"Petrucci's "Justiniane" Revisited"

Petrucci's "Justiniane" Revisited Author(s): James Haar Source: Journal of the American Musicological Society, Vol. 52, No.
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Petrucci's Justiniane Revisited

JAMES HAAR
fairs, family-was wn day and long thereafteras an improvvisatore who sang and accomhis verses in of the aria veneziana or a distinctive version highly panied Venetianmanner.So successfulwere his performancesthat a subgenre, never preciselydefined, of the aria venezianawas named for him: the giustiniana.' Giustiniani'sfame spreadbeyond Venice. His poetry, along with musicalsettings of it, was in demand in Milan in the 1470s; and according to Pietro Bembo in the early sixteenth century, this poetry had been better known, both in the poet's own time and later, for the manner in which it was sung than for its literarymerits.2
Giustiniani [Justiniani] (ca. 1383-1446)-poet, man of afLeonardo and member of a famous Venetian celebratedin his
This study is based on a paper read at a symposium honoring ProfessorMartin Picker,held at RutgersUniversityon 8 November 1997. It is dedicatedboth to him and to the memory of Nino Pirrotta.I am gratefulto David Fallowsfor his carefulreadingof this paper. 1. See a letter from Piero Parleoneto Niccol6 Sagundino,dated 1462, cited in Nino Pirrotta, "Ricercareand Variationson O rosa bella" [1972], in his Music and Culture in Italyfrom the A Collectionof Essays Middle Ages to the Baroque: (Cambridge:HarvardUniversityPress, 1984), 401 n. 1; cf. Alfred Einstein, The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton:Princeton UniversityPress, 1949), 1:83; and WalterH. 29 (1957): Rubsamen,"The Justinianeor Vinizianeof the FifteenthCentury,"Acta musicologica 172. Petrucci'sspellingJustiniane (singular Justiniana) is found elsewhereas well; more common isgiustiniana afterthe usual spellingof the poet's familyname. Here Justinianewill be used to refer to Petrucci'spieces,giustiniane for workswithin the poetic-musicalgenre as a whole. 2. As earlyas 1429 Ambrogio Traversari wrote to Giustinianiaskingfor samplesof his poems "Cum melodiis suis"; see Pirrotta, "Ricercare and Variations," 401. About 1475 Cicco Simonetta, chancellorof the duchy of Milan, wrote to Venice on behalfof Duke Galeazzo Maria askingfor some of Giustiniani'scanzonewith their music, and for a boy able to sing them so that the aere venetianocould be brought to Milan. See Einstein, TheItalian Madrigal 1:87-88; and Rubsamen, "The Justiniane,"179. Bembo's opinion is expressedin the first book of the Prose della volgar lingua; see Bembo, Prosee rime, ed. Carlo Dionisotti (Turin:Unione TipograficoEditriceTorinese, 1960), 112. Pirrottacites this passagein "Ricercare and Variations" (p. 403); he suggests that Bembo's judgment of Giustiniani's poetry can hardlybe thought to be unbiased, coming as it did from such an avowed Petrarchist. On the late sixteenth-centuryrevivalof the giustiniana, see AlfredEinstein, "The Greghesca and the Giustinianaof the Sixteenth Century,"Journal of Renaissanceand BaroqueMusic [=
[JournaloftheAmerican 1999, vol. 52, no. 1] Musicological Society ? 1999 by the American Musicological Society. All rights reserved. 0003-0139/99/5201-0001$2.00
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The combined poetry and music of fifteenth-centuryimprovvisatori-even a bare skeleton of words and notes, let alone the aria in the sense of a distinctive or personalstyle--survivesonly in tiny bits and pieces. Giustinianiis, however,well known to music historiansas the authorof O rosabellao dolceanima mia, a ballata of which settings surviveby Ciconia from the earlyyearsof the fifteenth century,and by Bedynghamfrom midcentury.Many literaryhistorians have rejectedGiustiniani's authorshipof this poem, and among musicoloNino Pirrotta is gists skepticalabout it; but a recent study by David Fallows in of the attribution,made in a fifteenth-century favor arguesstrongly print of Both Giustiniani's are not written work.3 settings formallycomposed works, recordsof improvisatory each contains hints of melodic refpractice,although erence to what might have been preexistenttunes.4 Settings of a half-dozen other texts attributedto Giustinianiare extant in Some of these are relevantto my purposehere fifteenth-century manuscripts.5 and will be referredto later.The center of this study is a group of four pieces
Musicadisciplina]1 (1947): 19-32. Einsteinhazardsthe opinion that the Justinianeof Petrucci's sixth book are "veryarchaiccompositions for three voices" (p. 27). Tim Cartersuggests the presence of some musicalreminiscencesof fifteenth-centurypracticein the Cinquecentogiustiniana und Gegenwart,2d ed., ed. Ludwig ("Justiniana,III, Nach 1520," in Die Musik in Geschichte Finscher[Kassel:Birenreiter,1994-98], vol. 4, cols. 1598-1600). 3. See Pirrotta,"Ricercareand Variations,"148; and David Fallows, "Leonardo Giustinian and Quattrocento Polyphonic Song," in L'edizionecritica tra testomusicalee testoletterario,ed. Renato Borghi and Pietro Zappala(Lucca:Libreria MusicaleItaliana,1995): 251-53. O rosabella was included in Comincia elfiore de le elegantissime canzonetedel nobilehomo missierLeonardo lustiniano (ca. 1472). See also Fallows'sdiscussionof Ciconia and another Giustinianitext, Con lagrime bagnandomeel viso(pp. 251-52). On this lattersee also John Nidas and Agostino Ziino, The Lucca Codex:IntroductoryStudy and FacsimileEdition (Lucca: LibreriaMusicale Italiana, 1990), 62-63. Another Ciconia piece, Merfe o morte, o vagha anima mia (on a text related to Giustiniani'sMerfe te chiamo),is contained in the Lucca Codex; see Nidas and Ziino, TheLucca All the Ciconiapieces mentioned in this study are to be Codex,62-63 and 105-7 (transcription). found in TheWorks offohannesCiconia,ed. MargaretBent and Anne Hallmark(Monaco: OiseauLyre, 1985). 4. Pirrotta studies the Bedyngham setting, also ascribed to Dunstable, in "Ricercareand Variations."The reliabilityof the attribution to Bedyngham is established in David Fallows, "Dunstable, Bedyngham and O rosa bella,"Journal of Musicology12 (1994): 287-305. On Ciconia's setting see Nino Pirrotta, "Echi di arie veneziane del primo Quattrocento?" in Interpretazioniveneziane:Studi di storia dell'arte in onoredi Michelangelo Muraro, ed. David Rosand (Venice:Arsenale,1984), 101. Both pieces are printedand discussedwith regardto popon Italian Poetryand Music in theRenaissance, ularesqueelements in them in JamesHaar, Essays 1350-1600 (Berkeley and Los Angeles: University of California Press, 1986): 40-41 and 164-67. Similarelements may be seen in Ciconia'sMerfeo morte(see above, n. 3). 5. See Rubsamen, "The Justiniane,"177-78; and Fallows, "LeonardoGiustinian,"257. In addition to those works mentioned in note 3, these include Perla mia cara; 0 bella rosa,o perla angelichata;Ogratioxa viola mia gentile; and Dove e dovee lo mio signore.Giulio Cattin accepts only Perla mia cara and Ayme sospiri,the latter being one of the Petrucci settings, as authentic Giustinianitexts ("Nomi di rimatoriper la polifonia italianadel secondo Quattrocento,"Rivista italiana di musicologia 25 [1990]: 304). Fallowsis at some pains to contest this and to bring a largerbody of texts into the Giustinianicanon ofpoesiaper musica.
Petrucci's Revisited 3 Justiniane near the beginning of Petrucci'sFrottolelibrosestoof 1505 (Feb. 1506 N.S.). These compositions were first identified by WalterRubsamenin 1957 as the sonettistrambotiode Justiniane referredto in the subtitle of the book, Frottole Justiniane numerosesantasie [sei]. Rubsamen showed that two of the texts, Aime ch'a torto and Moro di doglia, are taken from poems attributed to The settings, unusual among Petrucci'sfrottole for their threeGiustiniani.6 voice texture and highly melismaticlines, are markedlydifferentin poetic and musicalstyle from the bulk of the frottola repertory.An example of a barzelletta, Poi che gionto el tempoe'l loco(also from Frottolelibrosesto),which may be said to represent the "norm" in Petrucci's repertory, is given below in Appendix B (no. 5). It was Rubsamen'sbelief that these four Justiniane are examples of written-out improvisationin a style derived from what he calls "arsnova" polyphony, Italianmusic of the late fourteenth and earlyfifteenth centuries.A good detective, Rubsamenfound corroboratingevidence in the presence of one of Petrucci'spieces, Aime sospirinon trovopace, in an Italian chansonnierof the second half of the century.From its simplifiedand somewhat alteredform, Rubsamenjudged it to be the prototype from which the more ornateversionof Petrucci'sprintwas derived. Rubsamen's discovery was noted approvingly by Ernst Ferand and by GenevieveThibault.7Nino Pirrottacited it with more reserve,not contradicting Rubsamen's conclusions but clearly withholding judgment.8 David Fallowsreferredto it brieflyand in rathernoncommittal fashion in his recent articleon Giustiniani's In a study publishedin 1986, I took poesiaper musica.9 Rubsamen's views on the Petrucci up Justiniane, making a negative point
