I-Fc MS Basevi 2495 [Tenor] (Strozzi partbooks)

Conservatorio di Musica Luigi Cherubini, Firenze (Florence), Italy

partbook: Part I (#1-45): c. 1530; Part II (#46-77): c. 1535-40 (Rifkin).

Archive Conservatorio di Musica Luigi Cherubini, Firenze (Florence), Italy (I-Fc)
Shelfmark MS Basevi 2495 [Tenor] (Strozzi partbooks)
Image Availability DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface Mixed Paper and Parchment
Numbering System None
Measurements 130 x 210 mm
Other Identifiers
  • CCM: FlorC 2495
Notations
  • black void mensural
Copyists
Relationships
External Links
Provenance
  • Firenze (Florence), Italy
Contents 77 pieces from 7 composers
General Description

A Tenor partbook from a set originally of four volumes. Copied by three scribes: the first, clearly professional, copied #1-45; the second, who added #46-75 five to ten years later, is probably the same scribe who copied FlorBN Magl. 99-102; a third scribe added #76-77 (Fenlon-Haar). Two pieces (#40 and #41) were copied from BolC Q21 (Rifkin). Copied in Florence; the manuscript once belonged to the Strozzi family (SlimGM).

DIAMM, 2022
Extent

i + 120 + i (102-120 blank)

DIAMM, 2017
Binding

leather covers with gold working; 16th-century, with tooling also found on the Newberry-Oscott partbooks and FlorBN Magl.XIX.99-102, and with half-moon stamp of the Strozzi family.

DIAMM, 2022
Watermark

Italian watermarks from the first half of the 16th century: an anchor within a circular frame with six-pointed star below (similar to Briquet #6298-6300); and the second close to Briquet #493.

DIAMM, 2022
Liminary Note

Erroneous title on cover: 'Madrigali a 3.' (All the pieces are for 4vv.) Italian watermarks from the first half of the 16th century.

DIAMM, 2017
Ruling

3 staves per page

DIAMM, 2022
Foliation

No foliation

DIAMM, 2017
Index

Original alphabetical index in the T book (omits last five pieces); verso of 2nd flyleaf in Cantus lists the first 7 pieces

DIAMM, 2022
Surface

i parchment + 120 paper + i parchment

DIAMM, 2017
Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

77 Italian secular pieces

(Arcadelt)-25, (Arcadelt/Verdelot)-1, (C. Festa/Verdelot)-1, (C. Festa/Verdelot/Willaert)-1, (Verdelot)-24 +1?, anon-24

3 partbooks of an original 4 (D-i parchment + 115 paper + i parchment folios, T-i parchment + 120 paper + i parchment, B-i parchment + 118 paper + i parchment), 130 x 210. No foliation. Blank folios: D-96'-114'; T-102-120'; B-93-118. 16th-century covers of leather, with gold working. Original index in the tenor book. Copied by two scribes: the first copied #1-45; the second, who added #46-77 five to ten years later, is probably the same scribe who copied FlorBN Magl. 99-102; two pieces (#40 and #41) were copied from BolC Q21 (Rifkin). Erroneous title on cover: "Madrigali a 3." Italian watermarks from the first half of the 16th century.

Part I (#1-45): ca. 1530; Part II (#46-77): ca. 1535-40 (Rifkin). Copied in Florence; the manuscript once belonged to the Strozzi family (SlimGM).

