Amorosetto fiore - Casulana, Maddalena

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"Maddalena Casulana published “Amorosetto fiore”, a madrigal for four voices, within book three of ''Il Desiderio''. Published in Venice in 1567, its four unedited parts are now available online through the Bibliothèque Nationale in Paris; such parts were used for this transcription of the madrigal. :This short yet lovely madrigal was written in the mode of Hypodorian and consists of four vocal lines: canto, alto, tenor, and basso. These four vocal parts are typical of the Italian madrigals of the time, however Maddalena Casulana did not appear to use traditional SATB ranges. Instead, the higher and more delicate pitches give the piece a dual soprano, alto, and tenor persona. These vocal lines and persona were then beautifully paired with the madrigal poem itself, which consists of eleven lines total. :The Hypodorian mode of this piece is evident due to several of its key musical characteristics. For one, the D final within the basso vocal line evidently points to modes 1 and 2; this final is then supported by the (original C3) tenor range of F# - a, which exemplifies the more lowered range found within Hypodorian (mode 2) as compared to Dorian. :The mode is further evident due to Casulana’s elegantly-crafted cadences. After transcribing the four unedited parts of “Amorosetto fiore,” it became evident that most of the cadences landed on notes A and D (such as those found in mm. 9, 29, 43, and 47). These notes emphasize both the final and the fifth of the Hypodorian mode. The characteristic fourths and fifths of this piece also support such a cadential sonority and Hypodorian mode; they are most notable at the beginning through m. 14. :The theoretical aspects of “Amorosetto fiore” are amicably paired with the madrigal poem itself, and through a series of word-painting motifs the poem is essentially brought to life. For example, in mm. 9-10 the notes are drawn out and increased in length in order to emphasize the pleading tonality of the word “Prega” or “Ask”. A second example is found in mm. 30-31, where Casulana builds upwards in pitch and shortens the note lengths in order to underscore the compelling nature of the “luci sante” or “blessed eyes” figure. The most notable example, however, is found in m. 48 through the end. Here, the last line of the poem is repeated twice and accompanied by unison, recurrent notes that are relatively monotone in pitch and phrasing. This heavily emphasizes the “E poi godi felic’il suo bel seno” line, which translates to “And then happily enjoy her fair bosom”, insinuating that “her fair bosom” are heavily enjoyed or fondled for a significant period of time by the narrator of the poem. :Overall, “Amorosetto fiore” is a short yet dramatically romantic madrigal that accurately demonstrates the musical prose and expertise of Maddalena Casulana."

⌛ Period → Renaissance ◈ Genre → Madrigals

♯ Key D minor

⁄ Time Signature 2/2

♬ Voicing → SATB

◆ Difficulty

Elementary

↕ Range B2 – F5

¶ Language → Italian

Measures 63

Texture mixed texture

Parts 4

Instruments A cappella

Pages 4

CPDL # 70561

Editor Emma Shelby

Posted 2022-08-28

License CPDL License

♫Pitch Ranges

Soprano 1

D4 – F5

Soprano 2

A3 – E5

Alto

F#3 – A4

Tenor

B2 – F4

¶Lyrics / Text

Amorosetto fiore, Che’l bel sen toccherai de la mia diva, Prega lei che si priva Piu non sia di pietad’e cortesia, Ma che benigna e pia Si mostri con un suo fedel amante. E che le luci sante Rivolga più soavi e gratiose Verso le lagrimose mie Che vengon homai pel pianger meno, E poi godi felic’il suo bel seno.