| ADRIANO BANCHIERI AND THE « VIVEZZE DI FLORA E PRIMAVERA » |
(« LIVING ASPECTS OF FLORA AND SPRING »)
The « Vivezze di Flora e Primavera » (Bartolomeo Magni edition, Venice 1622) are a series of 21 madrigals linked together by a common idea: the re-awakening of Nature.
They are in five parts (Canto, Quint, Alto, Tenor and Bass) with the addition of a figured bass to be realized on the «spinet or theorbo ».
The copy in the British Museum (K.8.d.l3) was used for this transcription.
In keeping with several of this composer's works, this one is a compromise between the polyphonic and the accompanied melody styles.
There are in fact frequent solo passages and, although the composer uses every contrapuntal device available, the harmony of the voice parts would often be incomplete without the help of the basso continue (often different to the bass voice part) and its realization.
Apart from these solo passages, there are also numerous two-part and three-part passages in this work: at times, two groups of voices are alternated and answer each other.
Generally speaking, homophony predominates in these sections. Quite frequently, we find the small groups answered by a tutti in ripieno.
This variety in the use of the voices makes the whole work most pleasing and light, also because the gay, lively madrigals are alternated with the tender, pathetic ones (see Nos. 7 and 8. for example). « Durezze » (i.e., dissonances) are naturally employed in the latter (note especially No. 8, bars 15-18).
The harmony is mainly correct, although there are cases of parallel fifths (No. 21, bars 5-6, for example) that it was deemed unnecessary to correct. Such instances (in this case between the Alto and Basso Continue) have been marked with parallel lines. Suggested alterations are to be found in the notes at the end of the volume.