PHILIPPE DE MONTE. IL PRIMO LIBRO DELLI MADRIGALI, VENICE: GIROLAMO SCOTTO, 1570, 2 PARTS,

2 parts (Quinto and Basso), of 5, fine large woodcut title devices, head-pieces and historiated capitals, type-set music, tables of madrigals at end each 12 leaves, 4to (c.21 x 15cm), unbound in the original signatures, lacking parts for Cantus, Altus and Tenor

RISM M 3329; Edit 16/CNCE 43122

There are repairs to the inner corners of the last four leaves of the "basso" part, mainly affecting empty staves, with slight loss to four pages.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

VERY RARE: no complete copy is recorded in RISM or in "Edit 16". Monte's first collection of madrigals for five-voices was first published in Rome by Dorico in 1554; this the third edition, of which the only other copy of the Basso is incomplete (in the British Library). Of earlier editions, only the second survives complete: a single copy in Paris. Philippe de Monte (1521-1603) came from Mechelen (Fr. “Malines”) in Flanders. Gustave Reese writes “A high point in the madrigal is reached in the works of Monte, the most prolific composer in this field. His long residence in Italy ended in 1554, when his first madrigal book (for five voices), purely Italian in style, appeared at Rome where he had gone after leaving his position with the Pinelli family in Naples.  The total of his compositions in this genre exceeds 1,100 [in c.35 books; however, some of these are lost].  He is important not for his innovations but for the quality of his ideas and technique.  Technically, indeed, he ranks with Rore and Lassus” (Music in the Renaissance, 1959, page 406).