missing two full beats. It is likely that this bar is an
unmetered cadenza and has been transcribed as such. The editorial marking (cadenza) has been
added.
28
Texts and Translations37
1. Intenerite voi
Intenerite voi, lagrime mie,
Intenerite voi quel duro core
Ch'in van percuote Amore.
Versate a mille a mille,
Fate di pianto un mar, dolenti stille.
O quel mio vago scoglio
D'alterezza e d'orgoglio
Ripercosso do voi men dura sia,
O se n'esca con voi l'anima mia.
Soften, my tears,
soften that hard heart
that Love assails in vain.
Fall in your thousands,
create a sea of tears, O bitter drops.
Either make that comely rock
of pride and arrogance
less hard by beating against it,
or let my life flow out upon your tide.
2. Occhi miei, che vedeste
Occhi miei, che vedeste
Il bell'Idolo vostro in pred'altrui,
Com'all'hor'ambi due non vi chiudeste?
E tu, anima mia, com'al gran duolo
Non te ne gisti a volo?
Ahi, ch'io posso ben dire
Ch'il soverchio dolor non fa morire.
My eyes, when you espied
your idol in the clutches of another,
why did you not both close without delay?
And you, my spirit, from such agony
why did you not fly?
Alas, I realize all too clearly now
that an excess of sorrow is not fatal.
3. Su la riva del Tebro
Su la riva del Tebro un dì d'Aprile
Stava un Pastor gentile
Che con gli stridi dolorosi, e lassi,
Facea pianger i sassi.
On the banks of the Tiber one April day
a gentle shepherd stood
uttering such sorrowful laments
that the very stones wept too.
Haveva il crin di fiori, e fronde cinto,
e il suo volto tinto
Di pallor, e così rivolto al sole
Dicea queste parole:
His brow was bound with flowers and leaves,
and his face was covered
by a sickly hue, and turning to the sun
he spoke these words:
Conosca il mondo vil perfido ingrato
Il nome sì pergiato
De la mia Ninfa; e più non potea dire,
Che si sentia morire.
May the abject, false, ungrateful world
know the precious name
of my beloved. More he could not say,
for death, he felt, was near.
4. Piangono al pianger mio
Piangono al pianger mio le fere, e i sassi
A miei caldi sospir traggon sospiri;
When I weep wild beasts weep too, the stones
sigh in sympathy with my ardent sighs.
L'aer d'intorno nubiloso fassi
Mosso anch'egli à pietà de' miei martiri.
The very air around me turns to mist,
so moved is it to pity by my grief.
Ovunque io volgo, ovunque giro i passi
Wherever I go, wherever I turn my steps,
37
Translations 1-15, 17-18 by Avril Bardoni, No. 16 by Margaret Jull Costa. Liner notes. Angelo Notari/Prime musiche
nuove, 1613. Consort of Musicke. Koch Entertainment D, 1994.
29
Par che di me si pianga, e si sospiri;
Par che dica ciascun, mosso al mio duolo,
Che fai tu qui, meschin, doglioso e solo?
I feel I am the object of tears and sighs;
I seem to hear each creature, pitying, say:
“What does thou here, poor fellow, sad and solitary?”
5. Occhi, un tempo mia vita
Occhi, un tempo mia vita,
Occhi, di questo cor dolci sostegni,
Voi mi negate aita?
Questi son ben de la mia morte i segni.
Non più speme o conforto,
Tempo è ben di morir, a che più tardo?
Occhi, ch'a sì gran torto
Morir me fate, a che torcete il guardo;
Forse per non mirar com'io v'adoro?
Mirate almen ch'io moro.
Eyes that were once dear as my life,
eyes that brought sweet comfort to my heart,
do you now refuse aid?
Those eyes now herald my death;
deprived of all hope and comfort,
it is time I died, why should I tarry longer?
Eyes that so unjustly
bring about my death, why turn away?
Would you, perchance, not see how I adore you?
Watch me, at least, as I die.
6. Girate, occhi, girate
Girate, occhi, girate
A' miei, che tanto priegano
Gli sgaurdi, che non piegano
Giamai verso pietate,
Che se da lor si tolgono
Occhi, a ragion si dolgono.
Turn your eyes, oh turn them
to mine, that long so much
for the glances they can never
soften with compassion,
and, if they tear themselves away,
my eyes must fill with tears.
In sul mattin d'Aprile,
Quando i nembi tranquillano,
Fresche rose sfavillano
D'un vermiglio gentile,
E così dolce odorano
Che Zeffiro inamorano.
On April mornings
when rainclouds have dispersed,
fresh roses sparkle,
softly crimson,
and so fragrant is their scent
that Zephyr falls in love with them.
Vergini peregrine,
Come lor s'avvicinano,
Così liete destinano
Farne corono al crine;
Al crine, onde incatenano
I cor, ch'a morte menano.
Lovely girls,
when they espy them,
joyfully resolve to weave them
into garlands for their hair,
garlands with which they bind
our hearts and lead us to death.
7. Ahi, che s'accresce in
Ahi, che s'accresce in me l'usato ardore,
Mentre fra rosa e rosa
Tu spiri, aura amorosa.
Ma spiri, aura gradita,
Struggi pur questo core,
Spegni pur questa vita,
Che sarà 'l tuo spirar soave e grato,
Dolce l'incendio, e 'l cener mio beato
Alas, you fan my wonted ardor
as between rosy lips
you waft, O amorous breeze.
But blow, O welcome breeze,
consume this heart of mine,
snuff out my life,
for your breath will be pleasant and delightful,
sweet the fire and blest my ashes
30
S'al ultimo sospiro,
Aura gentil, mentre tu spir' io spiro.
if, upon the last sigh,
gentle breeze, as you blow, I die.
8. Che farai, Meliseo?
Che farai, Meliseo? Morte rifiutati
Poichè Filli t'ha posto in doglie e lagrime
Nè più, come solea, lieta salutati.
Dunque, amici pastor, ciascun consacrime
Versi sol di dolor, lamenti e ritimi;
E chi altro non può, meco collagrime.
A pianger col suo pianto ognun incitimi,
Ognun la pena sua meco communiche,
Ben ch'il mio duol da sè dì e notte invittimi.
What will you do, Meliseo? Death rejects you
though Phyllis has brought you grief and tears
and smiles at you no longer as she did.
So, shepherd friends, let each of you dedicate
verses of sorrow to me, and laments;
And those who can do nothing else, let them weep with me,
and, with their tears, urge me on;
let each infect me with his grief,
even though mine, unaided, torments me day and night.
9. Musa, Amor
Musa, Amor porta novella
Ch'è per me piena di pene.
Amarillide mia bella.
Ha ria febbre entro le vene,
E dal fior de la bellezza
Stra lontana ogn'allegrezza.
O Muse, Love has brought me
very painful tidings.
My lovely Amaryllis
has a cruel fever in her veins,
and from this flower of loveliness
all happiness has fled.
O Melpomene diletta,
Spiega l'ali tue dorate
Là ve l'egra giovinetta
Mena in doglia le diornate;
E di canto falso, o vero
Rasserena il suo pensiero.
O gracious Melpomene,
spread your golden wings
there, where the suffering girl
is passing her days in pain;
and with a song -false or truesoothe away her care.
In tua man sono i tesori
Di Castilia, e d'Ellicona;
Sai di Giove i tanti amori,
Sai che 'l cielo egli abbandona,
E per farne il suo desio
Ei trasforma la bella Io.
In your hands are the treasures
of Castille and Helicron;
you know about Jove's many loves,
and know how he left the heavens
and, to satisfy his desire,
transformed the lovely Io.
10. Si de me
Si de me pur mi desviano
I pensier, che vi disiano,
Ch'io di me nulla non so;
Però gli occhi, onde dilettami
Amor più, quand'ei saettami,
Su la cetra io canterò.
Even should I be led astray
by passionate thoughts of you
to the point where I am no longer myself,
yet of those eyes, the most potent charm
of Cupid, when his arrow wounded me,
I shall sing to my lyre's accompaniment.
Occhi bei, ch'alme infiammassero,
E che dolce i cor legassero,
Mille n'hebbe il mondo, e più;
Ma, che dolce i cor stringessero,
E qual voi l'anime ardessero,
Of beautiful eyes that inflame our souls
and sweetly fetter our hearts,
there must be thousands in the world;
but of those that tenderly clasp the heart
and fire the spirit like you do,
31
Occhi belli, unqua non fu.
beautiful eyes, there are no others.
Col bel negro, onde si tingono,
Col bel bianco, onde si cingono
Le pupille, ond'io morì,
L'alme stelle in Ciel non durano,
E del sol tutti s'oscurano
I rai d'oro a messo il dì.
With that wonderful darkness of color,
with the clear white that surrounds
the pupils, whence I was slain,
the noble stars in heaven cannot compete,
and the golden beams of the noonday sun
are all obscured.
