La Trobe University - Library: Medieval Music Database - Annual cycle of feasts of liturgical chant, liturgical polyphony and secular music of the late middle ages.

Library Home

MMDB Home

Browse

	By Text
	By composer
	By Genre
	By Manuscript
	Complete Manuscripts
	By Liturgical Feast

	By Text
	By Melody
	By Descriptor

Scribe Software

What's New

Contact

Medieval Music Database

Naschoso 'l viso stava 'nfra l(l)e fronde
madrigal by Giovanni da Cascia

Sources

Florence: Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex), fol. 3v-4 (2/2); Biblioteca Nazionale Centrale, Panciatichiano 26, fol. 49v-50 (2/2); San Lorenzo, Archivio Capitolare 2211 [palimpsest], fol. 19v-20;
Rome: Biblioteca Apostolica Vaticana, Rossi 215, fol. 18v-19 (2/2).

Facsimiles

1. APEL, Willi. The Notation of Polyphonic Music 900-1600, Cambridge/Massachusetts: The Medieval Academy of America, 1942, p. 387 (Fn26).
2. BESSELER, Heinrich and Peter GÜLKE. Schriftbild der mehrstimmigen Musik, Leipzig: Deutscher Verlag für Musik, 1973. Musikgeschichte in Bildern, vol. 3, part 5, nos. 25a,b.
3. Il codice musicale Panciatichi 26 della Biblioteca Nazionale di Firenze, facsimile edition by F. Alberto Gallo, Florence: Leo S. Olschki Editore, 1981, no. 92 (FP).
4. Il Codice Rossi, edited by Nino PIRROTTA, Lucca: Libreria Musicale Italiana, 1992.
5. Il Codice Squarcialupi edited by F. Alberto GALLO, Lucca: Libreria Musicale Italiana, 1992.

Editions

1. WOLF, Johannes. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen, 3 vols., Leipzig: Breitkopf & Härtel, 1904. [reprinted Hildesheim: G. Olms, 1965], Vol. III, p. 94 (Fl87).
2. SCHERING, Arnold. Studien zur Musikgeschichte der Frührenaissance, Leipzig: C.F. Kant Nachfolger, 1914.
3. The Music of Fourteenth Century Italy, edited by Nino Pirrotta, Amsterdam: American Institute of Musicology, 1954. Corpus Mensurabilis Musicae 8/I, p. 20.
4. Der Squarcialupi-Codex Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, edited by Johannes Wolf and H. Albrecht, Lippstadt: Kistner and Siegel, 1955, p. 8.
5. Italian Secular Music by Magister Piero, Giovanni da Firenze and Jacopo da Bologna, edited by W. Thomas Marrocco, Monaco: Editions de L'Oiseau-Lyre, 1967. Polyphonic Music of the Fourteenth Century VI, p. 42.
6. PHILLIPS, Elizabeth V. and John-Paul Christopher JACKSON. Performing Medieval and Renaissance Music: an Introductory Guide, Schirmer Books:New York, 1986, p. 129 [R CMM 8].

Text Editions

1. CORSI, Giuseppe. Rimatori del Trecento, Turin: Unione tipografica editrice torinese, 1969, p. 1013.
2. CORSI, Giuseppe. Poesie musicali del Trecento, Bologna: Commissione per i testi di lingua, 1970, p. 15.

