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The arranger has, in view of similar practices conducted at the time when Italian madrigal was being written and performed, transposed these Phillipe Verdelot madrigals into suitable keys, this time for the modern wind quintet. For modern readings, note values have also been adjusted by halving their values. It is important to understand how important the metre of the text should affect the metre of the music; there were no regularly spaced bar lines with their regularly implied accents, as accents were placed by the metre of the verse, or text. A general overview of rhythmical context requires therefore to not observe 1st and 3rd accents for instrumental performance, but instead, to continue in a flowing style, a vocal style perhaps, through from start to finish. You will note also that there are no dynamics or marks of expression. Legato slurs have been inserted where the phrase groups several notes to one syllable.
Phillipe Verdelot was not Italian. He was one of the many foreigners, he from Flemish France, who lived and worked in Italy when the art of madrigal was in its most popular period. He nevertheless exercised great influence upon the development of the art of madrigal which keeps his name alive to this day.
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Reviews of Two Italian Madrigals
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