6. See n. 1 above; cf WalterRubsamen'saccount of fifteenth-centuryItaliansong in "From Frottola to Madrigal:The Changing Pattern of Secular ItalianVocal Music," in Chansonand Madrigal, 1480-1530, ed. James Haar (Cambridge: Harvard University Press, 1964), 51-87. The case for Morodi doglia as the work of Giustinianimay not be as secure as Rubsamenwould have it; the poem from which it comes is found in a manuscript(Florence, BibliotecaNazionale Centrale, Palat. 213) in a section the authenticityof whose ascriptionshas been doubted. See Fallows, "Justiniana, II, Bis 1520," in MGG, 2d ed., vol. 4, cols. 1597-98. GiuseppeBillanovich nonetheless listsit (under the capoversoof its firststanza, Io vedobenche'lbonserviree vano;Moro di dogliais the second) in the categoryof authenticworks ("Perl'edizione criticadelle canzonette di LeonardoGiustinian,"Giornalestorico della letteraturaitaliana 110 [ 1937]: 242). The Justiniane, unidentifiedas such in the print, are numbers 2-5 of Frottoklibrosesto.The opening piece, Filippo di Lurano'sNon som quel chesoka, serves as a kind of introductionto the volume, its text including the phrase"Hor vale canzoneta,va per el mondo in pace." 7. Ernst Ferand, "Improvisation," in Encyclopidie de la musique,ed. FranqoisMichel (Paris: Fasquelle, 1958-61), 2:528-33; and Genevieve Thibault, "L'Ornementationdans la musique New profaneau Moyen-Age,"in InternationalMusicological Society, Reportof theEighthCongress, York, 1961, ed. Jan LaRue (Kassel:Barenreiter, 1961-62), 1:450-63. 8. Pirrotta,"Ricercare and Variations," 402. Pirrottaoffers a slightly more negative opinion in two essays:"New Glimpsesof an Unwritten Tradition"[1972], in his Music and Culture in Italy, 379 n. 22; and "Su alcuni testi italiani di composizioni polifoniche quattrocentesche," Quadrivium 14 (1973): 142. 9. Fallows, "Leonardo Giustinian,"254. Fallows says a bit more about Petrucci'spieces in "Justiniana, II," cols. 1597-98.
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(that it is questionablewhether they contain written-out improvisation)and a and Morodi doglia appearto use the same basic positive one (that Aime sospiri Now I want to returnto the subjectand to considerthese pieces in melody).10 more detailedfashion. In doing so I wish to pay tribute to WalterRubsamen, a resourcefuland enterprisingscholar who made some important contributions and who, if he occasionallygot a bit carriedawayby what he had found, never lackedthe courageof his convictions."1 The strong point in Rubsamen's argument is his discussion of idiosyncrasiesin the PetrucciJustiniane, including, in addition to their melismatic texture, their stammeringdeliveryof the texts and their use of a cadentialformula emphasizinga forcefullydissonantintervalof the second. It is easyto see and in part to agreewith him that these were archaisms in the Venice of 1505, survivalsof a repertoryolder than and apart from the frottola of the 1490s. Rubsamen's discovery of a concordant source for Aime sospiri, Escorial IV.a.24, adds substanceto the slightlyunrealimpressioncreatedby Petrucci's pieces; the simple texture of the work in this manuscriptsource supports his hypothesisthat the Justiniane of 1505 arefull of written-outimprovisation. Questions about Rubsamen'sconclusions do neverthelessarise;here are a few. (1) Could these pieces reallybe survivals of a fifteenth-century"arsnova" tradition,thus older by farthan anythingelse, even the oldest chansonsof the that Petrucci published?(2) What is the meaning of the phrase Odhecaton, "written-outimprovisation"? (3) Do Petrucci'sJustiniane fit well with other survivingfifteenth-centurysettings of Giustiniani'sverses?(4) What specifically is the relationship of the Escorial version of Aime sospiri to that of Petrucci?More study of the settings printed by Petrucci raisesfurther questions, the most challengingof which is whether they are "real,"in the sense of representinga traditionof performance,or "contrived,"in the sense of being made specifically for inclusionin a publishedbook. arrangements "ars nova" Rubsamen did not mean literally the music of the fourteenth By He seems to have the term with Petrucci's use of melismatic century. equated and decorativemelodic lines, especiallyin the upper voice.12In particularhe posited a directrelationshipbetween the melodic style of Petrucci's Justiniane and that of Italian-texted pieces by Ciconia and his younger contemporaries.13
10. Haar, Essays on Italian Poetryand Music,42-43 and 168-69. The second phrasein Moro di dogliais transposeddown a fifth from its level in Aime sospiri. 11. For Rubsamen'scareerand scholarlyoutput, see PaulaMorgan'sentry in TheNew Grove DictionaryofMusicand Musicians16:303. 12. Rubsamenends his study as follows: "In conclusion, it has been establishedthat the simplejustiniane of the mid-Quattrocentowere not performedas written, but servedas a framework for improvisatory ornamentation,thus continuing on a new harmonicbasisthe richlymelismatic style of the arsnova. Petrucci'spublicationof four examplesshows that Trecento floriditylived on in Italyas an improvisedstyle until at least the turn of the century,having dropped from sight but not from sound" ("The Justiniane,"179). 13. Ibid., 178-79.
Petrucci's Revisited 5 Justiniane As we shallsee, there may indeed be some sharedfeaturesin these two reperor replicationof ornamentories, but these do not include melodic similarities tal formulas. Petrucci's pieces show use of rambling scalewise figures and sequentiallypatterned ornaments (more will be said about these later) quite different from earlyfifteenth-centuryfiguration,which more often than not circlesnotes of importance.14 This is what led me to sayon an earlieroccasion that the melodic figuration in Aime sospirilooks more like an intabulation than it does vocal ornament.15 Here I may have been a bit severe,in reaction to Rubsamen'soverly categoricalconclusions. Nonetheless, I would maintain that the top line of Aime sospirilooks, especiallyin the opening measures(in mm. 9-10 and againin mm. 20-22 and 25-27), very much like a lute or keyboard intabulation;it is almost as if one were meant to sing the tenor line againstan instrumentalversion of the cantus. (For this and subsequent references to these pieces, see the transcriptions in Appendix B.)16The same thing is true in varyingdegree of the other threeJustiniane.At the very least there is a strong suggestion that this kind of ornament comes from a period when such intabulations were becoming current,farcloserto 1500 than to 1400.17 My fourth question, about the relationshipbetween the simple form of Aime sospiri found in the Escorialchansonnierand that printedby Petrucci,is relevanthere. Rubsamen argued that the simple version must be earlier,the basison which the ornamentalone was made. This may be true, although discrepanciesin the lower voices suggest something more, or perhapssomething IfRubsamen was right, the Escorialversion different,than mere elaboration.18 would have to be very old indeed for its elaboratedversion to belong to the ars nova tradition. But everything about Aime sospiriin its unadorned form
14. Ciconia uses melodic sequence in syllabicsections of melodic lines ratherthan in melismas. See, for example,his O rosabella,measures19-24, on the words "non mi lassarmorire."See also his setting of Mere?o morte(see nn. 3 and 4 above). 15. Haar,Essays on Italian Poetryand Music,43. 16. The four frottolein question here are edited, along with the other three-voice pieces in Librosesto, in Benvenuto Disertori, Lefrottoleper canto e liuto intabulateda Francesco Bossinensis (Milan:Ricordi, 1964), 248-70. I include them in this study partlybecause Disertori'stranscriptions are not entirelysatisfactory, but chieflybecausereadyavailability of the music is necessaryin orderto illustratedetailsof my argument. 17. See FrancescoSpinacino, Intabulatura de Lauto, Libroprimo and Librosecondo (15071 and 15072 in Howard Mayer Brown, InstrumentalMusic Printed Before1600: A Bibliography [Cambridge:Harvard University Press, 1965]); examples are given in Disertori, Lefrottoleper canto e liuto, 176-218 and 229-47. For other examples, from an early sixteenth-centurylute di meserVincenzoCapirola:Lute Book (circa manuscript,see Otto Gombosi, ed., Compositione 1517) (Neuilly-sur-Seine: Soci6t6de musique d'autrefois,1955), 18, 29, 73, and 79. The contents of the Faenza Codex, of earlyfifteenth-centurydate, offer negative examples; the ornamentalwriting to be seen there is totally unlike that of the Petruccifrottole.See Dragan Plamenac, ed., KeyboardMusic of the Late Middle Ages in CodexFaenza 117 (n.p.: American Instituteof Musicology, 1972). 18. Rubsamenpublishesthe two versionssuperimposedone on the other; the result is rather hardto read. In AppendixB to this study I give the two separately.
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of the secondhalfof the B) suggeststhe firstdecades (see no. 4b, Appendix not of much if date of redaction fifteenth asthe composition; original century the I the decades of version last century. suggests thoughnot allof Petrucci's are indeed based on the the which two versions, am inclinedto thinkthat the Escorial samemelody,come out of different traditions, piece of mixed and derived Petrucci's and northern(perhaps Milanese) Neapolitan origin, fromlocalVenetian practice.19 intentionin To returnto my firstquestion,I wouldarguethatPetrucci's of resuscihave been one could these Justiniane archeological hardly printing must them he have as tationof a century-old regarded style; belongingto a arearchaisms he Yet there like all the music musical tradition, printed. living the and the insisof text them the noted here, among fragmenting already the formula.20 that cadential tence on a strongly dissonant (Note textingof in to that in the Escorial Aimesospiri version, corresponding though general and thereareno clashing-second of Petrucci, is less fragmented, cadences.) I callarchaisms hereis thatthoseelements WhatI amsuggesting mightbe deliberatelypreservedbits of the traditionalmode of performanceof a of melodicline was a modernGiustiniani the ornamentation aria, whereas reference to thattradition. izedformwithoutmeaningfiul