11. Ecco, ch'un'altra volta
Ecco, ch'un'altra volta, o piagge apriche,
Udrete il pianto e i gravi miei lamenti;
Udrete, selve, i dolorsi accenti
E 'l tristo suon de le querele antiche.
Udrai tu, mar, l'usate mie fatiche,
E i pesci al mio languir staranno intenti;
Staran pietose a' miei sospiri ardenti
Quest'aure, che mì fur gran tempo amiche.
E se di vero Amor qualche scintilla
Regna fra questi sassi, havrà mercede
Del cor, che desiando ard' e sfavilla.
Ma, lasso, a me che val, se già no 'l crede
Quella, che sol vorrei ver me tranquilla,
Né le lagrime mie m'acquistan fede?
So once again, O sun-drenched shores,
you will hear my weeping and my complaints;
you, O woods, will hear the grieving words,
the unhappy sound of ancient accusations.
You, O ocean, will hear my old laments,
and fish will pay attention to my grief,
while, sympathizing with my passionate sighs,
these breezes, long my friends, will pause and listen;
and if a single spark of real love
lurks among these stones, it will take pity
on a heart that blazes with desire.
But alas, what good will it do me when I cannot
convince her who I only want to trust me,
but in whom my tears induce no faith?
12. Se nasce in Cielo
Se nasce in Cielo
Il dio di Delo,
A l'occidente
Guinge repente.
Se si fa notte segue l'Aurora,
E 'l ciel indora.
As soon as he rises
in the sky,
Apollo hastens
to the west.
Hard on night's heels comes the dawn,
gilding the sky.
Nasce vicina
Al fior la spina,
Seguita il pianto
Al riso accanto.
Solo l'Amore, estate e verno
Dura in eterno.
Close to the flower
the thorn appears,
tears soon
follow laughter.
Only Love, come winter, come summer,
lasts forever.
Brieve baleno
Dura al sereno,
Ogni tempesta
Al fin s'arresta.
Verdeggia il ramo e poi si spoglia
D'ogni sua foglia.
Lightning lasts but briefly
in clear skies,
every storm
comes to an end.
Boughs put forth greenery, then shed
every leaf.
32
13. O bella Clori
O bella Clori,
Clori mia bella,
Fiamma novella
di mille cori,
Questi occhi vaghi
D'Amor ricetto,
Con che m'impiaghi
Di gioia il petto,
Vedrò giamai
Pietosi a lì miei guai.
O lovely Clori,
Clori my fair one,
young, fresh flame
of a thousand hearts,
those beautiful eyes
where Love resides,
that wound my heart
with happiness,
will never look on me
with sympathy.
Questi crin d'oro
D'Amor catene,
D'ogni mio bene
Sono il tesoro;
Tra lor legato
Vive il mio core,
Et in tal stato
Arde D'Amore.
O dolce rete,
Voi preso mi tenete.
Those golden tresses,
chains of Love,
are the most precious
of all my treasures;
entangled in them
is my heart,
and thus bound
it burns with love.
O tender snare,
you hold me fast.
Questo bel viso
Di rose tinto,
Ove dipinto
Sta il Paradiso,
Sarà mai vero,
Che pietà spiri
Giusto pensiero
De' miei martiri?
O viso amato,
Tu mi puoi far beato
That pretty face
with its rosy hue,
the very picture
of Paradise,
will it ever show
compassion,
true understanding
of my torment?
O beloved face,
you can make me blest.
14. Mesta ti scorgo
Mesta ti scorgo, e pallida figura,
Darmi gli ultimi baci, e dir piangendo,
Ti lascio, hoimè, ne la partita oscura
Questi estremi d'Amor frutti cogliendo.
O mio fedel, a Dio, morte mi fura.
M'en vò, rimanti in pace, in Ciel t'attendo.
E in un co 'l dir nel suo tristo sembiante,
L'amata forma mi spario dinante.
I seem to see you, sad and pale,
kissing me for the last time, and saying tearfully:
I leave you, alas, and at the dark departing
pluck these last fruits of love.
O my true love, farewell, death bears me off;
I go, peace be with you, I shall await you in heaven.
And as she spoke with sorrowing countenance,
the beloved vision vanished from my sight.
15. Anima eletta
Anima eletta, che co 'l tuo fattore
Ti godi assisa ne' stellati chiostri,
Ove lucent' e bella or ti dimostri
Tutta pietosa del mondano errore,
Blest spirit, that with thy Creator sits
blissfully among the starry cloisters,
where, shining and fair, thou showest
compassion towards all worldly error:
33
Se mai vera pietà, se guisto amore
Ti sospinge a curar de' danni nostri,
Fra sì storte vie, fra tanti mostri,
Prega ch'io trovi il già perduto core.
Venir vedra' mi a venerar la tomba
Ove lasciasti le reliquie sante,
Per cui sì chiara in Ciel Padoa rimbomba.
Ivi le lodi tue sì belle e tante,
Quantunque degne di più altera tromba,
Con voce dir m'udrai bassa, e tremante.
If ever true pity, if real loveliness
impels you to care about the wrongs we suffer
among such tortuous, monster-infested ways,
pray that I may find the heart I lost.
I shall then come to venerate the tomb
in which you left your sainted bones
that confer such noble fame on Padua,
and you shall hear your praises, many and fair
(though worthy to be more proudly trumpeted),
pronounced by me in low and trembling voice.
16. Con esperanças espero
Con esperanças espero
Qu' el garlardón se me dé
Mas, ¡ay de mi! que no sé
Sy me moriré primero.
I wait in hopeful anticipation
that the prize will be mine;
But alas, for all I know
I may well die betimes.
De esperanças me entretengo.
Muchos dias ha que no veo
Que llegue el bien que deseo
Ny las esperanças que tengo.
In hope I while away the time:
days pass by without a sign
of attaining the happiness I desire,
or fulfilling the hopes I cherish.
Mas al fin esperar quiero
Que dizen que lo alcançarè.
Mas ¡ay de mi! que no sè
Sy me morirè primero.
And yet I want to wait in hope,
for they say the prize will be mine.
Morir serà lo màs cierto.
Sy dura tanto el engaño
Que no se conoce el daño
Hasta que no es descubierto.
For die I surely will.
A delusion can last so long
that its harmful effect is unknown
until all is laid bare.
Pero al fin esperar quiero
Por ver sy lo alcançarè
Mas ¡ay de mi! que no sè
Sy me morirè primero.
And yet I want to wait in hope
and see if the prize will be mine.
17. Così de men amar
Cosí di ben amar porto tormento
E del peccato altrui cheggio perdono;
Anzi del mio, che devea torcer li occhi
Dal troppo lume, e di sirene al suono
Chiuder li orecchi; ed ancor non men pento
Che di dolce veleno il cor trabocchi.
Aspetto io pur che scocchi
L'ultimo colpo chi mi diede 'l primo:
E fia, s' i' dritto estimo,
Un modo di pietate occider tosto,
So, having greatly loved, I needs must suffer,
and I ask forgiveness for the sins of others;
or rather for mine, since I should have turned my eyes
away from the excessive light, and shut my ears
to the sirens' song; yet I do not regret
that my heart with sweet poison overflows.
I await the final blow
from the same hands that struck the first.
So be it; and if I have judged aright,
to kill me quickly would be merciful,
34
Non essendo ei disposto
A far altro di me che quel che soglia;
Ché ben muor chi morendo esce di doglia.
since Love is not disposed
to treat me in any but his accustomed way:
death is a boon when it brings release from grief.
18. Ben qui si mostra il Ciel
Ben qi si mostra il Ciel vago e sereno,
E qui ridon le rose, e i lieti fiori
Sprando amati odori
Destan gli augelli al dolce canto ameno;
Ma ria ventura al fin, lasso, ne sorge,
Ch'Amor tacitamente
Tesse tra fiori, e l'herbe un placido angue;
Onde venen sì dolce ai petti porge,
Ch'il cor soavemente
Pien di dolce desio morendo langue.
Here the sky is beautiful and cloudless,
and here the roses smile and happy flowers,
wafting lovely perfumes,
awake the birds to sweet and pleasant song;
but underneath, alas, disaster lurks,
for Love has silently slipped
among the flowers and grass a sleeping snake;
whence he derives a venom of such sweetness
that if it touch the breast, the heart,
filled with tender longing, droops and dies.
35
CHAPTER 3
ANGELO NOTARI'S MUSICAL STYLE, HIS CONTEMPORARIES,
AND POSSIBLE INFLUENCES
We now come to the most difficult portion of the discussion on Signor Notari: a discussion of
his style and influence.
Unfortunately, discussions of Notari's style must be filled with careful
supposition instead of confirmable fact. Because Notari seems to have published only one book of
music, and because no descriptions of other potential works have been transmitted, all questions
regarding his style must fall on eighteen pieces in one collection.
From a purely technical standpoint, Notari's works are exceedingly typical of early seventeenthcentury Italy. They are written in the late Italian madrigalian/early monodic style, and when taken in
that context, they appear rather unremarkable.
