London: Thomas Este, 1598. Small quarto. Full early flexible vellum with "Bassus" in early manuscript to upper and the letters "W R" separated by a heart to lower. 1f. (recto title within decorative border, verso blank), 30 pp. With woodcut vignette incorporating the royal arms of England to title.
Slightly worn, browned, and soiled; dampstain to outer lower corners, not affecting printed area.
First Edition. BUC, p. 1081. Hirsch III, 1150. RISM W1065.
"The most important formative influences on Wilbye’s music were Morley’s canzonet manner and, to a lesser extent, the madrigalian idiom of Alfonso Ferrabosco... The most marked influence of Morley is to be heard in the three-voice pieces that open Wilbye’s First Set of English Madrigals (1598). Here Wilbye already shows a firm command of Morley’s facile canzonet style, generating fluent little paragraphs that are as polished as they are unenterprising. Signs of Ferrabosco’s influence may be most clearly discerned in certain of the five-voice works of this collection, with their more staid expression and counterpoint. Lady, your words doe spight mee actually uses a text already set by Ferrabosco (in Yonge’s Musica transalpina, 1588), and is the only example of Wilbye’s borrowing some musical material from an earlier setting. The best of the five-voice pieces is Flora gave mee fairest flowers, a far more canzonet-like piece, whose clearcut paragraphs and specially sprightly conclusion contrast sharply with the amorphous counterpoint and relatively neutral expression of its companions." David Brown in Grove Music Online.
YONGE, Nicholas d. 1619, ed.
Musica transalpina. Madrigales translated of foure, five and sixe parts, chosen out of divers excellent authors, with the first and second part of La Verginella, made by maister Byrd, upon two stanza's of Ariosto, and brought to speake English with the rest. Published by N. Yonge, in favour of such as take pleasure in musick of voices. London: Imprinted at London by Thomas East, the assignè of Wiliam Byrd, 1588. [Bassus part]. 1f. (recto title within decorative border with vignette incorporating King David playing the harp flanked by figures playing horns, verso with full-page elaborate coat of arms of Gilbert Lord Talbot), 1f. (dedication), lvii [!lx] pp. + 1f. (index). With historiated and decorative woodcut initials.
Composers represented include L. Bertani, W. Byrd (2), G. Conversi (2), B. Donato (2), N. Faignient (2), S. Felis, A. Ferabosco (12), G. Ferretti (3), O. Lassus (2), G. de Macque, L. Marenzio (7), R. del Mel, P. de Monte (2), G.P. Palestrina (5), G.B. Pincello, M.A. Pordenon, G. Verdonck, J. de Wert, and Anon (2).
Slightly worn, browned, soiled, and stained; minor tears; several leaves loose; final leaf slightly frayed at edges, verso stained; other minor imperfections.
First Edition. BUC, p. 1096. RISM Recueils Imprimés XVIe-XVIIe Siècles 1588-29.
"Yonge was the editor of two anthologies of Italian madrigals published, with English texts, as Musica transalpina in 1588 and 1597. The first contains 57 pieces (including an English version of La verginella by Byrd with a new second part, and four settings of French texts) by 18 composers, of whom the most liberally represented are the elder Ferrabosco and Marenzio. In 1583 and 1585 Pierre Phalèse of Antwerp had issued three madrigal anthologies which not only provided the model for Yonge’s venture, but also afforded him a quantity of Italian madrigals by minor Flemish composers (19 pieces came from these three sources). Yonge’s 1588 collection was a direct result of the growing English enthusiasm during the 1580s for Italian madrigals. He explained that most of the English translations had been made in 1583 by ‘a Gentleman for his private delight’."
"Yonge’s 1588 volume was the most influential of the five volumes of Italian madrigals in translation to appear in England between 1588 and 1598." David Brown in Grove Music Online.
Binding worn and partially detached; endpapers worn, soiled and chipped at edges, lower free endpaper mostly lacking. Item #31437
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