19. On the provenanceand approximatedate of Escorial,Real Monasterio de San Lorenzo del Escorial,Bibliotecay Archivode Muisica, MS IV.a.24, see MarthaK. Hanen, TheChansonnier El Escorial IVa.24 (Henryville, Pa.: Institute of Mediaeval Music, 1983), 1:42-43 and 47. Hanen's discussionof the giustiniana is disappointing(1:115-17). Her assignmentof the manuscript'sorigin to Naples is supported by some scholars,including Allan W. Atlas (Music at the AragoneseCourt of Naples [Cambridge:Cambridge UniversityPress, 1985], 118-19 n. 12). It has been contested in other works, including Nino Pirrotta, "Su alcuni testi italiani";Eileen Southern, ed., Anonymous Pieces in the MS El Escorial IVa.24 (n.p.: American Institute of Musicology, 1981), xii-xiv; GeraldMontagna, "JohannesPullois in Context of His Era,"Revue 42 (1988): 88-92; and Dennis Slavin, "On the Origins of EscorialIV.a.24 belgede musicologie hav(EscB)," Studi musicali19 (1990): 259-303. Slavinarguesconvincinglyfor the manuscript ing been compiled in stages over a period perhapsas long as ten years (ca. 1455-65) and as having been begun in northern Italyand completed in Naples. 20. Knud Jeppesen looks for examplesof fragmentedtext and of the dissonant-secondcadence elsewhere in the frottola repertory (La Frottola [Copenhagen: Munksgaard,1968-70], 1:29). He finds some instancesof each, with the cadence turningup in nine pieces in a manuscript source claimed to be of Milanese provenance, Milan, Biblioteca Trivulziana,MS 55 (vol. 3 of Jeppesen'sstudy containsa complete edition of this manuscript).In qualifyingRubsamen'spoint about these features,Jeppesen does not deny their specialprominence in the Justiniane. Cattin mentions Jeppesen'sobservationswithout commenting further on them ("Nomi di rimatori," 55, posited by Remo Giazotto and ac283-84). He questions the Milaneseorigin of Trivulziana to the Veneto (p. 220). See also William cepted by Jeppesen(p. 249), and assignsthe manuscript F. Prizer, "Secular Music at Milan During the Early Cinquecento: Florence, Biblioteca del Conservatorio,MS Basevi2441," Musicadisciplina50 (1996 [1998]): 9. The specialinterestin the aria venezianaat the Milanesecourt in the second half of the fifteenthcentury (see above, n. 2) is emphasized in Reinhard Strohm, The Rise of European Music, 1380-1500 (Cambridge: CambridgeUniversityPress, 1993), 544.
Petrucci's Revisited 7 Justiniane In addressingmy second question, that of "written-outimprovisation,"I admit to a kind of prejudice:the phrasestrikesme as a contradictionin terms. And yet there are plenty of instances,which I or anyone else can view with equanimity,of freely varied vocal practice that is fixed in writing; chansons which in differentsourcesintroduce, alter,or leave out cadentialornamentare but one example. A written composition of this period, insofar as it can be considereda recordingof one or more ways in which a piece was performed, may indeed include some ad libitum elements. Among pieces mentioned by Rubsamen as being giustiniane in poetic and musical style (regardless of whether their texts are attributedto Leonardo Giustiniani),there are some that include bits of what really looks like "frozen" improvisation. One is dele done,found next to Aime sospiri in the Escorialchansonnier.21 Triumphe The PetrucciJustinianeshow this kind of ornamentoccasionally, but farmore often they containpatternedfigurationextended over severalbreves'duration, an element that is very differentin concept and effect. I have already suggested an answer to my third question, namely that Petrucci'sfour Justiniane are not much like the pieces listed by Rubsamenas belonging to the category of aria veneziana;at least they arevery differentin the ornamentaldressin which Petruccipresentsthem. The existenceof a simple version of Aime sospirisuggests that similarversions of the other three might have been in circulation,and it is possible to make such versions.A tentative "deconstruction" of the opening of Aime ch'a torto vo biastemando amore (no. 3b, Appendix B) may be compared with Petrucci'sversion (no. 3a).22If this hypotheticalpiece is furthercompared to the Escorialversion of Aime sospiri can be seen, includingthe (no. 4b, AppendixB), some similarities ratherwide melodic range of the top line. Perhapsall of Petrucci'sJustiniane were, in some form, at least as old as Aime sospiri (ca. 1460?). In sayingearlier that they look like work of the period 1480-90, I was referringto the nature of the ornamentationand in part to the bass lines, which here and there seem patterned, not altogether successfully,after Petrucci's frottola basses. The Italianpieces in severalmanuscriptchansonniersand notably in one section of
21. EscorialIV.a.24, fol. 86v (Aime sospiriis on fols. 85v-86r). For a discussionand partial transcriptionof Triumphedele done, see Rubsamen, "The Justiniane,"178. It is published in Hanen, The ChansonnierEl Escorial3:305 (immediatelyfollowing Ayme sospiri[pp. 302-4]). The works are also published in Southern, AnonymousPiecesin the MS El ErcorialIVa.24. An the same as Aime sospiri, is includedin a list of pieces apparently "Oyme sospiri,"presumably popular in mid-fifteenth-century Italy, in Vatican City, Biblioteca Apostolica Vaticana, MS Ottoboniano lat. 251, fol. 34r. See Fabio Carboni and Agostino Ziino, "Un elenco di composizioni musicalidellaseconda met? del Quattrocento,"in MusicaFranca:Essays in Honor of Frank A. D'Accone, ed. Irene Aim, Alyson McLamore, and Colleen Reardon (Stuyvesant, N.Y.: was also used as a lauda;see FrancescoLuisi, Pendragon, 1996), 428, 437, and 456. Aime sospiri ed., Laudariogiustiniano(Venice:Fondazione Levi, 1983), 1:247 and 536; 2:268-70. 22. For a reduction of the beginning of the cantusline of Morodi doglia,see Haar,Essays on Italian Poetryand Music,43 and 168-69.
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in quitesimple form.23 If theyare Escorial IV.a.24areon the wholepresented in must havebeen of the aria as recorded veneziana they representative script, rather Here the is whether the Petrucci differently. performed question of performance showus whatthismanner waslike. Justiniane Excursus: Siciliana and Veneziana At a banquet in Veniceon 8 October1448, someyoung Florentines entertainedthe company cantilenas et followed melodias," "gallicas by performing et symphoniis," ... cantiunculis andconcluding with the bestof by "Venetis cantilenas" siculas et a [Sicilian] all, "nonnullas sungby Cosmas, symphonias man who had in That Sicilian been were to young Sicily.24 songs preferred FrenchandVenetian ones (giustiniane, be because possibly) maysimply they weremoreaffectingly remoteprovenance, Sicilian sung;in spiteof its seeming musichadbeenknownin theVenetosincethe early of the fifteenth cenyears haswritten Nino Pirrotta aboutSicilian in found studies, tury.In several pieces the NorthItalian CodexReina(Paris, n.a.fr. Nationale, Bibliotheque 6771).25 In one of themhe reaches the following conclusion: Theevidence I have assembled to indicate seems thata Sicilian of singing style waspracticed andimitated in northern where it either determined or Italy, witha more trend of theunwritten of music; tradition eventumerged general it became in itsownright, withno further reference to itsexotic ally, accepted Thusit became andcultural provenance.... partof the stylistic background from which atleast onetypeof so-called wasto emerge a fewyears giustiniana
later.26
Someof the evidence to whichPirrotta refers includes textual andmusical in found Sicilian as in recorded the Reina Codex. idiosyncrasies song Among thesearefragmented of text phrases, words,andevensinglesyllarepetition of a pleonastic to facilitate bles;the addition "e,"in thepoetry, syllable, usually a in the music toward performance;tendency disjointed, asymmetrical phras23. There are ten Italianpieces in a row (out of a total of twenty-fivein the manuscript)in EscorialIV.a.24, fols. 82v-93r. See the inventory of the Italianpieces in Jeppesen, La Frottola 2:112-13. Hanen gives a complete inventory of the source (The Chansonnier El Escorial 1:163-70). 24. Giannozzo Manetti, Dialogus in domestico etfamiliari quorundamamicorum symposia Venetiis habito,cited by Nino Pirrottain "PolyphonicMusic for a Text Attributedto Frederick II" [1968], in his Musicand Culturein Italy, 39-40 and 375-76. 25. These include Pirrotta's"PolyphonicMusic for a Text Attributedto Frederick II," "New Glimpsesof an Unwritten Tradition,"and "Echidi arievenezianedel primo Quattrocento?"(see above, nn. 4, 8, and 24). See also F. Alberto Gallo, "Ricerchesullamusicaa S. Giustinadi Padova 7 (1964-77): all'inizio del Quattrocento:Due 'Siciliane'del Trecento," Annales musicologiques 43-50. 26. Pirrotta,"New Glimpsesof an Unwritten Tradition,"66.
Petrucci's Revisited 9 Justiniane in the counterpoint;and prominent use of dissonancesin the ing; parallelisms floridvocal line over its accompanyingvoice. The dissonanceof a second at cadential approaches is particularlynotable. Pirrotta finds some evidence of "Sicilian"influence in the Italian songs of Ciconia, contemporarywith the copying of the Reina Codex (and with Giustiniani'syouthful residence in Padua). A number of these traitsmay be found in Petrucci'sJustiniane. A glance at the transcriptions in Appendix B revealstext underlaythat is casualeven by fifteenth-centurystandards.The text is on the whole set by the line or halfline, but occasionallya new line of text begins in the middle of a musical phrase.In measures27-30 of Morodi doglia, for example,the effect is not so much one of sophisticatedenjambmentas it is of sheer nonchalanceon the part of performeror scribe. There is a great deal of text repetition, ranging from half-linesto single syllables(for extreme examplessee Aime sospiri, mm. 41-50; and Aime ch'a torto,mm. 13-20).27 Enough syllabicsetting is found to make the text comprehensible(though there aresome bad errors;see line 3 of the text to Aime ch'a torto [no. 3, AppendixA]), but in the frequent and lengthy melismasit appearsthe text can come anywhere,or nowhere. The fourth line of Chui dicese,"Mentreche dura e la mia vita," seems, depending on whether "dura"is construed as verb or adjective,to contain a pleonastic "e," another Sicilianismadopted in the Justiniana. Its presence would appearto fit the sense of the poem, which scorns fine versesunaccompanied by true love. As for the music, it is certainlymade up of phrasesof asymmetrical lengths, occasionally punctuatedby sudden mid-phrasecadencesand unexpectedrests, though with strongly emphasized major cadences. The lack of symmetry is of phrasesso entirelylackingin melodic ornaheightened by the appearance ment that the music looks as if here and there melismas had simply come mm. 6-8; Morodi doglia,mm. 24-26; unglued and fallenoff (see Chui dicese, Aime ch'a torto,mm. 45-50; and Aime sospiri, mm. 43-47). infelicities are in abundance in these settings. Parallel Contrapuntal present and octaves be found count unisons, fifths, may (I only the most strikinginin dicese Chui stances) (m. 13, cantus-bassus, fifths; m. 22, cantus-tenor, m. unisons; 24, cantus-bassus, fifths; m. 32, cantus-tenor, unisons; m. 42, cantus-bassus,fifths), Morodi doglia (mm. 1-2 = 16-17, cantus-bassus,very close to fifths; m. 28, cantus-bassus, fifths); Aime ch'a torto (mm. 17-18, cantus-tenor, cantus-bassus,fifths; m. 46, cantus-bassus,obvious dodge of fifths); and Aime sospiri(m. 2, cantus-bassus, fifths; m. 18, cantus-bassus, fifths).Audible dissonances,chieflyappoggiaturas (againI note only the more