Vol 4

Composers: (Arcadelt)-30, (Arcadelt/Corteccia)-1, (Arcadelt/Verdelot)-1, (Corteccia)-2, (C. Festa)-3, (C. Festa/Verdelot)-3, (Verdelot)-23 + 1?, anon-13

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
1v–2 Amor io sento l'alma (I) -
Appears on: 1v–2
Genres: Madrigal (Italian)
2v–3v Madonna, per voi ardo e voi non me 'l credete -
Appears on: 2v–3v
Genres: Madrigal (Italian)
4–4v O dolce notte -
Appears on: 4–4v
Genres: Madrigal (Italian)
5–5v Donna leggiadra e bella che con le vostre -
Appears on: 5–5v
Genres: Madrigal (Italian)
5v–6 I vostri acuti dardi -
Appears on: 5v–6
Genres: Madrigal (Italian)
6v–8 Dolsimi gia d'amore -
Appears on: 6v–8
Genres: Madrigal (Italian)
8v–9 Amor' quanto piu lieto -
Appears on: 8v–9
Genres: Madrigal (Italian)
9v–10v Un di lieto già mai non hebbi amor -
Appears on: 9v–10v
Genres: Madrigal (Italian)
11–12 Passer mai solitario in alcun tato -
Appears on: 11–12
Genres: Madrigal (Italian)
12v–13v Deh amor le generose -
Appears on: 12v–13v
Genres: Madrigal (Italian)
13v–14v Se gli occhi ond' io tutt' ardo -
Appears on: 13v–14v
Genres: Madrigal (Italian)
15–15v Si travagliato e 'l stato ove son -
Appears on: 15–15v
Genres: Madrigal (Italian)
16–17 Leggiadr' amanti udite - Anonymous
Appears on: 16–17
Genres: Madrigal (Italian)
17v–18v Amor io sento l'alma (II) -
Appears on: 17v–18v
Genres: Madrigal (Italian)
18v–19v Lasso che se creduto havesse a qualch'amante -
Appears on: 18v–19v
Genres: Madrigal (Italian)
19v–20v Ben che 'l misero cor lasso tal' hora porga -
Appears on: 19v–20v
Genres: Madrigal (Italian)
20v–21v L'aer gravato e l'importuna nebbia -
Appears on: 20v–21v
Genres: Madrigal (Italian)
21v–22v Non è ver non è ver che pietade -
Appears on: 21v–22v
Genres: Italian secular
22v–24 Si lieta e grata morte -
Appears on: 22v–24
Genres: Madrigal (Italian)
24–25 Gloriarmi poss' io donna d'haver un sì -
Appears on: 24–25
Genres: Madrigal (Italian)
25v–27 Quella che sospirand' ogn' hor desio -
Appears on: 25v–27
Genres: Madrigal (Italian)
27–28 Madonna io non so dir -
Appears on: 27–28
Genres: Madrigal (Italian)
28v–29 Amanti amanti o lieti amanti -
Appears on: 28v–29
Genres: Madrigal (Italian)
29v–31 S'io t' ho con fe servito - Anonymous
Appears on: 29v–31
Genres: Madrigal (Italian)
31–32 L'alta pieta che 'n gli occhi - Anonymous
Appears on: 31–32
Genres: Madrigal (Italian)
32–33 Non può far morte 'l dolce vis amaro -
Appears on: 32–33
Genres: Madrigal (Italian)
33v–34 Ay lasso a me che 'n tenebre - Anonymous
Appears on: 33v–34
Genres: Madrigal (Italian)
34v–35v Cuopri candida man gli occhi lucenti - Anonymous
Appears on: 34v–35v
Genres: Madrigal (Italian)
35v–36v Quando madonna io vengo a contemplarti -
Appears on: 35v–36v
Genres: Madrigal (Italian)
37–38 Gli occhi mie ch' a mirar - Anonymous
Appears on: 37–38
Genres: Madrigal (Italian)
38v–39v S' altri d'amor sospira -
Appears on: 38v–39v
Genres: Madrigal (Italian)
39v–40v Divini occhi sereni occhi sempre di gratia -
Appears on: 39v–40v
Genres: Madrigal (Italian)
40v–41v La bella donna a cui donast' il core -
Appears on: 40v–41v
Genres: Madrigal (Italian)
42–43v Se per forza di doglia - Anonymous
Appears on: 42–43v
Genres: Madrigal (Italian)
43v–45 Per alti monti e per selv' aspre -
Appears on: 43v–45
Genres: Madrigal (Italian)
45v–47 Nasce fra l'herb' un fiore -
Appears on: 45v–47
Genres: Madrigal (Italian)
47–48v Se l'ardor fusse eguale -
Appears on: 47–48v
Genres: Madrigal (Italian)