Notari did not break new ground or invent new
compositional techniques. Instead, he took his influences from the ground-breakers of the day, and
used their innovations to propel himself into the avant-garde. Indeed, Notari's works exhibit traits
from several Italian masters who were discussed in Chapter 1.
His elaborately-written monodies, performance instructions, and ornamentation seem to be
taken from Giulio Caccini’s Le nuove musiche. Even Notari's title suggests a close connection with
Caccini; “The New Music” versus “First New Music.” Yet, Notari’s work did not bring Caccini's work
and style to England. Instead, Robert Dowland's Musical Banquet of 1610 was the first collection from
English presses that included Caccini and Caccini-style monody.38
Notari's late Italianate madrigals likewise have limited historical significance. Nicholas Young's
Musica Transalpina (1588) and Thomas Watson's Of Italian Madrigalls Englished (1590) had already
entrenched the Italian madrigal in England a decade before Notari's arrival. As is well known, the
English were obsessed with the madrigal and made it their own. Angelo Notari cannot be said to be the
cause of that obsession, and it is unlikely that he profited from it.
Notari's soprano duets, written with a heavy reliance on sequencing and unprepared dissonance,
may have brought Luzzasco Luzzaschi and Claudio Monteverdi’s duet styles to the English
consciousness, but the links between Notari and those two composers are weak at best. Luzzaschi was
a student of Cipriano de Rore, whose work Notari obviously knew. It is impossible to conceive that
Notari did not know of Luzzaschi’s 1601 Madrigali a uno, due e tre soprani. Luzzaschi's seventh book
38
Spink, “Angelo Notari,” 175 and “English Cavalier Songs,” 61.
36
of madrigals was published in Venice while Notari was living there, and it is not a stretch of the
imagination to believe that Notari was already in Venice in 1582, when Luzzaschi's third book of
madrigals was printed.39 Lastly, Padua, Notari's first home, is located between Ferrara and Venice.
Venice, as already shown, was a musical and cultural crossroads in the sixteenth century, and it is
impossible that Luzzaschi's music did not travel there. It is therefore not difficult to believe that Notari
had heard of Luzzaschi, and likely heard his music in Padua or Venice. Assuming this tenuous link,
Notari's duet writing could be seen as the advancement of Ferrara's virtuoso techniques into England.
Of course if this is true, Notari's “version” of Luzzaschi is much more musically tame than the
innovator.
Yet beyond this supposition, Notari's work does not seem to have made an extremely large
impact. Spink says,
In England the book was unique and remained so. Its influence is difficult to estimate, for it
cannot be said to have inspired slavish imitation of its style, nor to have made an outstanding
reputation for its composer. Yet it must have been one of the factors contributing towards the
acceptance of the Italian style...40
Notari's book was rather unique in that:
•
It is the first engraved musical score in England that was not written by an Englishman.
•
It was the first book of vocal music engraved in England.
•
It was the first engraved book of madrigals in England.
•
After Parthenia, it was the second book of music the English engraved.
•
It likely contained the first engraved portrait of its composer in England.
Prime musiche nuove is fundamentally nothing like Parthenia, or anything that came after it for
almost twenty years. It is odd that the English, so enamored with Italian music, would ignore such an
Italian publication emanating from London presses. Perhaps Notari's suggestion of new music, the stile
nuovo, was simply too much for English composers to stomach. Perhaps Notari's book was simply
written too early to be stylistically imitated. Or, perhaps the English were simply slow to adopt late
Italian madrigal writing and monody.41 English-composed Italianate music like Notari’s would not
truly reappear until Walter Porter's 1622 collection of Madrigales and Ayres.
39
The dates of Luzzaschi’s publications are taken from Edmond Strainchamps, “Luzzaschi, Luzzasco,” Grove Music
Online ed. L. Macy (Accessed 13 December 2007), <http://www.grovemusic.com.proxy.lib.fsu.edu>.
40
Spink “Angelo Notari,” 169.
41
See Robert Thompson, “George Jeffreys and the 'Stile Nuovo' in English Sacred Music: A new Date for His Autograph Score, British
Library Add. MS 10338,” Music & Letters 70/3 (Aug., 1989), 318, for a discussion on England's recalcitrance in adopting Italianate
music before the Interregnum.
37
Walter Porter (c.1588-1659) provides yet another tantalizing (and likely unprovable) scenario
for Notari.
It is well known that Porter traveled to Spain.
Porter's supposed connection with
Monteverdi is also well known. However, it is intriguing to consider that Porter could originally have
been exposed to late Italian styles by Notari. It has already been shown in Chapter 1 that Notari had
links (potentially many) with the Spanish and their court. If all of the above is true, then Notari's work
could well have pushed the young Walter Porter to Venice. Again, intriguing but not completely
substantiated.
Notari may also have another, more powerful, Monteverdian connection. As described in
Chapter 1, it is possible that British Library Add. 31440 was at the very least copied by Notari. This
collection contains two of Monteverdi’s five-voice madrigals from his seminal quinto libro that have
been arranged for two sopranos and continuo.42 Moreover, the collection contains a total of 28 known
Monteverdi madrigals, and a number of pieces by other important Italian composers.43 Notari, having
lived in Padua and Venice, would obviously have known famous Italian works. If Add. 31440 is truly
Notari’s work, then it is possible that Notari was one of the first to bring Monteverdi to the English
court.
Notari's influences on his fellow composers, however, were probably minimal at best. He was
surrounded, and most likely eclipsed, by the English giants Byrd, Gibbons, and Bull in Parthenia, and
as to his lute playing, he played in the Prince's court while John Dowland performed for the King.
Although his works transmitted later Italian styles to the English, English composers who followed
Notari were somewhat hesitant to embrace them. Notari's work is simply an Italian island in a sea of
English music. It is unique because it is different, but it is so different that it fell by the wayside.
Unfortunately, the same can be said for Notari's impact on lute and continuo playing. Notari's
book was the first work printed in England that required the lute accompanist to read continuo.44
Robert Dowland's previous work, and English lute parts en masse, relied on lute tablature. Notari's
accompaniments were completely extemporized from the written bass line; he provides no instructions
or marks to govern harmony. The English did not like this system, and the next work that used it did
not appear until 1622—suspiciously, Porter's aforementioned Madrigales and Ayres.45
Evidence also exists that Notari may have introduced the theorbo into English circles. One
must remember that the frontispiece of Prime musiche nuove indicates the theorbo, not the lute, as the
42
Tim Carter, “’An Air New and Grateful to the Ear’: The Concept of ‘Aria’ in Late Renaissance and Early Baroque
Italy,” Music Analysis 12/2 (July 1993), 127.
43
Pamela Willetts, “A Neglected Source of Monody and Madrigal,” Music & Letters 43/4 (Oct. 1962), 330.
44
Lynda Sayce, “Continuo Lutes in 17th and 18th-century England,” Early Music 23/45 (Nov. 1995), 667.
45
Ibid.
38
preferred continuo instrument. The Italian theorbo was probably played by Notari, especially if one
considers the possibility that he wrote his bass and continuo lines for himself. The instrument does not
appear in contemporary English works and thus could have been unique to Notari.46 It seems that even
instrumentally, the English simply were not ready to imitate Angelo Notari en masse.
Notari's style itself is a unique blend of Caccini monody, Luzzaschi virtousity, and even
Monteverdian dissonance. Unfortunately, Notari was no Caccini, Luzzaschi or Monteverdi. His work
imitates the northern Italian sound up to 1610 and transmits that sound across the English channel,
albeit more ineffectively than other aforementioned composers. While the English were ready for the
syncretism of the Italian madrigal, they did not readily welcome monody and the stile nuove. Notari's
work must have been somewhat popular, as it warranted at least two printings. Yet, he did not become
famous during his lifetime, or after it. He was an imitator, not an innovator, and history often chooses
to forget those who do not make huge leaps in any direction. Thankfully, Prime musiche nuove still
exists, and at its worst, it contains beautiful music.
46
Ibid, 679.
39
APPENDIX A
Facsimiles
Figure A.1: Original Dedication Plate from Prime musiche nuove
40
Figure A.2: Original Table of Contents and Bilingual Performance Instructions
41
APPENDIX B
Prime musiche nuove di Angelo Notari à una, due, et tre voci, per cantare
con la Tiorba, et altri strumenti, nouamente poste in luce.
Transcribed and Edited by Stanley Mathew Henson
42
Intenerite voi, lagrime mie
Angelo Notari
text by Ottavio Rinoccini
te - voi
te-ne - ri
In
-
ri
lag
I
te-ne-ri
In
"
ri-me
lag
I
voi
te
ri-me__
lag
lag
I
I
8
..
me
mi
-
ri
te-ne
In
e,
-
te
-
te
voi
que!
'
ri -
me _ _
mi
-
e,
te-ne-ri
In
-
que[_
voi
8
16
'
..