27. Possibly the comic stuttering in the late sixteenth-century giustiniana is some kind of descendant of this practice. For examples see the giustiniane in Andrea Gabrieli, Complete Madrigals,ed. A. TillmanMerritt(Madison:A-R Editions, 1981-84).
10
obvious ones), occur in Chui dicese(mm. 12, 16, 18, 27, 36, 39 [an incorrect suspension figure]); Aime ch'a torto (mm. 9-13 = 41-44 = 62-65, 38 [another incorrect suspension]), and Aime sospiri(mm. 3-4, 10, 18, 21, 34). Many of these passagesarevery similarto one another and thus provide clear evidence that stock figureswere used for all four pieces. The detail is not just pedantry;I want to show that these pieces are quite rough. In Rubsamen's view, all of these places might be explainableas typicalof live improvisatory practice, taken down literallyin written form. I disagree. In the process of writing out the music, especiallywhen done for the purpose of publication, the parallelisms and at least some of the dissonances could have been smoothed out. That they might instead have been deliberatelyintroduced in order to simulatean improviser'sart is possible and indeed I think probable, but that is something quite differentfrom Rubsamen'shypothesis. The highly dissonant second-to-unison cadences that Pirrotta noted as Sicilianisms may be found in all four pieces, the dissonanceoften lasting for a full semibreve. Those in Aime ch'a torto are especially striking (see mm. final cadence). They 12-13, 19-20, 29-30, 33-34, 44, and the extraordinary occur on a number of different pitches (though never on F), nearly always when the uppervoice descends 2-1 and the tenor has a 7-1 rise (an exception is the final cadence of Aime sospiri).Their avoidanceelsewherein Aime ch'a torto(at mm. 4-5, for example)shows that they aredeliberate,here and in the other three pieces as well. If this featurewas something picked up by cultivators of the giustiniane from Siciliansinging, the composer(s) or arranger(s) of the Petrucci pieces wanted to call attention to it (these cadences are less frequent and less insistentlydissonantin the variousmanuscript giustiniane cited by Rubsamen). Their presence could give support to Rubsamen'sthesis that the Petrucci pieces represent an older tradition. Here Pirrottamight agree, and so do I to some extent, but the blatantinsistenceon these cadencessuggests that they are being used as a self-consciousarchaism,meant to emphasize an individuality of genre.28 At this point I want to go through the PetrucciJustiniane again, first to comment on their contrapuntal structureand then to describethe ornamental lines of the cantusvoice in an attemptto synthesizetheir compositionalprocedure.
28. Ogni cosaha el suo locho, one of the two three-voicepieces apartfrom the Justinianeto be found in Petrucci'ssixth book (there are none in any of the other books), uses this cadenceseveral times. A concordant source for this piece is Milan, Biblioteca Trivulziana, MS 55. The piece is published in Remo Giazotto, "Onde musicali nelle corrente poetica di Serafino dall'Aquila," Musurgia nova (Milan: Ricordi, 1959): 85-86; and in Jeppesen, La Frottola 3:288. For on the occurrenceof the second-unisoncadence in this manuscript, see above, Jeppesen'sremarks n. 20. Trivulziana 55, of earlysixteenth-centurydate, has been thought to be of Milaneseprovenance, making one think of the vogue for the giustiniana in late fifteenth-centuryMilan (see above, nn. 2 and 20).
Petrucci's Revisited 11 Justiniane The giustiniane in fifteenth-centurymanuscriptsources are all three-voice settings, with one exception, a two-voice version of Merpf te chiamo in Bologna, Biblioteca Universitaria,MS 2216.29 By 1500, four-voice texture had become the norm, but in Petrucci's sixth frottola book the Justiniane, along with two pieces at the end of the volume, are scored for three voices. of the Adding an altus partwould not have been easy,given the elaborateness cantus lines; it was probably beyond the capacityof whoever preparedthese works for publication.There is some evidence that the bassusmay itself have been an added part. With almost no exception, cantus and tenor form selfsufficientduos in these pieces, and many of the awkwardspots in the contrapuntal fabric involve the bassus. This latter part is in certain respects more modern than the other two voices, with lots of root-position skips and some indicationsof tonal planning. Running figurationin the bassusoccurs at easy interval-fillingspots. Other passages, including those featuring movement in parallelmotion (usually tenths) with the cantus, could be the result of exchange with the tenor, part of a recomposition of a single accompanying line into two. In other words, the Justiniane could have been turned from two- into three-voiceworksin something of the way barzellette and strambotti in Petrucci'svolumes were providedwith altus partsto reach their finalform. In publishing these pieces a 3, Petrucci could of course have wanted to emphasizethe Justiniane'sdifferencefrom the rest of the frottola repertory,but it would seem that technicalconsiderations also playeda part. If the contrapuntal structureof these pieces is not flawless,it is nonetheless evident in sturdyand shows evidence of musicalplanning. This is particularly Morodi doglia. In this piece the opening phrase (mm. 1-8), setting the first halfof the firstline of text, is repeatedin measures16-23, note-for-notein the lower voices but with minor changes in the cantus. In this latterinstance,the text is the firsthalf of the second line. The second phrase,measures9-15 (setting the remainderof line 1 of the text), is a shortenedvariantof the first.It is itself echoed in the beginning of the fourth phrase, measures 24-25. This phrasethen goes its own way, setting the remainderof line 2 and most of line 3 of the text. A kind of coda sets the last two words, ending (in mm. 35-38) with a varied repetition of measures 30-32. Curiously,every important cadence in the piece is on C. This very clearformalpatternmay be linked to the
29. For a modern edition see Rubsamen, "From Frottola to Madrigal,"172. The piece is found with an added third voice in EscorialIV.a.24 and Montecassino, Bibliotecadell'Abbazia, MS 871. It is edited in TheMusical ManuscriptMontecassino 871: A Neapolitan Repertoryof Sacredand SecularMusic of the Late FifteenthCentury,ed. Isabel Pope and MasakataKanazawa (Oxford:ClarendonPress, 1978), 336. The text of this piece is found in Giustiniani's Elfiore (see above, n. 3). Merft o morte,attributedto Ciconia in the Lucca Codex, has in that source a third voice; in other sources it is a two-voice composition. See Nidas and Ziino, TheLucca Codex,20,
62-63, and105-6.
12
or capitolo.30 text, a single tercet from a long sirventese Perhapsthe piece, in less ornamentalform, accommodatedmany stanzasof this poem; its choice of the second tercet is then ratherpuzzling, unless the poem was known in a form beginning there. The other threeJustiniane areless tightly organized,though all show some attempts at musical planning. Aime sospiribegins its second phrase (mm. 15-17) in a repetitionof the opening bars,at least in the two lower parts;after this it is close to being through-composed.31 In Chui dicese,a similarrepetition-with the thirdphrase(mm. 11-17) echoing the first(mm. 1-5)-is disguised not only by different figuration in the top voice but by a different beginning in the tenor and bassus (mm. 11-12), after which the latter two voices follow the firstphrasefor severalmeasures.In both of these pieces the musicalrepetition signalsthe beginning of the second line of text. Aime ch'a torto,the longest of the settings, uses repetition in another way. A cadential section (mm. 9-13) is given a varied repeat in measures 41-44, and these measuresare then repeatedexactlyat the end of the piece (mm. 62-65). Here it is the ends of poetic lines ratherthan their beginnings that are underscored by the music. What remainsunclearis whether or not the contrapuntal--or accompanimental-structure of these pieces was presentin versionswith a simpler(written) cantus line. For this the Escorialversion of Aime sospiri,which clearly derivesfrom a traditionseparatefrom Petrucci'ssource, is of no help. I am inclined to think that something like these structures,perhapsonly two-voice discant,was in place at an earlyperiod in the music's life. It could of course have been modernized and adapted to fit, adequately if not perfectly, the melismaticcantuslines of Petrucci'sversions. And what of these ornamentalmelodies?Do they show evidence of planof improvisatory ning or are they reallytranscriptions song? One of their characteristics is the use of scalarpatterns. Chui dicese is especiallyfufll of risingand fallingscales(see mm. 2-3, 12-14, 26-32). Scalesegments in sequence, either descending or ascending, are frequent (see Chui dicese,mm. 16, 21-22, 26-27, 36; Moro di doglia, mm. 20-21, 34-35; Aime ch'a torto,mm. 7-8; and Aime sospiri, mm. 3-4, 15-16, 20-21, 33-36). Other figureslend themselves to sequentialtreatment.Especiallyprominent are the rhythmicpatterns J J j Z J and J [' J J (see Chui dicese,mm. 15, 18, 35, 37, 43; Morodi doglia,mm. 3, 12; Aime ch'a torto,mm. 4, 9-10, 34-35, 41, 61-62; and Aime sospiri,mm. 3, 9, 17-18, 32). Occasionallymelodic sequences of
