Historical SourcePublic Domain
Opera Nova de Balli di Francesco Bendusi a Quatro Accomodati da cantare et sonare d'ogni sorte de Stromenti (Bendusi, Venice 1553)
Publisher: Venetia: Antonio Gardane, 1553. Francesco Bendusi (fl. mid-16c Venice; also spelled Berdusi/Bendus) / Venetia, appresso di Antonio Gardane, MDLIII = 1553. Bayerische Staatsbibliothek signature 4 Mus.pr. 96 #Beibd.17 (urn:nbn:de:bvb:12-bsb00071915-9). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1553-Berdusi-Opera_(BSB).txt (OCR heavily-degraded by engraved-music plate overlap; Tavola delli balli Numero 24 recovers the 24 named dance titles). STRUCTURE: 24 four-voice dance-song settings (Cantus / Altus / Tenor / Bassus) comprising the Opera-Nova Tavola: Animoso, Bella Fresca, Bandera, Chi non ha Martello, Cortesa Padoana, Desiderata, Dui Fianchi, E donne vanne (si o bon fiasca), Furla, Galante, Gioia, Il Flocco, Incognita, Libenti vegnino, La Mala Vecchia, La Filitella (?), Fusta, La Bruna, La Giovenetta, Moschetta, Passo e Mezzo detto il Romano, Pietosi, Passo e Mezzo detto Il Compasso, Speranza. HISTORIC SIGNIFICANCE: (1) FILLS THE 1532-1581 ITALIAN-DANCE-MUSIC GAP between LOC-1532-MODERNE (Lyon Basses Danses) and LOC-1581-CAROSO (Venice Ballarino) -- Bendusi Opera Nova 1553 is the Venetian-Gardane-imprint parallel to Moderne's Lyon imprint, publishing the same multi-voice dance-anthology form. (2) EARLIEST LOD-CORPUS ATTESTATION OF THE PASSAMEZZO IL ROMANO -- Bendusi's 'Passo e Mezzo detto il Romano' predates Caroso 1581 (H-REN-PAV-F0010) by 28y. (3) EARLIEST CORTESA PADOANA ATTESTATION in the LOD corpus -- the Padoana (Paduan Pavan) form would become Padovana in Caroso / Negri / Lupi, anchoring the Padua-Venice mid-16c dance-music axis. (4) 4-VOICE ACCOMMODATION: the subtitle 'Accomodati da cantare et sonare d'ogni sorte de Stromenti' establishes the mid-16c Venetian convention of publishing dance-music for any four-instrument combination (vocal consort, wind consort, viol consort), a practice that peaks with Gabrieli-era Venetian dance-music. (5) GARDANE-IMPRINT PEDIGREE: Antonio Gardane (1509-1569), the most prolific Venetian music-printer of the mid-16c, published Bendusi's Opera Nova within his lineage of dance-music prints (Gardane also published Giorgio Mainerio's Primo Libro de Balli 1578 and the Rocco-Rognoni dance-music). Has_Step_Detail=None: music + title-page rubrics only; no step-pedagogy (predates Caroso Ballarino by 28y, Arbeau by 36y).Year: 1553Family: berdusiCatalog: local
Dance manual/reference by Venetia: Antonio Gardane, 1553. Francesco Bendusi (fl. mid-16c Venice; also spelled Berdusi/Bendus) / Venetia, appresso di Antonio Gardane, MDLIII = 1553. Bayerische Staatsbibliothek signature 4 Mus.pr. 96 #Beibd.17 (urn:nbn:de:bvb:12-bsb00071915-9). Source: DATA/LIBRARY_OF_DANCE/ABBYY TXT/1553-Berdusi-Opera_(BSB).txt (OCR heavily-degraded by engraved-music plate overlap; Tavola delli balli Numero 24 recovers the 24 named dance titles). STRUCTURE: 24 four-voice dance-song settings (Cantus / Altus / Tenor / Bassus) comprising the Opera-Nova Tavola: Animoso, Bella Fresca, Bandera, Chi non ha Martello, Cortesa Padoana, Desiderata, Dui Fianchi, E donne vanne (si o bon fiasca), Furla, Galante, Gioia, Il Flocco, Incognita, Libenti vegnino, La Mala Vecchia, La Filitella (?), Fusta, La Bruna, La Giovenetta, Moschetta, Passo e Mezzo detto il Romano, Pietosi, Passo e Mezzo detto Il Compasso, Speranza. HISTORIC SIGNIFICANCE: (1) FILLS THE 1532-1581 ITALIAN-DANCE-MUSIC GAP between LOC-1532-MODERNE (Lyon Basses Danses) and LOC-1581-CAROSO (Venice Ballarino) -- Bendusi Opera Nova 1553 is the Venetian-Gardane-imprint parallel to Moderne's Lyon imprint, publishing the same multi-voice dance-anthology form. (2) EARLIEST LOD-CORPUS ATTESTATION OF THE PASSAMEZZO IL ROMANO -- Bendusi's 'Passo e Mezzo detto il Romano' predates Caroso 1581 (H-REN-PAV-F0010) by 28y. (3) EARLIEST CORTESA PADOANA ATTESTATION in the LOD corpus -- the Padoana (Paduan Pavan) form would become Padovana in Caroso / Negri / Lupi, anchoring the Padua-Venice mid-16c dance-music axis. (4) 4-VOICE ACCOMMODATION: the subtitle 'Accomodati da cantare et sonare d'ogni sorte de Stromenti' establishes the mid-16c Venetian convention of publishing dance-music for any four-instrument combination (vocal consort, wind consort, viol consort), a practice that peaks with Gabrieli-era Venetian dance-music. (5) GARDANE-IMPRINT PEDIGREE: Antonio Gardane (1509-1569), the most prolific Venetian music-printer of the mid-16c, published Bendusi's Opera Nova within his lineage of dance-music prints (Gardane also published Giorgio Mainerio's Primo Libro de Balli 1578 and the Rocco-Rognoni dance-music). Has_Step_Detail=None: music + title-page rubrics only; no step-pedagogy (predates Caroso Ballarino by 28y, Arbeau by 36y). (1553). Imported from local collection.