......_
I
ro
du
co
-
fO _ __
du
re,
co
re, Ch'in
'
Ch'in__
van per-cuo
teA - mo
re,
van per - cuo
I
teA-mo
,.
Ch ID-
16
23
.
re,
Ch'in _ __
--
'
van per-cuo
'
teA-mo
,,
_
van per-cuo
-
te
Ch'in van per - cuo - te A- mo
23
I
43
re.
Ver
...
I
re
Ver
sa-te a mil-le a
I
"
sa-te a mil-le a
lffl
-
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tJ
mil
le,
mil
le,
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I
pian-to un mar,
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ti
len
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sill
fl
ﾷｾ＠
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te di pian
to un mar,
len
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ti
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stil
29
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37 ｾ＠
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o ___
0
le.
quel mio va-go
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r
ﾷｾ＠
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o _______
0
le.
- za e d'or-go-glio Ri-per-
sco-glio D'al-ter-ez -
sco-glio D'al-ter-ez - za e
que! mio va-go
37
d'or- go
glio
43 fl
I
t)l
--
I
co
Ri-per- co
so
-
so da
-
I
men _ _
voi
so
I
I
ro _ __
men__
du
si -
.....,
..
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Ri-per-co
I
du
Ri-per-co - so da
voi Ri-per-co - so da
voi
43
I
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s_,o fl
tJ
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1....1
a,
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-
0 se n'e - sea con
voi,
0 se n'e - sea con
voi
0 se n'e - sea con
voi,
-I
l'a- ni-ma mi
fl
ﾷｾ＠
ro
si
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se n'e- sea con
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ru - ma
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mi
a
_
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56
1':'1
....
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a
1':'1
I
-
-
45
Occhi miei
Angelo Notari
text by Giovanni Batt:Uta Guarini
__.
"-l:i
Oc
I
chi
miei,
chi_
miei,
che ve-de
ste,
-
I
Oc
che ve-de
I
che ve-
che ve - de - ste,
-
7
..
Il bell'-! -
ste
､ｯｾ＠
vo
-
-
-
-
stro Il bell'l-do
'
I
in
lo vos-tro
-'
pred' - al - tru
'
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de - ste
ll bell' - I -
､ｯｾ＠
vo
-
stro
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pred - a! - tru
7
I
I
13
--
i,
Com' all'
I
-
am-bi
hor'
due non vi cbiu - de
-
E
ste?
tu
-
a
-
ni-ma
a
-
ni-ma
'
I
i,
-
ste?
lo _ _ Non te ne
gi
due non vi chiu - de
Com' all' hor' am-bi
E
tu
13
I
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19
I
.
I
mi- a com'-al
gran
du - o
'
...
a
com'-al gran
'
I
Ｂｾ＠
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mi -
du - o
stia vo
Jo _ _ Non te ne
19
46
gi
sti Non te ne
-
gisti a
-
vo-
;j ｾ＠
I
I
I l
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lo;
"1
gis- sti a vo
Non te ne
I
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Ahi
ch'io pos
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l
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•
l"'t.
Ahi,
lo?
---
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sti a vo
lo, Non te ne gi
lo?
chi
Ahi,
pas
0
so ben-
25
-
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ｾＱ＠
"1
looo.,j
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I
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so ben di
re
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0
do -lor
ｾ＠
r"'t.
di
,,
Ch'il so-ver-chio do - lor
chio do -lor
Ch'il so - ver
31
I
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ｾＷ＠
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I
I
r.'l.
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t:ii
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mo
-
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non _ _
fa
mo
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n
re.
r.'l.
ｾ＠
,,
r"'t.
non
fu mo-ri
re
non
37
fu
mo
,,
ri
re.
r.'l.
47
I
non_
So Ia riva del Tebro
Angelo Notari
-
.
,.
'
I
Su la ri
va del Te
-
bro un di
d'A - pri
-
le
d'A - pri
-
le
Sta - va un Pas- tor gen-
'
I
I
Su la ri
I
'
va del Te
I
I
bro un di
'
-
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tor
gen
ｾＮ＠
I
I
I
7
I
ｾ＠
ti
-
le
ti -
-
le
I
Che con gli
slri
Ｇｾ＠
I
di
do
slri
di
I
-
lo
ro
si, e
las
I
Che con gli
I
do
lo - ro
si, e
7
I
I
15
..
ｾ＠
Fac-ea
si
Ｇｾ＠
las
15
si
'
I
Fac-ea
pian
ger
I
i
,
pian - ger
..
sa
"
,
sa
23
pian - ger
I
I
I
1':'1
..
,
-
1':'1
Haveva i1 crin di fiori, e fronde cinto,
E il suo volto tinto
Di pallor, e cosi rivolto a! sole
Dicea queste parole:
si
n nome si pergiato
si
Conosca il mondo vil perfido ingrato
Ｇｾ＠
23
Fac-ea
.
I
ｾ＠
Fac-ea
1':'1
De Ia mia Ninfa; e pill non potea dire,
Che si sentia morire.
48
pian - ger
..
,
Piangono al pianger mio
Angelo Notari
Text by Ottavio Rinuccini
•
"""
- ---=
I
go-no al pian-ger
Pian
mio
-
go-no al pian-ger
Pian
le
fi:
mio
-
le
fi:
.....
_
--=
I
-
- -
cal - di so - spir
si
A
si
'
A - - miei cal - di so - spir
miei
-
trag
I
I
I
'
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gon
so
trag
7
I
gon
-
spi
-
so- spi
'
I
13
..
-
-
7
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re, ei_ sas
,.._,
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'f.
-
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..
sas
re,
I
1':1
•
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ri
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cal - di sospir
miei
ｲｩｾ＠
sos- pi
traggon
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1':1
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ri
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gon__
trag
sos - pi
ｲｩｾ＠
er d'in-
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13
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20
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......
'
er d'in-tor - no
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lo
nu
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fas
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si,
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I
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ｴｾ＠
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20
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tor
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,....,
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49
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26
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tt.
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anch' egli _ __
so
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miei mar - ti
de
a pie-ta
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ri,
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........
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......
anch' e
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apie-ta
de
miei
mar
ti
-
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ri,
26
,.,
32
'l
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1':'\
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tt.
anc'--
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pie
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miei mar- ti
de
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'l
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anc'
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eglia
pie
a
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ti
nne1 mar
de
32
I
ｵｮＭ＼ｾＮ･ｩｯ＠
Ov
-
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vol
-
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ｾ＠
un
-
que io
=:====
-
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ro i
pas
I
si
I
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che di
si
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gi
que
ov- vun- que _ _ gi
go,
vol
I
tt.
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l!!"l
38
'I
-=====
ro _ _ pas
I
go, ov - vun
I
'tt.
43
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tt.
Ov-
II
1':'\
I
38
-
me
""""'"di
' me
che
Par
r
I
Sl
pian
-
ga
sos-pi
Sl
n;
'I
'tt.
Par,
""""'"di
' me
che
I
si
pian
I
ga _ _ e si
so
ri;
spi
43
I
I
I
50
I
I
I
........_
Par,__ che di me
1
......,_
•
I
ga Par, che di me
si pian
-
ga
I
I
I
L
I
ri
Par,
di
che
ca
cia
-
1':\.
I
ri
mos
SCUll
-
"""-l
a! mio duo
so
lo,
-
.... ｾ＠
55
-
1
ｾ＠
ｾ＠
pian-ga e si so - spi
s•
1
1':\.
ｾ＠
,;'
pian-ga, e si S()-tlpi -
Sl
I
I
55
-
-1
Par,__ che di me Par,__ che di me
49
si pian
di
Par,-- che
,,
I
I
ca cia«:un
mos
-
mio _ _ duo - lo,
a!
so
1':\.
I
I
Che fai tu
Che fai tu
qui,
I
I
I
me - schin do
qui,
I
soe so
glio
lo,
I
Che fai tu qui,
me
"
I
-
-
do
schin
-
glio
soe so
lo,
62
I
I
I
Che
ll
1':\.
I
I
qui me«:hin
I
I
Che fai
I
I
tu _ _ _
fai
I
I
tu
-
do- glio
so
do
-
glio
soe so
lo
1':\.
I
qui me - schin do- glio
68
I
51
I
I
so
do - glio-so e
so -
-
lo
Occhi, un tempo mia vita
Angelo Notari
To:t by Giovanni Battista Guarini
,
Oc -
chi, un
tern
'
vi
po mia
I
Ia,
Oc
chi di que-sto
-
I
'
'-
'
I
po mia vi
chi, un tern
Oc
Ia,
chi di que-sto cor
Oc
------------
7
cor
dol
-
-
ci
7
I
-
Voi
ste
so
ci
I
dol
I
-
m 1ne-ga
ｾ＠
te
I•
I
I
so
I
I
I
Voi _ _ __
ste
mi ne-ga-tea-
I
13
'
ｾＭ］＠
I
I
ta? Que-sti soo
1
ben
r
I
se
.......
I
Que-sti son ben de Ia mia
ta?