48v–50 Madonna il tuo bel viso che nel gran mar -
Appears on: 48v–50
Genres: Madrigal (Italian)
50v–52 Se di mostrarvi a pieno -
Appears on: 50v–52
Genres: Madrigal (Italian)
52–53v Con suave parlar con dolze accento -
Appears on: 52–53v
Genres: Madrigal (Italian)
54–54v Amor se d'hor in hor la doglia cresce -
Appears on: 54–54v
Genres: Madrigal (Italian)
54v–56 Dentr' al mio cor' -
Appears on: 54v–56
Genres: Madrigal (Italian)
56–57 Vostra belta si bella - Anonymous
Appears on: 56–57
Genres: Madrigal (Italian)
57–58v Io son tal volta donna per morire -
Appears on: 57–58v
Genres: Madrigal (Italian)
58v–60 Donna se ti par tempo -
Appears on: 58v–60
Genres: Madrigal (Italian)
60v–61v Donna se 'l mio servire -
Appears on: 60v–61v
Genres: Madrigal (Italian)
62–63v Se come dite ogn'hor bella ui paio -
Appears on: 62–63v
Genres: Madrigal (Italian)
63v–65 Donna da vostr' oltraggi - Anonymous
Appears on: 63v–65
Genres: Madrigal (Italian)
65v–66 Chi può fiso mirar - Anonymous
Appears on: 65v–66
Genres: Madrigal (Italian)
66v–67v S' io havessi pensato esser' a sdegno - Anonymous
Appears on: 66v–67v
Genres: Madrigal (Italian)
67v–68v Ahime dov'è'l bel viso in cui solea -
Appears on: 67v–68v
Genres: Madrigal (Italian)
68v–69v Quand' io pens' al martire amor che tu -
Appears on: 68v–69v
Genres: Madrigal (Italian)
69v–70v Se per colpa del vostro fiero sdegno -
Appears on: 69v–70v
Genres: Madrigal (Italian)
70v–71 Chi potra dir quanta dolcezza -
Appears on: 70v–71
Genres: Madrigal (Italian)
71–72 Deh chi nascond' ohime quelli occhi - Anonymous
Appears on: 71–72
Genres: Madrigal (Italian)
72–73 Il bianco e dolce cigno cantando more -
Appears on: 72–73
Genres: Madrigal (Italian)
73–73v Poss'io morir di mala morte s'io non v'amo -
Appears on: 73–73v
Genres: Madrigal (Italian)
74–74v Lodar voi donne ingrate -
Appears on: 74–74v
Genres: Madrigal (Italian)
74v–75v Madonna ohime ch'io ardo -
Appears on: 74v–75v
Genres: Madrigal (Italian)
76–77 Nuova donna m'apparve -
Appears on: 76–77
Genres: Madrigal (Italian)
77v–78 Donna i vostri belli occhi -
Appears on: 77v–78
Genres: Madrigal (Italian)
78v–79v Quand' i vostri belli occhi -
Appears on: 78v–79v
Genres: Madrigal (Italian)
79v–80v Lasso che giova -
Appears on: 79v–80v
Genres: Madrigal (Italian)
80v–81v Ancidetemi pur grievi martiri che'l viver -
Appears on: 80v–81v
Genres: Italian secular
81v–82v Vaghi pensieri che cosi passo -
Appears on: 81v–82v
Genres: Madrigal (Italian)
83–83v Ben m'e nemico il mio destin fallace -
Appears on: 83–83v
Genres: Madrigal (Italian)
84–85 Deh perche hai lasso - Anonymous
Appears on: 84–85
Genres: Madrigal (Italian)
85–86 Dunque credete ch' io voglia o possa mai -
Appears on: 85–86
Genres: Madrigal (Italian)
86v–87 O felici occhi miei -
Appears on: 86v–87
Genres: Madrigal (Italian)
87v–88 Se 'l pensier amoroso congn' hor -
Appears on: 87v–88
Genres: Madrigal (Italian)
88v–89 Deh dimm' amor se l'alma di costei -
Appears on: 88v–89
Genres: Madrigal (Italian)
89v–90v Io dico che fra voi potenti Dei convien -
Appears on: 89v–90v
Genres: Madrigal (Italian)
90v–91v Dai dolci campi elisi -
Appears on: 90v–91v
Genres: Madrigal (Italian)
91v–92v Quanti travagli e pene, quant' ogn' hor dogli e morti -
Appears on: 91v–92v
Genres: Madrigal (Italian)
93–94 Occhi miei lassi mentre ch'io vi giro -
Appears on: 93–94
Genres: Madrigal (Italian)
94v–95v Chi port' ogni dolor con patienza - Anonymous
Appears on: 94v–95v