30. See Bertold Wiese, ed., Poesie edite ed inedite di Lionardo Giustiniani (Bologna: Romagnoli, 1883), 385-89. The poem, which is incomplete in the source used by Wiese, breaks off after 121 lines. The text is to be found in four other manuscripts,according to Billanovich ("Per1'edizionecritica,"242). Morodi dogliawas also sung as a lauda; see Wiese, Poesie,390. 31. In the Escorialversion it is the cantus melody that repeats over new accompaniment (mm. 10-11).
Petrucci's Revisited 13 Justiniane near-Vivaldian length may be seen, as in Aime ch'a torto, measures 61-62; measures29-32; and Aime sospiri, measures32-36. Chui dicese, This figuration seems to me very different from fifteenth-centuryvocal practice,improvisatoryor otherwise. These are patterns for the eye and the fingers. They cannot easily be sung as written (note, for example, the neartotal absence of rests in the top line of Aime sospiri)and even if freely interpreted are not in an idiom sympatheticto the voice.32I strongly suspect that most of this ornament was applied--like the nervouslyactive inner voices of some of the frottola repertory(especially strambotti)-at some point well after the music's composition and originaldissemination,perhapsclose to the time and for the purposeof publication. The activityI havejust describedwas probablynot limited to applicationof melodic ornament. I suggest that the Justiniane as presented by Petrucci are not a group of pieces copied afterlive performancesbut ratheran assemblage of elements thought to be characteristic of the genre. There is asymmetryof phrase structure in simulation of improvisatorysinging, with elements of a simple line-by-linestructureevident in the lower voices. The three-voicetexture, though a partialconcession to the proprietiesof music presentedin formal script or print, carrieswith it a self-consciousair of the archaic.Casual scatteringand stutteringrepetitionof text is presented as a signifyingmarkof the genre, as is the roughness of contrapuntal texture and especiallythe heavy insistenceon the dissonant-secondcadence. The resultis less living song than fabrication of genre, a kind of experimentmore characteristic of the visualarts as motifs is crowded (such sculptureor paintingin which a medley of classical in) than of music. There are no manuscriptconcordancesfor these pieces except for Aime sospiri; they may have been put together to take advantageof the new possibilitiesfor circulationand publicity offered by the medium of print. If this is true of the Justiniane, it is to some extent true of the whole of Pe rucci'sfrottola repertory,much of which probably circulatedin informal musicaldress before being readiedfor presentationin scriptor print.33 In the Poi chegiontoel tempoe'l loco(see no. 5, AppendixB), for example, bar~elletta
32. Martin Pickerpointed out to me that Aime sospirihas been recorded at least twice, and drew from his own collection two performancesfor me to listen to. One of them, sung by Sara Stowe with harpist Jon Banks (The Cradle of the Renaissance:Italian Musicfrom the Time of Leonardoda Vinci,Hyperion CD A 66814) is to me surprisingly successful(in spite of gulps for breath), making better musicalsense than I could have imagined. The smooth result is achieved, however, at the cost of downplayingthe dissonantcadences and other rough spots to the extent that they are virtuallyinaudible. If this was the intention of Petrucci'ssource for the Justiniane, my view of their musicalunrealityis supportedin anotherway. 33. See William F. Prizer, "The Frottola and the Unwritten Tradition," Studi musicali 15 (1986): 3-37; cf. GiuseppinaLa Face Bianconi, Gli strambottidel codiceestense a.F.9.9 (Florence: Olschki, 1990), 32-41. Prizeremphasizesthe importanceof the role of the tenorista, who from about 1450 played along with the singer/instrumentalist,forming a voice/lute/viol texture or something like it (pp. 10-12 and 16-18).
14
aftermeasure 6 is perhaps a formally of everything arrangement dressed-up what may havebeen a simplesettingof the lastline of the poem's ripresa. like the presentbasslinesof barzellette, and odewere strambotti, Something therefromthe start.Formalizing of a tenorlineandthen,last,comprobably this musicto "go public"(in the caseof Poi che positionof an altusreadied wasaddedaswell).34 extended final Onemight gionto,anornamentally phrase bookdemanded thisformal but saythatthe printed compositional procedure, it is present in the not-very-extensive of thefrottola aswell. sources manuscript Unlike the turn-of-the-century chanson,the frottolasurvives largelyin printedsources.In printingelevenvolumesof frottole,Petrucciobviously wouldsell,andreprints thatit did so. But indicate hopedthatthisrepertory theremayhavebeenotherreasons forpublication. To an Italylongimpressed musical culture andrecently awedby French the by French military strength, an indigenous music,an artsong to be placedalongside frottolarepresented the century-long dominant chanson. For thisto succeed,the rather humble and barzelletta needed to be workedup to a polyphoniclevel strambotto Whether thisenterprise wastoequal,at leastin intent,to thatof the chanson. is lessimportant thanthatit wasseriously undertaken. tallysuccessful How do thejustinianefit into thispicture? I submitthatthe genrewasincludedin Petrucci's sixth book unlike the othertypesoffrotbecause, frottola it was and its Venetian. That tole, specifically proudly historyand character wererather different fromthatof, say,the barzelletta wouldnot matter andin factwould serveto underscore the distinctiveness of Venetian culture. After behind both stood the most of Italian barzelletta all, andgiustiniana enduring the ballata. At the beginning of the fifteenth Ciconia and songforms, century, a few of his contemporaries seem to haveincorporated in their ballateelements of an unwritten with the veneziana or performance style associated the latter a new in element the of the giustiniana, vocabulary improvvisatori. downin simple skeletal form By the 1430s,thegiustinianawasbeingwritten withonlyanoccasional bitof vocalornament.35 Around1460, another generationof quasi-popular Italian sources,andthe song showsup in manuscript distance fromthe timeof Ciconia is clearly visible andaudible.36 half-century's
34. On the accessory nature of the altus in this repertory, see, among others, La Face Bianconi, Gli strambotti,136, 149-50, and 162-63. 35. Perhapsthe earliestexample of this is Meref te chiamoas found in Bologna, Biblioteca Universitaria,MS 2216, fols. 27v-28r. The first section of this manuscriptwas copied before 1440. See F. Alberto Gallo, "Musiche veneziane nel Ms. 2216 della BibliotecaUniversitaria di Bologna," Quadrivium 6 (1964): 107-16; and F. Alberto Gallo, ed., I codicemusicale2216 della Biblioteca Universitaria di Bologna, 2 vols. (facsimile and commentary) (Bologna: Forni, 1968-70). 36. In "Su alcuni testi italiani,"Pirrottapoints out that the Italianpieces in the later fascicles of EscorialIV.a.24, among them Aime sospiri, are clearlyof a latercompositionaldate than those in the earlierpart of the manuscript(pp. 142-43). It would be a mistaketo try to condense or the historyof Quattrocentopolyphonicsong. oversimplify
Petrucci'sJustinianeRevisited
15
By 1470, a few representatives of the genre were copied with more ornament included, but whoever prepared Petrucci's sources did not find that the Justiniana (at least as preserved in writing) conveyed the qualities that made the aria veneziana famous, and so these four pieces were worked up into something that could stand for that aria.37 This is very different from Rubsamen's theory of written-down improvisation preserving the ars nova into the sixteenth century. To me it is no less interesting. Appendix A Text of the Justinianein Petrucci'sFrottolelibrosesto (1505) 1 (Frottole6' no. 2, fols. 2v-3r) Chui dicese e non l'amare Meglio sariadicese mori Quella ch'io I'amo & l'amerazo Mentre che durae la mia vita. Lassadir che son parole Che gia lasarenon se pole Chi potriagia mai campare Senza spiritoe senzo chore. 2 6 no. 3, fols. 3v-4r) (Frottole
Moro di doglia e pur chonvien ch'io'l dicha El pianto che mi strugie al38 gran dolore Dove'l mio cor se pase e nutricha. 3 (Frottole6' no. 4, fols. 4v-5r)
Aime ch'a torto vo biastemando39 amore Gentil cortese e de viltanemicha Rela40 piu cha4'non dico L'amorche albergane gli animigientili. 4 6' no. 5, fols. 5v-6r) (Frottole
Aime sospirinon trovo pace Che dego farse non morir E non potro gia mai sofrir Quest'e'l dolor che mi disface.
37. Cf. Pirrotta, "Ricercareand Variations,"402 n. 5: "The compositions pointed out by Rubsamenare, I believe, only reflectionsof realgiustiniane." 38. Wiese, Poesie, 385: e'l. 39. Ibid., 287: biasmando. 40. Ibid.: leal. 41. Ibid.: ch'io.
16
AppendixB Transcriptions The transcriptions arestraightforward, notevalues andtext(witha few withunreduced as foundin the source.Aimesospiri (no. 4a) has added)andits underlay apostrophes I in in the tenor. have followed thislitmensuration the cantus and bassus, triple duple of the wholein tripletimewithan upbeatbeginning for a rendering (asin the erally; in "TheJustiniane," Escorial no. 4b), see Rubsamen's Actamusiversion, transcription 29 (1957): 180. cologica
Petrucci's Justiniane Revisited 1. Chui dicese e non l'amare(Frottole 6', no. 2, fols. 2v-3r)
17
Chui
dice-
se
non
l'ama-
Cui dicese
Cui
dicese
re
Meglio saria
dice-
se
mori,
mori
1w
Que-
que-
15
1 :,n
.
la que-
gem
3Vh
18
1 continued
19
ch'io la
amo
&
amora-
23
& amerazo
I 6V PI - 1
I CO
Mentre
che
I,
28
ugraI
a"w
32
dura
la mia
vi-
Petrucci's Justiniane Revisited 1 continued