I
te i
de la mia mor
mor -
gni,
'
-
te i
se
gni,
-
Non pill
13
I
I
18
........
Non pill
-
........
speme o con- for-to, Tem-po e
ben di mo-rir, a che pill
ben
di mor- ri
-
18
'
I
do a che pill
I
I
spe-meo con-for-to, Tern-poe
tar
I
52
re
a che pill tar - a che pill
22
"'
ｾＮ＠
,
,
I
,,
I
tar
do?
Oc
chi,
ch'a si gran tor
ch'a :se gran
- to
ｾＮ＠
.....
I
I I l
J
do?
Oc
chi,
me
I
- - ====
"
I
I
tar-a che piu tar
Mo- rir
tor - to
ch'a si gran tor
Mo-rir me fa
- to
te-a_
22
I
I
I
te, _ a_ che _ _ _ _ tor
fa
I
che _ _ tor
te il _ _ _ _ _ _ guar
ce
do?
se per non mi-rar_
For
27
I
32
-
ｾ＠
"'
lllillil:ll
Mi - ra-te al-men,
..... ,
I
ch'io
mo
I
ro
Mi - ra-te al-men
1=1=:111
I
_ com' io _ _ _ v'a- do
-
ro?
ch'io mo
Mi-ra - teal-men
-
I
I
ro
Mi-ra-teal-
32
I
39
"'
I
ｾ＠
rMi-ra-teal-men
.....,
men
39
Mi-ra-teal-men
Mi-ra-te al-men Mi-ra-teal - men _ _ _ _ ch'io
---
Mi-ra-teal-men
=::::t:::l
mo
....-
ro.
====::!
Mi-ra-teal-men _ _ _ _ _ _ _ ch'io
53
I
mo
ro.
Girate occhi girate
Angelo Notari
Ten by Gabriello Cbiabrera
L
""
I
'
ｾ＠
Gi
-
ra
te oc - chi
ra
gi
-
- te
A'
'
ei, che
mi
ei, che
'
I
ra
Gi
mi
I
I
I
gi
teoc - chi
ra
-
-
te
A'
'
¥
I
6
L
""
--
"ｾ＠
ｲｾ＠
-
tan
to
prie
tan
to
prie - ga
ga
Gli
sgaur - di,
che
non
no
Gli
sgaur - di,
che
non
"
'-....!!'
"---'
-
'
pie
I
no
-
pie
ga-no
Gia - mai
ver -
ga-no
Gia - mai
ver -
6
'
'
'
I
ｾ＠
ｾ＠
12
""
ｾ＠
so
pie
ta
-
-
Che
te,
se
da
se
da
lor
si
toI
go- no
lor
si
tol
go- no
ｾ＠
ｲｾ＠
so
pie
"
ta
-
-
I
te,
I
Che
ｾ＠
12
I
jJ
ｾＸ＠
I
Oc
-
'
'
I
chi
Oc
chi
- chi
Oc
L
ｲｾ＠
'
I
Oc
-
chi
-
Oc
-
18
54
I
Oc
-
ｾ＠
;3
ＧＢｾ＠
l
..
I
I
chi a ra-gion si
I
ｾ＠
I
- no
chi a ra-gion si
Oc
-
dol
I
go
-
I
no
D.S.alFine
29
,., 'I
ｾ＠
I:\
I
chi a ra- gion si
dol
go
-
..
Oc
no.
D.S.alFine
I:\
I
l"t.
chi a ra-gion si
dol
go
-
no.
D.S.alFine
29
chi a ra-gion si
dol
go - no
-
chi a ra-gion si
dol
go - no
I
Oc
23
..
-
I
I
l"t.
I
I
go
dol
I
I:\
.....
In sui rnattin d'Aprile,
Quando i nernbi tranquillano,
Fresche rose sfavillano
D'un verrniglio gentile,
E cosi dolce odorano
Che Zeffiro inarnorano.
V ergini peregrine,
Corne lor s'avvicinano,
Coslliete destinano
Fame corona al crine;
Al crine, onde incatenano
I cor, ch'a morte menano.
55
Oc
Ahi, che s' accrese in me
Angelo Notari
Ahi,
Ahi,
see
che s'ac - ere
in me
sa-to ar-dor
l'u
Men -
e,
7
tre fra ro
-
ri Th-6pi
sa Tu spi
sa e ro
ri au
-
ra
am-o-ro
sa.
7
12
ri,
au-ra
strug-gi pur _ __
gra - dita,
ques-ta
co
re,
12
18
Spe.gni pur _ __
que-ta vi
Che sa-<a 'I tuo spi - rar
ta,
soa - ve
e
gra
18
25
to,
dol
ce l'in-cen
dio
dol
ce l'in cen
dio,
to
e 'I
e 'I
nor
ce
25
31
ce
nor _ _ _ mio _ _ __
be - a
31
56
ce
mio e 'l
ner
to;
be - a
S'al
ul - ti-mo
so
spi - ro, Au - ra gen-
35
41
til
au - ra gen -
til,
Men - tre
tu spi'
io _ _ spi
ro,
-
Au-
41
D.S. a/Fine
46
I:\
ra _ __
gen
til _ _ _ men
tre
tu
spi
r'i - o_ spi
ro.
D.S. a/Fine
46
I:\
57
Che farai, Meliseo?
Angelo Notari
text by Jacopo Sannazzum
Che fa- rar, _ _ Me-li-seo?
te
Mor
ri-fiu-ta-ti
Poi-che fil
li fha pos - to in
8
do-glia e lag
ri - me
Ne
piU, come
so - lea,
ta
lie
...-
sa-lu- ta- ti
Dun-que a-mi
ci Pas-tor,
8
16
ci-a - scun__ con- sac - ri - me
Ver-si sol__
dido-lor _ _ __
la-men
E
ti,eri- ti-mi;
16
24
chi a1 - tro non
pub
me
-
co
col-lag - ri - me.
A
pian-ger-col su - o
pian-to
0- g r t W l - - - - - - - - -
24
32
ｾ＠
in - ci
ti - mi,
0- gnum. la pe-ne
su - a
me-co
commun
- che,
Ben _ _
32
39
ch'il ___ mio _ _ duol_ da_
se
dl _ _ __
ti- mi.
39
58
Musa,Amor
Angelo Notari
,__
I
'
'
'
Ch'e __ per me _ __
Mu- sa, Amor _ _ por-ta no - vel - Ia,
I
Mu-sa,
r
I
I
'
r
di
pie-na
I.
Ch'e __ per me
no-vel - Ia,
Amor _ _ por-ta
'I
I
pe - ne.
I
I
p1e-na
'
I
pe - ne.
di
li- de
A-ma-ril
Amor _ _ por-ta no - vel - Ia,
I.
mm
'
'
per me _ _ pie-na di
Ch'(: _ __
I
1i - de
A-ma-ril
'
Mu-sa,
mia
pe - ne.
'
1i - de
A-ma-ril
mia
0·
9
"
•
..
'
bel - Ia
Ha ria feb
entro
bre
-
la
!Ia ria feb
bel
-
la
!Ia ria feb
breentro
de
la
bel
-
lez
dal
fior
de
la
bel
-
lez
dal
fior
de
la
bel
-
lez
ve - ne,
I
I
le
ve - ne,
E
'le
ve
-
E
E
I
bel
fior
tro le
dal
'
za
9
'
17
<
loo
Sta
'
- tro
breeo
-&--;-----.....&
ｾ＠
..
-
-
ne
ｾ＠
nao
ta
-
gltal
le
grez - za,
de la
bel - lez - za sta_
de la
bel - lez - za
'
•
Sm
!on
-
"'
nao
-
gn'al
le
grez - za,
sm
lon
-
ta
nao
-
gltal
le
grez - za,
17
I
+
2J
+
+
Ion - ta
Da-
Sm
Ion - ta
'
nao
-
0
-
gn'al
-
le - grez
-
gn'al
le
-
grez
-
2J
za.
I
'
nao
I
I
I
de Ia
Di Castilia, e d'Ellicona;
Sai di Giove i tanti amori,
Sai che 'I cielo egli abbandona,
E per fame il suo desio
Ei trasforma la bella lo.
I
-
I
E dal fior
In tua man sono i tesori
za.
t:o.
Ion - ta
I
0 Melpomene diletta,
Spiega !'ali tue dorate
Lave l'egra giovinetta
Mena in doglia le diornate;
E di canro falso, o vero
Rasserena il suo pensiero.
t:o.
•
I
E dal fior
t:o.
•
•
..
<
Edal fior
gn'al
le
-
grez
-
za.