Genres: Lauda
95v–96 Christo per darne esempio - Anonymous
Appears on: 95v–96
Genres: Lauda
Composer Compositions
Anonymous
Arcadelt, Jacques (ca. 1507–1568)
Corteccia, (Pier) Francesco
Festa, Costanzo (ca. 1485–1545)
Layolle, Francesco de
Pretin, Antonius
Verdelot, Philippe (ca. 1480–ca. 1532)
Composition Composers (? Uncertain) Folios / Pages
Ahime dov'è'l bel viso in cui solea 67v–68v
Amanti amanti o lieti amanti 28v–29
Amor io sento l'alma (I) 1v–2
Amor io sento l'alma (II) 17v–18v
Amor se d'hor in hor la doglia cresce 54–54v
Amor' quanto piu lieto 8v–9
Ancidetemi pur grievi martiri che'l viver 80v–81v
Ay lasso a me che 'n tenebre Anonymous 33v–34
Ben che 'l misero cor lasso tal' hora porga 19v–20v
Ben m'e nemico il mio destin fallace 83–83v
Chi port' ogni dolor con patienza Anonymous 94v–95v
Chi potra dir quanta dolcezza 70v–71
Chi può fiso mirar Anonymous 65v–66
Christo per darne esempio Anonymous 95v–96
Con suave parlar con dolze accento 52–53v
Cuopri candida man gli occhi lucenti Anonymous 34v–35v
Dai dolci campi elisi 90v–91v
Deh amor le generose 12v–13v
Deh chi nascond' ohime quelli occhi Anonymous 71–72
Deh dimm' amor se l'alma di costei 88v–89
Deh perche hai lasso Anonymous 84–85
Dentr' al mio cor' 54v–56
Divini occhi sereni occhi sempre di gratia 39v–40v
Dolsimi gia d'amore 6v–8
Donna da vostr' oltraggi Anonymous 63v–65
Donna i vostri belli occhi 77v–78
Donna leggiadra e bella che con le vostre 5–5v
Donna se 'l mio servire 60v–61v
Donna se ti par tempo 58v–60
Dunque credete ch' io voglia o possa mai 85–86
Gli occhi mie ch' a mirar Anonymous 37–38
Gloriarmi poss' io donna d'haver un sì 24–25
I vostri acuti dardi 5v–6
Il bianco e dolce cigno cantando more 72–73
Io dico che fra voi potenti Dei convien 89v–90v
Io son tal volta donna per morire 57–58v
L'aer gravato e l'importuna nebbia 20v–21v
L'alta pieta che 'n gli occhi Anonymous 31–32
La bella donna a cui donast' il core 40v–41v
Lasso che giova 79v–80v
Lasso che se creduto havesse a qualch'amante 18v–19v
Leggiadr' amanti udite Anonymous 16–17
Lodar voi donne ingrate 74–74v
Madonna il tuo bel viso che nel gran mar 48v–50
Madonna io non so dir 27–28
Madonna ohime ch'io ardo 74v–75v
Madonna, per voi ardo e voi non me 'l credete 2v–3v
Nasce fra l'herb' un fiore 45v–47
Non può far morte 'l dolce vis amaro 32–33
Non è ver non è ver che pietade 21v–22v
Nuova donna m'apparve 76–77
O dolce notte 4–4v
O felici occhi miei 86v–87
Occhi miei lassi mentre ch'io vi giro 93–94
Passer mai solitario in alcun tato 11–12
Per alti monti e per selv' aspre 43v–45
Poss'io morir di mala morte s'io non v'amo 73–73v
Quand' i vostri belli occhi 78v–79v
Quand' io pens' al martire amor che tu 68v–69v
Quando madonna io vengo a contemplarti 35v–36v
Quanti travagli e pene, quant' ogn' hor dogli e morti 91v–92v
Quella che sospirand' ogn' hor desio 25v–27
S' altri d'amor sospira 38v–39v
S' io havessi pensato esser' a sdegno Anonymous 66v–67v
S'io t' ho con fe servito Anonymous 29v–31
Se 'l pensier amoroso congn' hor 87v–88
Se come dite ogn'hor bella ui paio 62–63v
Se di mostrarvi a pieno 50v–52
Se gli occhi ond' io tutt' ardo 13v–14v
Se l'ardor fusse eguale 47–48v
Se per colpa del vostro fiero sdegno 69v–70v
Se per forza di doglia Anonymous 42–43v
Si lieta e grata morte 22v–24
Si travagliato e 'l stato ove son 15–15v
Un di lieto già mai non hebbi amor 9v–10v
Vaghi pensieri che cosi passo 81v–82v
Vostra belta si bella Anonymous 56–57