36 -I
I
A
19
la
A!'
40
mia
vi-
44
la
mia vita.
Lassa dir che son parole Che gia lasare non si pole
Chi potria gia mai campare Senza spirito e senza chore.
20
2. Morodi doglia (Frottole 6, no. 3, fols. 3v-4r)

I I I I iI, I .I I
Mo-
ro
de
KID--i a
T Moro de doglia
I I1
II
Moro de doglia
de
doglia
I oIa
pur
chonvien
chio'l
di6 6
13
chio'l
dicha
El
pianto
- "
Srr,... 1 i "
I-?
r ~ iF
Petrucci'sJustinianeRevisited 2 continued
18
21
che
me
stru
22
AJI
A I
'
do -
ve' 1
mio
cor
se
_J
pase
se
nutri-
22
2 continued
35
A 90 FI
se nutricha.
I,
IJ
I"
--i=I
Petrucci's Justiniane Revisited amore(Frottole 3a. Aime ch'atortovo biastemando 6', no. 4, fols. 4v-5r)
23
Aime ch'a torto
Aime
chatorto
Aime
chatorto
vo
biastemando
amo-
amore
Gien-
gientil
corte-
101
24
3a continued
18
cortese
de
22
vilta
nemicha
Re
la
26
piu cha
non
di-
co
jN
31A
1---4-1
6)
IO
Petrucci's Justiniane Revisited 3a continued