59
I
I
bel - lez - za Sta_
Si dame
Angelo Notari
text by Gabriello Chiabrera
'
I
•
I
Si
da
me
Si
da
me
I J
.J
ｾ＠
•
'
rme
da
+
I
me
"
I
pen - sier,
I
pen - sier,
che
I
pur
I
pen - sier,
che
de
- si - an - o,
Ch'io di
vi
de
- si-an-o,
Ch'io di
vi
de
I
pur mi des - vi-a-no
I
I
vi
che
I
I
ｾｩ＠
+
I
'
pur mi des-vi-a-no
I
mt des-vi-a-no
-
I
I
I
I
•
I
nul-la non
'
' '
I
so;
Pe-r6 gli occhi
onde _ _
so;
Pe-r6 gli occhi
onde _ _
.....
I
di - let - ta-mi
Am-or pit\, quand' ei _ _
di - let - ta-mi
Am-or pill,
'
•
'
nul-la
me
non
'
; J J
5
'
ｾ＠
me
nul
•
'
quand'
'
I
Ia non
Pe-r6 gli occhi
+
so;
_,10
on
de
di-let
ta-mi
quand'
Am-or pill,
'
•
'
I
sa
-
Su Ia ce - tra io can
et - ta-mi,
te - ro,
Su Ia ce
Su Ia ce - traio
can - te-n),
Su Ia ce
Su Ia ce - traio
can-te-
ro,
Su Ia ce
II
-
traio
te- ro
can
'
'
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sa-et-
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1
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10
r
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_,15
sa
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et -
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1':'1
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Su
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can
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traio
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15
1':'1
'
ｾ＠
Su
Ia
cen
-
'
traio
I
I
can - te
-
traio
'
can-te- rO
Col bel negro, onde si tingono,
Col bel bianco, onde si cingono
Le pupille, ond'io morl,
L'alme stelle in Ciel non durano,
E del sol tutti s'oscurano
I rai d'oro a messo il dl.
te- ro
can
-
Occhi bei, ch'alme infiammassero,
E che dolce i cor legassero,
Mille n'hebbe il mondo, e piu;
Ma, che dolce i cor stringessero,
E qual voi l'anime ardessero,
Occhi belli, unqua non fu.
• 1':'1
'
Su
I
Ch'to di
si-an-o,
r6
60
Ecco, ch'un'altra volta
Angelo Notari
text by Ja<opo Sannazzaro
.
ch'un' a1 - tra
co,
Ec
-
vol
ta,o
piag - gea
-
pri
'
,._
I
co,
Ec
I
I
ch'un' al - tra
I
I
volta,
0
piag - goa
pri
I
-
8
che. U- dre-te il
toei _ __
pian
U - dre- te il
che.
-
gra -
pianto
ei
ei _ __
miei.
vi
gra - vi _ __
miei.
gra -
ei gra -
8
15 ｾ＠
I
nriei__
vi
la-men
-
ti
U -dre-te,
sel
U-dre-te,
sel
-
ve
'
ido - lor
0
si ac
-
II
vi miei
ti
la-men-
do-lo-ro
ve
15
I
I
I
I
-
23
do-lor-ro
si
do-lo-ro
si
si ac - ceo
do - loro
23
61
si
ac- ceo
ti, E 'I 1ri
ti, E 'I tri
31
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sto
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E'l
suon,
tri
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de le que - re - le anti
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de le queI
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l
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suon, E '1 tri
sto
sto
suon de
la que-re - le an
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ti
31
I
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37
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Tenor Solo
fj
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an
ti
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f
che
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I
u -
drai
...
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,.
...
I
mar, _ _
tu,
fa- ti
l'u - sa - te mie
-
Ei
che,
37
44
""
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fj
... 1(
I
1..
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pes - ci al mio
1..
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stai'ail- no in -
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pi-e - to- sa a' miei
so - spi - ri ar-den
ti Quest' au -
44
I
I
50
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Soprano Solo
fj
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re,
che mi
fur gran
I
tempo _ _ _
..
Ul
a - mi
50
62
che.
1.....1
E----
I
di- ve;o Amor E -
57
.-f1
I
I
I
I
E
--
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"it.
-
-
qual - che scin- til-la Reg
_
57
na fra
I
it.
mor qual
-
si,
E
mor qual
-
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it.
-
questi
sas
questi
sas
si,
na fra
I
70
I
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che de-si-an - do ard' _
Del cor,
-
si,
I
I
I
Ma, la
la
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e sfa-vi
de
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hav-ra mer-ce
I
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se di- ve-roA-
1....1......1
na fra
che scin - til-la Reg
64
di - ve-ro A-mor E
.......
--
I
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se
I
I
che scin - til-la Reg
ｾ＠
I
se di- ve-ro A-
I
-
64
I
di - ve-ro A-mor E
I
ques - ti sas
I
.-f1
I
se
soa me
che
so a_
val, Ma la
ｾ＠
I
1'
"it.
Ma, la
-
so a
me che
I
so a_
val, Ma la
70
I
I
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I
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77
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it.
me
I
che
val,
se gia no 'l ere - de
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Que
lla,
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"it.
I
me _ _ _
che
val,
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se giano 'l
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-
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77
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63
de
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lla,
r
che sol vor-rei ver
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.; ｾ＠
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me che sol vor-rei ver
I
me che
sol vor-rei ver
tran
me
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...
====
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ｾ＠
me
che sol vor-rei ver
==
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che sol vor-rei ver
me
-
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tran
83
I
I
I
I
88
.; ｾ＠
t)
I
Ia,
Ne le
qui!
la,
Ne le
ｾ＠
...
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qui!
-
ｾ＠
fe-de Ne le lag - ri-me
lag - ri - me mie m'ac-qui-stan
mte
-
'-'"""
lag - ri - me mie m'ac-qui-stan
fe
Ne le lag-ri-me
de
88
I
93 ...
.; h
......
t)
Ne le lag-ri-me
I
"--11
-
mie Ne le lag-ri-me
mie m'ac-qui-Btan fe-de. Ne le
lag-ri-me mie Ne le
lag- ri-me mie m'ac-qui-6tan
,....,
-
mie
Ne le lag-ri-me
ｾ＠
I
I
"--1
lag-ri-me mie Ne le
mie m'ac-qui-Btan fe-de. Ne le
lag - ri-me mie m'ac-qui-6tan
93
I
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fe
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r-=1
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.......::!
fe
de.
98
I
64
Se nasce in Cielo
Angelo Notari
Se
nasce
in
Cie
lo
n
dio
di
De
lo,
A
l'o - cci
Se
nasce
in
Cie
lo
n
dio
di
De
lo,
A
l'o - cci
6
den - te
Giun -
ge
re
-
pen
te,
Se
si
fa
not - te
se
-
gue
l'Au -
den - te
Giun - ge
re
-
pen
te,
Se
si
fa
not - te
se
-
gue
l'Au -
ro - ra,
E'l
Ciel
in
-
do - ra,
E'l
Ciel
in
dn
ro - ra,
E'l
Ciel
in
-
do - ra,
E'l
Ciel
in
do
12
ra, E 'I Ciel_
-
-
18
Ciel
in - do
ra,
in
ra
do
E'l _ _ _ _ _ __
+
+
+
E 'I
Brieve baleno
Dura al sereno,
Ogni tempesta
AI fin s'arresta.
Verdeggia il ramo e poi si spoglia
D'ogni sua foglia.
Nasce vicina
AI fior Ia spina,
Seguita il pianto
AI riso accanto.
Solo !'Amore, estate e verno
Dura in eterno.
65
Ciel
in - do
ra
Ciel
in - do
ra
ra, E'l
0 bella Clori
Angelo Notari
text by Gabriello Cbiabrera
bel -
0
la
bel - Ia
Clo - ri,
Clo
Clo
ri,
ri
Clo - ri
mia
bel - la,
Fiam
-
rna
no -
mia
bel - Ia,
Fiam
-
rna
no -
6
vel - la
Di
mil
le
co
ri,
Que - sti
occhi
va - ghi
D'A
-
mor
ri
vel - la
Di
mil
le
co
ri,
Que - sti
occhi
va - ghi
D1A
-
mar
ri -
cet - to,
Con
cbe
- to,
Con
cbe
12
eel
m1im
pia
- ghi
Di
gio
ia il
pe - tto,
Ve
gio
ia il
pe
- tto,
Ve
dro__
-
=
rna
-
Pie
to
gia
dr6
.J J
18
gia
1':'1
si a
li miei gua
Pie
-
to
si a
li miei gua
1':'1
rna
Pie
Questo bel viso
Di rose tinto,
Ove dipinto
Sta il Paradiso,
Sara mai vero,
Che pieta spiri
Giusto pensiero
De' rnieirnartlli?
0 viso arnato,
Tu rni puoi far beato
to
si a
li miei gua
Questi crin d'oro
D'Arnor catene,
D'ogni rnio bene
Sono il tesoro;
Tra lor legato
Vive il mio core,
Et in tal stato
Arde D'Arnore.
0 dolce rete,
Voi preso mi tenete.
