Madrigals. Part 5, Il quinto libro de madrigali a cinque voci (Venice, 1608) /

Madrigals. Part 5, Il quinto libro de madrigali a cinque voci (Venice, 1608) /

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Bibliographic Details
Author / Creator:	Gagliano, Marco da, 1582-1643, composer.
Uniform title:	Madrigals, voices (5), book 5
Imprint:	Middleton, Wisconsin : A-R Editions, Inc., 2021. ©2021
Description:	1 score (xviii, 72 pages, 3 unnumbered pages of plates) : facsimiles ; 31 cm.
Language:	Italian English
Series:	Madrigals / Marco da Gagliano ; pt. 5 Recent researches in the music of the Baroque Era ; 222 Gagliano, Marco da, 1582-1643. Madrigals (Strainchamps) ; pt.5. Recent researches in the music of the Baroque Era ; v. 222.
Subject:	Madrigals, Italian. Vocal quintets, Unaccompanied. Vocal septets, Unaccompanied. Madrigals (Music) Scores. Madrigals (Music) Scores. Chamber music.
Format:	Music score Print
URL for this record:	http://pi.lib.uchicago.edu/1001/cat/bib/12635712

Hidden Bibliographic Details
Varying Form of Title:	Quinto libro de madrigali a cinque voci
Other authors / contributors:	Strainchamps, Edmond, editor.
ISBN:	9781987206739 1987206738
Instrumentation:	vocal ensemble 1 singer 5 singer 7
Notes:	For five voices (canto, quinto, alto, tenore, and basso); last madrigal for seven voices. Includes introduction and critical report. Includes bibliographical references. Italian words (texts by various poets); also printed as text with English translations: pages xv-xviii. Staff notation.
Summary:	"Marco da Gagliano's Quinto libro de madrigali a cinque voci was published in October 1608, a little less than two years after his previous book. It contains fourteen madrigals for five voices and one for seven, all composed by Gagliano. The poets represented include Giambattista Marino, Giovanbattista Strozzi, both the older and the younger, Cosimo Galletti, and Ottavio Rinuccini. The madrigals of book 5 are quite varied in their style and their treatment of text. Many are light and remarkably concise, like the canzonetta-influenced madrigals of the Quarto libro, and most often set text syllabically to shorter rhythmic values in motives that alternate between homophony (or near homophony) and polyphony, imitative or nonimitative. Some, however, set poetry very differently. A three-part setting of a Marino sonnet, for instance, is filled with virtuoso melisma, probably intended for the professional singers of the Medici court. Book 5 also includes a concertato madrigal for seven singers and basso continuo that bears the prescriptive direction "per cantare e sonare" (for voices and instruments) in the basso partbook. Although there is no notational indication of instruments, the basso part lacks text for several measures, and it is likely that it was performed with improvised chords on an instrument. The book also contains two threnodies for Count Cammillo della Gheradesca that are in a somber and more traditional polyphony and contrast with the rest of the book's contents." --
Publisher's no.:	B222 A-R Editions, Inc.

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Call Number:	M2.R29 v.222
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