12. Music of the Middle Ages; da Firenze and Landini

Music of the Middle Ages
An Anthology for Performance and Study by
David Fenwick Wilson
ISBN 0-02-872952-8 Schirmer Books

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Part XII The Polyphonic Song in Italy

1. Giovanni da Firenze - Appress' un fiume (madrigal) (0:00)
2. Giovanni da Firenze - Chon brachi assai (caccia) (2:54)
3. Francesco Landini - Cara mie dorena (ballata) (5:41)

The Hilliard Ensemble

Giovanni da Cascia, also Jovannes de Cascia, Johannes de Florentia, Maestro Giovanni da Firenze, was an Italian composer of the medieval era, active in the middle of the fourteenth century.

Nineteen of Giovanni's compositions survive, scattered in nine manuscripts. Sixteen of these are madrigals, and three of them are cacce. He is thought to have written some of his own texts. Musically, Giovanni's madrigals are of importance in the development of the style of the 14th-century madrigal. He tends to use extended melismas on the first and penultimate syllables of a poetic line, and sometimes introduces hockets at these points. The middles of the lines are generally syllabic. Many of his works are very similar in style to the anonymous works preserved in the Rossi Codex.

Landini was the foremost exponent of the Italian Trecento style, sometimes also called the "Italian ars nova". His output was almost exclusively secular. While there are records that he composed sacred music, none of it has survived. What have survived are eighty-nine ballate for two voices, forty-two ballate for three voices, and another nine which exist in both two and three-voice versions. In addition to the ballate, a smaller number of madrigals have survived. Landini is assumed to have written his own texts for many of his works. His output, preserved most completely in the Squarcialupi Codex, represents almost a quarter of all surviving 14th-century Italian music.

Landini is the eponym of the Landini cadence (or Landino sixth), a cadential formula whereby the sixth degree of the scale (the submediant) is inserted between the leading note and its resolution on the tonic. However this cadence neither originated with him, nor is unique to his music; it can be found in much polyphonic music of the period, and well into the 15th century (for example in the songs of Gilles Binchois). Gherardello da Firenze is the earliest composer to use the cadence whose works have survived. Yet Landini used the formula consistently throughout his music, so the eponym—which dates from after the medieval era—is appropriate.