66
Pie
-
to
sia_ li miei gua
Mesta ti Scorgo
Angelo Notari
,__
0
1i
ta
Mes
scar
ｾ＠
-
e
go
pal-li-da fi - gu
e
ra
+
I
6
1i
ta
Mes
scor
-
•• w. •
w.
pal-li-da fi-gu
e
Dar- mi gli ult- ti-mi
ra,
pal-li-da fi - gu
ra
pal-li-da fi - gu
ra
pal-li-da fi-gu
e
go
ｾ＠
do
bac - i, e dir pian - gen
6
I
I
ra
e
+
Ｂｾ＠
12
+
+
+
+
I
+
+
+
Ti
• •
I.
hoi -
Ti lascio
n·
I
+
me
ne Ia par-ti- taos
- cu - ra
'
I
Ti
12
Ia
scio
ne la par-ti- taos-
hoime
L
las
hoimC
cio
..............,
I
ne Ia par- ti -tao-scu
ra
Ti
Ia
18
-
scio
hoime
W.
'
I
cu
Ques-ti es - tre - mi
-
d'- Amor _ _
I
-
ra, Ques-ti es - tre
-
me d'-Amor
frut
ti cog -lien
-
do
18
'
I
+
+
........
Ques-ti es-tre
I
mi d'-Amor
frut
67
........
I
ti cog - lien - do
+
,__,
'
+ Ques-ti es- tre - mi d'-
2} fJ
-.
-
ｾ＠
frut - 1i
.-.
ｾＭ
｣ｯｧｾｩ･ｮ＠
•
0
-
do
•
'0
mio fedel
'0
mio fedel
'0
mio fedel
L
'0
mio
fe - del
'0
mio
fe - del
'0
mio
fedel
M'en
vo ___
fJ
Ｍｾ＠
I
I
I
23
--
I
Amor frut - ti
cog - lien
do
L
•• •
L.-1
I
Dio
a
Dio mor
te mi
mor - te mi
fura,
fura;
-
I
I
I
a
a
Dio
Dio mor
temi
30
I
,.......
I
I
I
a
36
,.fj
I
ｾ＠
a
Dio
ri-man-ti
+
I
in
Dio
+
+
fura;
mor - te mi
fu - ra,
mor
temi
I
I
I
mor - te mi
fura
fura
• •
• • f!i----
--
f!i-
I
ce
pa
ri - man-ti in pa
ce, in
Ciel
t'a - ten -
fJ
Ｍｾ＠
-
36
I
I
43
,.fj
.g.
ｾ＠
do.
l':>o
Ein
illl
co1
nel suo
dir
tri
sto
f1
Ｍｾ＠
43
I
68
sem -
-·-·
'!!tJ
-·
Ｍﾷｾ
ｾ＠
I
ｾ＠
bian
te
..............-
fJ
Ｍｾ＠
I
mi spa-rio di-nan
l'a-ma-ta for - ma
49
r--.
I
I
I
"
l'a
,,...
L....l
ma-ta for
53
I
ｾ＠
fJ
I
Illl
r-=
I
l'a-ma-ta for-ma
te
spa-rio di-nan
te
I
I
I
Ｍｾ＠
mi spa-rio-di-nan -
I
mi spa-rio-di nan - te
l'a-ma-ta for-ma
- ma
mi spa-rio di-nan
ｭｩｾｰ｡Ｍｲｯ＠
te
di-
53
I
,,...
58
ｾ＠
te
-
IDl
+
I
+
+
+
1....1....1
-
l'a-rna-ta for
+
rna
spa- rio
di- nan
nan
-
-
te
IDl
mi spa- rio
te
58
I
I
l'a-rna-ta
te
1':\
I
fJ
Ｍｾ＠
mi spa-rio di-nan
I
l
di
-
-
nan
spa- rio
di - nan
I
te.
1':\
te.
1':\
I
I
for
rna
+
mi
+
sp- rio
di- nan
te.
69
Anima eletta
Angelo Notari
text by Jacopo Sannazzaro
A
ni-ma
ele
-
tta,
A
- ni-ma
che co'l tuo fa - tto
ele - tta
re
8
Ti go-di ass
ne' stel-la-ti
isa
chi- o
0
stri
ve
lu-cen- t'!e
-
8
14
bel - Ia or
ti
di-mo
Tut-ta pie- to - sa
stri.
14
19
Tut-ta pie-to - sa
Tut-ta-pie-to - sa
del mon-dan-o erro
-
Se mai ver - a pie - ta,
re
19
25
Se mai ver - a pie - ta,
se
gui - sto
Ti so - spin- ge a curar de'
re.
amo
dan - ni
25
32
no
Fra
stri
32
70
si
di
stor
te _ __
38
vie,
fra
tan
-
mo
ti
stri,
Pre -
ga,
ch'io
tro
- vi
ve - dra'
IW
38
44
ga, ch'io
Pre
gia per - du - to
il
trovi
cor
Ve - nir
e.
44
51
a
vene - rar
Ia
-e
ba,
Tom
ve la - sci - a-sti la rei-
0
51
_,57
..
h.
li- quie san
57
te,
-
Per
CUl
•
sl chia - ra_ ni _
-·
•
ｾ＠
Ciel Pad-o- a run
-
-
....
.
-
ｾ＠
-
bom
.
-
..
-
..
I
""
"'
""
ｾ＠
62
ba.
I
-
vi
le
lo
- di___ tue
I
-
vi
le
lo
- di_ tue_
sl
bel-le,
62
69
tan
te, Quan-tun.que de
gne Quan-tun.que de - gne
69
71
di piu al-ter-a!trom-ba,
di piu alte -
e __
74
ra trom
ba,
Con
vo-ce
dir m'u - drai bas-sa,!e tre - man - te Con
74
80
vo - ce
dir
m'u - drai
bas
sa,!e _ _ _ _ _ _ _ _ tre
80
72
man
te.
Con ･ｳｰｲ｡ｮｾ＠
espero
Angelo Notari
'
'
ｾ＠
I
Con
es
per
Con
es
ｰ･ｲＭ｡ｮｾ＠
-
an
ｾ･ｳＭｰ＠
ro
Que'l
gal - ar
ro
Que'l
gal - ar
d6n _ _ _ __
I
I
es
-
pe
es
-
pe
...
I
es
Con
6
ｰ･ｲＭ｡ｮｾ＠
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que1
ro
se_
d6n
gal
don _ __
ar
1':'1
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It
I
se
me
d6
ay
Mas
1':'1
'
I
mi
que no
Mas
ay
de
mi
I
I
Mas
ay
de
me
que
de
ｳｾ＠
'
ｾ＠
'It
me
d6
6
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-----.,
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rar
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ten
go;
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al
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55
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ro
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I
I
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diz
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en
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ｾ［｡＠
lo al - can
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diz - en
que
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diz
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lo al
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re
can - ltR
.---------,
Que
Mas
I:'\
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I
-
can
re
ltR
75
ay
85
;
ｾ＠
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l
ｾ＠
Por
I
ver
,...
.... ｾ＠
I
I
sy
a1
lo
can
I
-
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I
I
Por
I
ver
sy
lo
85
a1
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-
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can
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.----CJ
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lo _ _
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a1
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77
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can
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Cosi di ben amar
Angelo Notari
Petran:h
'
Co
'
--
-
I
si _ _ __
di
ben
am
I
ar
-
I
I
to___ tor-men
por
'0.
I
I
I
8
I
E
to;
I
-
'0.
Co
si _ _ __
di
ben
am
-
ar
-
to _ _ tor-men
por
to;
8
I
I
I
I
-
16
'
I
del pec-ca- to altrui chieg
An
gio per-do- no;
zi del mi
0
I
'0.
An
chieg - gio per - do - no;
-
16
I
I
'
I
I
22
•••
ch6 do-vea
tor
-
cer
li oc
chi
Dal
=
ｾ＠
'
ｾ＠
'0.
zi delmi
0
che do-vea
tor
-
-
cerli oc
chi
22
I
•
I
78
Dal
trop-po
,......
27
ｾｦｬ＠
me, e
trop-po lu
fl
lu
di
si - re-ne al suono
I
I
ＢＧｾ＠
-
I
I
-.1
Chiu
I
me,
e
di
si-re-ne
cchi
,......,
I
I
-
.....
der gli ore
-
I
I
al suono Chiu-der
gli
I
re - cchi
0
et an-
27
I
33
ｾｦｬ＠
-.1
1'1
I
ｾ＠
ＢＧｾ＠
I
cor
-
I
I
L......l
to, Chedi
non me pen
I
ｾ＠
dol - ce ve.,len-no il cor tra - boc-chi Ole di dol - ce ve
len-Q il cor tra-boc - chi il
33
I
I
ｾｉｊ＠
I
I
I
Sinfonia Violine
38 ..
I
I
I
I
I
I
I
I
I
l
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chi.
cor - tra-boc
38
I
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..
43
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79
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48
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53
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88
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81
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petto
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As
95
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t.
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petto
-
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pur _ _
io
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che scoc
chi l'ul
ti.-mo col-po
l'ul - ti-mo
95
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101
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t.