Literature

1. WOLF, Johannes. Handbuch der Notationskunde, 2 vols., Leipzig: Breitkopf & Härtel, 1913, 1919. [reprinted Hildesheim: Georg Olms, 1963].
2. SCHERING, Arnold. Studien zur Musikgeschichte der Frührenaissance, Leipzig: C.F. Kant Nachfolger, 1914.
3. HAAS, Robert. Aufführungspraxis der Musik, Potsdam: Akademische Verlagsgesellschaft Athenaion, 1931, p. 99.
4. APEL, Willi. The Notation of Polyphonic Music 900-1600, Cambridge/Massachusetts: The Medieval Academy of America, 1942, pp. 386-390, & example 51.
5. SESINI, Ugo. 'Il canzoniero musicale trecentesco del cod. Vat. Rossiano 215', Studi medievali (N.S.), XVI (1943-1950), p. 228.
6. LI GOTTI, Ettore. La poesia musicale italiana del secolo XIV, Palermo: Palumbo, 1944, p. 47, 49.
7. MARTINEZ, Marie L. Die Musik des frühen Trecento, Tutzing: Hans Schneider, 1963. Münchener Veröffentlichungen zur Musikgeschichte 9.
8. FELLIN, Eugene C. A Study of Superius Variants in the Sources of Italian Trecento Music: Madrigals and Cacce, Ph.D. dissertation, University of Wisconsin: 1970, passim.
9. MARTINEZ-GÖLLNER, Marie L. 'Marchettus of Padua and chromaticism', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, pp. 190-191.
10. FISCHER, Kurt von. 'Zum Wort-Ton Problem in der Musik des italienischen Trecento', Festschrift Arnold Geering zum 70. Geburtstag, Bern-Stuttgart: P. Haupt, 1972, pp. 54-55.
11. BESSELER, Heinrich and Peter GÜLKE. Schriftbild der mehrstimmigen Musik, Leipzig: Deutscher Verlag für Musik, 1973. Musikgeschichte in Bildern, vol. 3, part 5, pp. 70-71.
12. PAGANUZZI, Enrico. 'Il Trecento', [chapter 2 of] La musica a Verona, Verona: Banca mutua popolare di Verona, 1976, pp. 33-70.
13. GALLO, F.A. 'Bilinguismo poetico e bilinguismo musicale nel madrigale trecentesco', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, p. 240., p. 240.
14. FELLIN, Eugene C. 'The notation-types of Trecento music', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 211-224.
15. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, p. 482.
16. D'ACCONE, Frank. 'Una nuova fonte dell' "Ars nova" italiana: il codice di San Lorenzo, 2111', Studi Musicali, XIII (1984): 3-31.
17. PHILLIPS, Elizabeth V. and John-Paul Christopher JACKSON. Performing Medieval and Renaissance Music: an Introductory Guide, Schirmer Books:New York, 1986, pp. 128-136.
18. NADAS, John. 'Editorial practices in early Quattrocento Florentine anthologies of secular polyphony', L'Ars nova italiana del Trecento VI: Certaldo 1984, Certaldo: Centro di Studio L'ars nova italiana, 1992.

Recordings

1. Squarcialupi-Codex: Madrigals and Cacce from the Codex of Antonio Squarcialupi, Brussels Pro Musica Antiqua, directed by Safford Cape (1953): Archiv ARC 3003.
2. Two Gentlemen of Verona, Ensemble of the Fourteenth Century, directed by John Griffiths and John Stinson (1987): Move MC 3091.

Text

Nascoso el viso stava fra le fronde
d'un bel zardino: appresso a mi guardava
sopra una fonte dove se pescava.

E vedea donne vermigliete e bionde.
lizadre al modo che solea le Euguane
trovarse al bosco, e quando a le fontane.

Qual era scalza e qual com'ela nacque.
Pi· non vol dir quanto quel di me piacque.

Translation

I stood in a beautiful garden.
the foliage hid my face, looking
across a nearby spring where folk used to fish.

And saw blonde and rosycheeked women
lissom as were Euguane, the nymphs.
once found in woods or sometimes in streams.

Some were barefoot, and some as they were born.
I am unwilling to say more of how that day delighted me.
Text revision and translation © Giovanni Carsaniga

Content Approved by: MMDB Director
Last updated: Wednesday, 19 March 2003

Cantus

CAO-ECE

Cantus Planus

Vulgate

DIAMM

TML

Latin Dictionary