35
I
W WEll WI
25
ga
negli
a-
ni-
mi
gienti-
Ar
v 1 -
II'A I
I 'w
"
'j--
II
I-I
ii
gientili
gienti-
26
3a continued
53
li
Ne
gli
animi
gienti-
SI
62
I
9:L J f2 JOPI I=?.2i
gientili.
Petrucci's Justiniane Revisited 3b. Aime ch'a torto:hypotheticalversion
27
Aime ch'a
torto
ij
vo
biasteman-
do amo-
re
ij
11 AN
Gien-
til
corte-
se
28
4a. Aime sospirinon trovo 6', no. 5, fols. 5v-6r) pace (Frottole
A-
ime sospi-
T
B
Aime sospiri
Aimesospiri
ri
aime
sospiri
non
trovo
pace
.I
"

4a continued
15
29
che
dego
far
19
alII
se non mori-
i
se
non morir
I all I ,r
JF
odI
4.. 4--
E
27
3 3 3
non potro
3 3 3
-o
3
giami
- mai
3
0
sofrir
rFA
3 3 3I
Rr2
3
3-3
30
4a continued
31
Que -
ste'l
Ar
38
lor
che
mi
disface,
che
oe
ed
oe
42 A
mi
di-
sfa-,
Ii
che
mi
di-, che mi
disfa-
..
Petrucci's Justiniane Revisited 4a continued