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chi mi
col-po
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die
de _ _ _ il pri -
101
I
I
I
106
,.,.
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I
I
I
I
t.
E
s'io
fia
drit-to es- ti
I
mo;
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mo;
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do di pie - ta
teuc-ci- derte-
ｾ＠
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...,
mo
II!J
,,
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fia
s'io
I
drit-to es- ti
I
114
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I
s'io
fia
......
I
sto,
Nones- sen
mo;
-
-
do
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di - po
..
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-
ci-der
te -
-
ci-der
te
I
I
Un mo
I
I
t.
-
-
drit-to es-ti
I
do di pie - ta - te uc
-
106
E
I
I
!'1-
I
ｾＭ］＠
do di pie - ta - te uc
-
I
sto
A far
al
-
tro
di
ｾ＠
"'t.
,,
sto,
114
I
I
I
I
sto,
82
I
I
119
.,.fl
I
I
t.
me,
I
quel __
che
che
so
glia:
ｾ＠
"'t.
che quel
che
so -
glia:
119
I
-
125
.,.fl
t.
ｃｨｾ＠
I
I
L.......l
ｃｨｾ＠
I
mo-ren-
I
..
ｾ＠
ben mor chi mo - ren-do es-ce
.__.
ben mor chi
Tl
ｃｨｾ＠
eli dog - lia
ben mor
chi mo -
.........
ｾ＠
"'t.
1......1
ｃｨｾ＠
ben mor
chi mo - ren-do es-ce
ｃｨｾ＠
di doglia
ben
125
I
do es-ce
I
di dog - lia
+
+
+
ｃｨｾ＠
+
+
I
ben mor chi mo - ren-es-ce
di
do - glia
.........
ren-do es-ce di dog
ｃｨｾ＠
lia
fl
I
ｾ＠
"'t.
mor
chi mo-ren-es-ce di
ben mor
I
do - lia
I
-..::1
Tl
ｃｨｾ｢･ｮ＠
mor
chi mo - ren- es - ce
I
+
+
+
+
ben mor
+
do
J ｾ＠
Jl
mo-ren - do es-ce
+
+
di dog
ｾＳ｜＠
1':\
..
t.
glia
fl
a
chi mo-ren-do es-ce di
I
gli
lia.
1':\
chi mo - ren-do ･ｳｾ＠
a
n;
dog
1"""""1
"t.
133
.J J l
I
I
I
ｃｨｾ＠
eli
n
I
I
+
di do
I
129
+
chi mo - ren-es-ce
I
1.--1=
I
eli do
gli
n
J
J I I I rFi J
- a
1':\
u
lia
+
chi mor - endo es -ce eli dog -Iia
+
+
ch mor - ren-do es-ce eli do
+
+
83
-
gli
- a
+
Ben qui si mostra il Ciel
Angelo Notari
Madrigale a 4 Voci di Cipriano di Rore
qui _ __
Ben
si _ _ __
tra _ _ _ i] _ __
mos
Ciel
Ben
5
mos - tra _ _ il _ _
Ciel _ _ _ _ _ va
-
-
go, _ _ e _ _ se
re
5
9
E
no,
qui
ri
don,
qui
E
don _ _ le _ __
ri
9
13
trillo
ro
-
-
se,
ei __ lie
-
ti _ _ fi - or-i
Spi
ran-do
13
18
tio
dar
-
i, Des - tan gli
au
gel
li a] _ _ __
18
84
dol
c e _ can
a
mat -
-
23
to a- me
Ma_
no;
ria
ven
Ma __ ria
a_al_ fm
tur
ven
3
trillo
30
tur - aal
fin
so__
las
ne ___ sor
ge,
Ch'Amor
35
-
te _ _ _ _ _ Tes
ci- ta - men
sc
tra _ _ fio
ri, e__
I 'her
be
-
39
"'
-
un _ _ _ pla
...
ci
do an - gue;
On
-
de __ ve
39
"
I
I
ce
ai _ _ _ pet
I
ti
47
Ch'il
cor so- a
ve -
85
men
te
ｾ･ｮ＠
________
Echo
52
di _ _ _ _ _ _ dol
ce _ _ _ _ _ _ de
-
sio
ren - do mo
mo
52
56
..
..-....
-"
I
I
I
I
gue _ _
ren - do lan
-
I
I
mo
ren
do
- ---- lan
trillo
n.
gue
Pien
56
"'
I
I
I
I
di _ _ _ dol - ce _ _ _ _ _ de
-
s1
-
o
mo
ren
do
mo
ren
do
63
lan
mo
gue_
-
do_ Ian
ren
gue
mo
68
.,73
.. .
..
Ｍｾ＠
{cadenza)
ＭｾｦＧＮ＠
ｾ＠
ｾＡｒ＠
._
..
Ｍｾ＠
.. ｾＭ
I
I I
•
ren
73
-
do
Ian
-
-
-
-
..
n-
"'
75
-&
gue
75
86
-
-
-
-
-
-
-
-
BIBLIOGRAPHY
Apel, Willi. The Notation of Polyphonic Music, 900-1600. Cambridge, Massachusetts: The Mediaeval
Academy Academy of America, 1961.
Boorman, Stanley. “Notari, Porter and the Lute.” Lute Society Journal 13 (1971): 28-35.
Carter, Tim. “’An Air New and Grateful to the Ear’: The Concept of ‘Aria’ in Late Renaissance and
Early Baroque Italy.” Music Analysis 12/2 (July 1993): 127-45.
Dart, Thurston. “Lord Herbert of Cherbury's Lute-Book.” Music & Letters 38/2 (April 1957): 136-48.
Egerton, Christopher. “The Horoscope of Signor Angelo Notari (1566-1663).” Lute Society Journal 28
(1988): 13-18.
Godt, Irving. “Prince Henry as Absalom in David's Lamentations.” Music & Letters 62/3/4 (July-Oct.
1981): 318-30.
Hind, Arthur. Engraving in England in the Sixteenth and Seventeenth Centuries. New York:
Cambridge UP, 1955.
Johnstone, H. Diack. “Ayres and Arias: A Hitherto Unknown Seventeenth-Century English
Songbook.” Early Music History 16 (1997): 167-201.
Landon, H.C. and John Norwich. Five Centuries of Music in Venice. London: Thames and Hudson
Ltd., 1991.
Mabbett, Margaret. “Italian Musicians in Restoration England (1660-90).” Music & Letters 67/3 (July,
1986): 237-47.
Monson, Craig. “Thomas Myriell's Manuscript Collection: One View of Musical Taste in Jacobean
London.” JAMS 30/3 (Autumn, 1977): 419-65.
Notari, Angelo. Prime Musiche Nuove di Angelo Notari a una, due, et tre Voci, per Cantare con la
Tiorba, et altri Stumenti, Nouamente Poste in luce. London, 1613.
Phillipps, G.A. “Crown Musical Patronage from Elizabeth I to Charles I.” Music & Letters 58/1 (Jan.,
1997): 29-42.
Sayce, Lynda. “Continuo Lutes in 17th and 18th Century England.” Early Music 23/45 (Nov., 1995):
666-67, 679-84.
Strong, Roy. Henry, Prince of Wales and England's Lost Renaissance. New York: Thames & Hudson,
1986.
Spink, Ian. “Notari, Angelo,” Grove Music Online ed. L. Macy (Accessed 17 December 2007),
<http://www.grovemusic.com.proxy.lib.fsu.edu>.
87
__________. “Angelo Notari and his 'Prime Musiche Nuove'.” Monthly Musical Record 87 (Sept.-Oct.
1957): 168-77.
__________. “English Cavalier Songs, 1620-1660.” Proceedings of the Royal Musical Association,
86th Sess. (1959-1960): 61-78.
Thompson, Robert. “George Jeffreys and the 'Stile Nuovo' in English Sacred Music: A new Date for
His Autograph Score, British Library Add. MS 10338.” Music & Letters 70/3 (Aug., 1989):
317-41.
Treitler, Leo. Strunk’s Source Readings in Music History. New York: W.W. Norton, 1998.
Wainwright, Jonathan. Musical Patronage in Seventeenth-Century England: Chistopher, First Baron
Hatton (1605-1670). Aldershot: Scholar Press, 1997.
Westrup, J.A. “Foreign Musicians in Stuart England.” The Musical Quarterly 27/1 (Jan., 1941): 70-89.
Willetts, Pamela. “A Neglected Source of Monody and Madrigal.” Music & Letters 43/4 (Oct., 1962):
329-339.
__________. “Autographs of Angelo Notari.” Music & Letters 50/1 (Jan., 1969): 124-26.
88
BIOGRAPHICAL SKETCH
Stanley Matthew Henson was born in December of 1981 in Owensboro, Kentucky. He has
attended Eastern Kentucky University, Richmond KY (BME, 2005) and Florida State University,
Tallahassee FL. While at Florida State, Henson has been the assistant director of the FSU Early Music
Ensembles since 2006.
89

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