denotes primary source study

Fenlon, Iain, and James Haar. 1988. The Italian Madrigal in the Early Sixteenth Century: Sources and Interpretation.  Cambridge University Press. Pages: 159-163. Notes: contents list; concordances (partial).

D'Accone, Frank A (editor). 1981. Francesco Corteccia: Collected Secular Works. Vols. VIII-X of Music of the Florentine Renaissance [cited by these volume numbers]. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: VIII,xx-xxi,xxv; IX,xviii. Notes: contents list (partial); concordances (partial).

D'Accone, Frank A. 1972. Transitional Text Forms and Settings in an Early 10th-Century Florentine Manuscript. Words and Music: The Scholar's View ... Compiled in Honor of A. Tillman Meniti,  Cambridge, Massachusetts. Pages: 35. Notes: mention of MS.

Slim, H Colin. 1972. A Gift of Madrigals and Motets.  Chicago and London. Pages: I, 22-3. Notes: mention of MS.

Osthoff, Wolfgang. 1969. Theatergesang und Darstellende Musik in der Italienischen Renaissance. Münchner Veröffentlichungen zur Musikgeschichte.  Tutzing. Pages: II, 25, 65-8. Notes: concordances (partial); transcription (partial).

Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica. 3 vols. Copenhagen. Pages: II, 52. Notes: physical description; contents list; incipitsst of contents (partial).

Becherini, Bianca. 1964. I Manoscritti e le stampe rare della Biblioteca del Conservatorio 'L. Cherubini' di Firenze. La Bibliofilia, 255-99. Pages: 268-70. Notes: physical description; contents list.

Hersh, Donald Lee. 1963. Verdelot and the Early Madrigal. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: 283. Notes: mention of MS.

Main, Alexander, and Albert Seay (editors). 1962-. Costanza Festa: Opera Omnia. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: VIII, xv-xvi,18-9. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Gandolfi, Riccardo. 1911. Intorno al Codice membranaceo di ballate et di canzoncine ... R. Instituto Musicale di Firenze, N. 2440. Rivista Musicale Italiana, 537-48. Pages: 247-8. Notes: physical description; contents list.

This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.

No comments have been made.

Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.

DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Watermark Note; Notation Note; Surface Note