47
31
Ce.
SI
32
4b. Aymesospirinon truovo pace (EscorialIV.a.24, fol. 85v)
Ayme
sos-
pirj
Co
Aymesospirj
ayme
-o1
sospiri
ayme sospirj
non
$
o
truovo
'a
pace
0'
chedego fare
che
dezo
fare
se e [--"
non
morire
o0
o
:"~f
"
Petrucci's Justiniane Revisited 4b continued

16
33
m
e non potro jamay soffri -
re
Fo0
20
questo
dolor
A
chi
me
disface.
$
34
5. P[hilippus]d[i] L[urano], Poi chegiontoel tempoe'l loco(Frottole 6', fol. 16v)
Poi che
gionto
el
tem-
po e'l
loco
De scoprir
Poi che gionto el tempo el locho
T
Ip KI !
Poi che gionto el tempo el locho
S .I Poichegiontoel tempo el locho
,II
II
la pena mia Non ta- cer
all
piu lingua mia
Hor discopri,
hor discopri

5 continued
11
35
el
A
tuo
gran
focho
[Poi che
15
gionto..]
.....
I ,
Questa ingratael mio servire Non aprezanel mio stento Hor non voglio piu patire Volteromi in un momento Che se pena amando sento Hor discopri el tuo gran foco. Poi che.
Resta ingratael mio servire Non vo dir perfida vale Uscir vo di tal martire Non vo star piu intanto male Te ricordo tale e quale Hor discopri el tuo gran focho. Poi che.
36
Works Cited
Atlas, Allan W. Music at the Aragonese Court of Naples. Cambridge: Cambridge UniversityPress, 1985. Bembo, Pietro. Prosee rime. Edited by Carlo Dionisotti. Turin: Unione TipograficoEditriceTorinese, 1960. Bent, Margaret,and Anne Hallmark,eds. The Works offohannes Ciconia. Polyphonic Music of the Fourteenth Century24. Monaco: Oiseau-Lyre,1985. Billanovich,Giuseppe. "Per l'edizione critica delle canzonette di Leonardo Giustinian." Giornalestorico della letteraturaitaliana 110 (1937): 197-252. Brown, Howard Mayer. Instrumental Music Printed Before 1600: A Bibliography. Cambridge:HarvardUniversityPress, 1965. Carboni, Fabio, and Agostino Ziino. "Un elenco di composizioni musicali della seconda meta del Quattrocento." In Musica Franca: Essaysin Honor of Frank A. D'Accone,edited by Irene Aim, Alyson McLamore,and Colleen Reardon,425-87. Stuyvesant,N.Y.: Pendragon, 1996. und Gegenwart, Carter,Tim. "Justiniana, III, Nach 1520." In Die Musikin Geschichte 2d ed., edited by Ludwig Finscher,vol. 4, cols. 1598-1600. Kassel:Birenreiter, 1994-98. Cattin, Giulio. "Nomi di rimatoriper la polifonia italianadel secondo Quattrocento." 25 (1990): 209-311. Rivista italiana di musicologia Bossinensis. Disertori, Benvenuto. Lefrottoleper canto e liuto intabulate da Francesco Istituzioni e monumenti dell'arte musicale italiana, vol. 2, nuova serie. Milan: Ricordi, 1964. Einstein, Alfred. "The Greghesca and the Giustiniana of the Sixteenth Century." Journal ofRenaissanceand BaroqueMusic[= Musicadisciplina]1 (1947): 19-32. by AlexanderH. Krappe,Roger H. Sessions, Th. e Italian Madrigal.Translated and OliverStrunk.3 vols. Princeton:PrincetonUniversityPress, 1949. 12 Fallows, David. "Dunstable, Bedyngham and 0 rosa bella."Journal of Musicology 287-305. (1994): "Leonardo Giustinian and Quattrocento Polyphonic Song." In L'edizione critica tra testo musicale e testo letterario: Atti del Convegno internazionale, Cremona,4-8 ottobre 1992, edited by Renato Borghi and Pietro Zappala,247-60. Lucca:Libreria MusicaleItaliana,1995. und Gegenwart, 2d ed., II, Bis 1520." In Die Musikin Geschichte . ""Justiniana, edited by Ludwig Finscher, vol. 4, cols. 1597-98. 2d ed. Kassel: Birenreiter, 1994-98. Ferand, Ernst. "Improvisation."In Encyclopidiede la musique, edited by Franqois Michel, 2:528-33. 3 vols. Paris:Fasquelle,1958-61. Gabrieli, Andrea. Complete Madrigals. Edited by A. Tillman Merritt. Recent Researches in the Music of the Renaissance 41-52. Madison: A-R Editions, 1981-84. di Gallo, F. Alberto. "Musicheveneziane nel Ms. 2216 della Biblioteca Universitaria Bologna." Quadrivium 6 (1964): 107-16. "Ricerchesulla musica a S. Giustina di Padova all'inizio del Quattrocento: Due?. 'Siciliane'del Trecento."Annales musicologiques 7 (1964-77): 43-50. , ed. II codicemusicale2216 della BibliotecaUniversitariadi Bologna.2 vols. Bologna: Forni, 1968-70.
Petrucci'sJustinianeRevisited
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Giazotto, Remo. "Onde musicali nelle corrente poetica di Serafino dall'Aquila."In Musurgianova,by Remo Giazotto, 3-119. Milan:Ricordi, 1959. di meserVincenzoCapirola:Lute Book (circa 1517). Gombosi, Otto, ed. Compositione de musique d'autrefois,1955. Neuilly-sur-Seine: Soci&te Haar, James. Essayson Italian Poetry and Music in the Renaissance, 1350-1600. Press, 1986. Berkeleyand Los Angeles:Universityof California Hanen, Martha K. The Chansonnier El Escorial IVa.24. 3 vols. Henryville, Pa.: Instituteof MediaevalMusic, 1983. Jeppesen,Knud. La Frottola.3 vols. Copenhagen:Munksgaard,1968-70. La Face Bianconi, Giuseppina.Gli strambottidel codiceestense a.F.9.9. Studi e testi per la storiadella musica8. Florence:Olschki, 1990. Luisi,Francesco,ed. Laudariogiustiniano.2 vols. Venice:Fondazione Levi, 1983. Montagna, Gerald."JohannesPullois in Context of His Era."Revue belgede musicologie 42 (1988): 83-117. Studyand Facsimile Naidas,John, and Agostino Ziino. TheLucca Codex:Introductory Edition.Lucca:Libreria MusicaleItaliana,1990. Pirrotta,Nino. "Echi di arie veneziane del primo Quattrocento?"In Interpretazioni Studi di storiadell'artein onoredi Michelangelo veneziane: Muraro,edited by David Rosand,99-108. Venice:Arsenale,1984. . "New Glimpsesof an Unwritten Tradition"[1972]. In Musicand Culturein A Collectionof Essays, Italyfrom the MiddleAges to the Baroque: by Nino Pirrotta, 51-71, 377-80. Cambridge:HarvardUniversityPress, 1984. . "PolyphonicMusic for a Text Attributed to FrederickII" [1968]. In Music and Culturein Italy,from theMiddleAges to theBaroque: A Collection of Essays, by Nino Pirrotta,39-50, 375-77. Cambridge:HarvardUniversityPress, 1984. "Ricercareand Variationson O rosa bella"[1972]. In Music and Culture in ---. A Collectionof Essays, Italyfrom the MiddleAges to the Baroque: by Nino Pirrotta, 145-58, 401-6. Cambridge:HarvardUniversityPress, 1984. . "Su alcuni testi italiani di composizioni polifoniche quattrocentesche." Quadrivium 14 (1973): 133-57. Music of theLate MiddleAges in CodexFaenza 117. Plamenac,Dragan, ed. Keyboard N.p.: AmericanInstituteof Musicology, 1972. 871: Montecassino Pope, Isabel, and Masakata Kanazawa,eds. TheMusicalManuscript A Neapolitan Repertoryof Sacredand SecularMusic of the Late FifteenthCentury. Oxford:ClarendonPress, 1978. Prizer, William F. "The Frottola and the Unwritten Tradition." Studi musicali 15 (1986): 3-37. . "SecularMusic at Milan During the EarlyCinquecento: Florence, Biblioteca del Conservatorio,MS Basevi2441." Musicadisciplina50 (1996 [1998]): 9-57. Rubsamen,WalterH. "From Frottola to Madrigal:The Changing Pattern of Secular ItalianVocal Music." In Chansonand Madrigal, 1480-1530, edited by JamesHaar, 51-87. Cambridge:HarvardUniversityPress, 1964. . "The Justinianeor Viniziane of the Fifteenth Century."Acta musicologica 29 (1957): 172-83. Slavin,Dennis. "On the Originsof EscorialIV.a.24 (EscB)." Studi musicali19 (1990): 259-303. Piecesin theMS El EscorialIVa.24. Corpus mensuraSouthern, Eileen, ed. Anonymous bilis musicae88. N.p.: AmericanInstituteof Musicology, 1981.
38
Strohm, Reinhard. TheRise of EuropeanMusic, 1380-1500. Cambridge:Cambridge UniversityPress, 1993. Thibault, Genevieve. "L'Ornementationdans la musique profaneau Moyen-Age." In InternationalMusicological New York,1961, Society, Report of the Eighth Congress, edited by Jan LaRue, 1:450-63. 2 vols. Kassel:Bdrenreiter, 1961-62. Wiese, Bertold, ed. Poesieedite ed inedite di LionardoGiustiniani. Scelta di curiosith letterarie inedite o rare,dal secolo xiii al xix, vol. 66. Bologna: G. Romagnoli, 1883.
Abstract In Petrucci'ssixthfrottola book (1505) is a group of four pieces of unusual cast. They are scored for three voices (nearlyall of Petrucci'sfrottoleare fourvoice compositions), their texts are not in any of the usualfrottola forms, and their language is archaic. Two of them have been attributed to Leonardo Giustiniani(ca. 1383-1446). Their music, at once rough and highly melismatic, differssharplyfrom frottolisticnorms. These pieces presentan interpretive challenge: are they faithful representatives of the aria veneziana or giustiniana of the firsthalf of the fifteenthcentury,midcenturyversionsof this In this articleit is arguedthat they genre, or late survivorsof an old tradition? are something of all of these, and yet something else: self-consciousrepresentations (loaded with deliberatearchaisms)of a traditiononce known through much of the Italian peninsula and especially loved in Venice, home to Petrucci'sactivityas collectorand publisherof music.

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Petrucci's "Justiniane" Revisited Author(s): James Haar Source: Journal of the American Musicological Society, Vol. 52, No.

Petrucci's Justiniane Revisited

of theAmerican Journal Musicological Society

of theAmerican Journal Society Musicological

Journal of the American Musicological Society

Journalof the AmericanMusicologicalSociety

of theAmerican Journal Society Musicological

of theAmerican Journal Society Musicological

Journalof the AmericanMusicologicalSociety

of theAmerican Journal Society Musicological

Journal of the American Musicological Society

Petrucci's Justiniane Revisited 1 continued

Chi potria gia mai campare Senza spirito e senza chore.

Journal of the American Musicological Society

2. Morodi doglia (Frottole 6, no. 3, fols. 3v-4r)

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Aime ch'a torto

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Petrucci's Justiniane Revisited 3a continued

Journalof the AmericanMusicologicalSociety

Petrucci's Justiniane Revisited 3b. Aime ch'a torto:hypotheticalversion

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Petrucci's Justiniane Revisited

Journal of the American Musicological Society

Petrucci's Justiniane Revisited 4a continued

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4b. Aymesospirinon truovo pace (EscorialIV.a.24, fol. 85v)

Petrucci's Justiniane Revisited 4b continued

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5. P[hilippus]d[i] L[urano], Poi chegiontoel tempoe'l loco(Frottole 6', fol. 16v)

Poi che gionto el tempo el locho

Poi che gionto el tempo el locho

S .I Poichegiontoel tempo el locho

Petrucci's Justiniane Revisited

Journal of the American Musicological Society

Journalof the AmericanMusicologicalSociety

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