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power of love), their emphasis is perhaps more justified. Casulana also granted their lengthening
treatment to “morte” (death) in m. 9. I find this interesting, especially in how its treatment
compares to the following word, “vita” (life) in mm. 9-10. The canto line provides a striking
descending line from E, the highest note heard in the piece, down to F-sharp before the cadence
on A. These running eighth notes paint the word “vita” (life) as active, compared to the stagnant
harmony on “morte” (death). Compared to the way that Casulana painted “morreste” (form of
“death”) in “Morir non può il mio cuore,” with building harmonic tension and ascending melodic
lines, one might wonder why “death” is treated so differently in “Ahi possanza d’amor.” I think
the difference hinges on two facts. First, as I’ve stated, the purpose of this piece is strikingly
different. Rather than create musical sex, Casulana wishes to ponder the mysteries of its power.
Secondly, because of this difference, “death” in this piece embodies the point of release, of
peace, of the cessation of striving for climax rather than the musical foreplay that dominates the
text of “Morir non può il mio cuore,” for instance.
The last instance of word painting that I want to mention appears in mm. 11 and 12 on
the words, “agiaccio” and “taccio,” rhyming words that receive the same treatment. “Agiaccio”
(I freeze) is contrasted with “ard[o]” (I burn) in m. 10. Of course, this combination of fire and
ice, as has been discussed earlier, relates to Petrarch’s concept of “icy fire,” the constitution of an
aroused woman. Casulana lengthens “agiaccio” as if the singers’ voices freeze in the
pronunciation of it. “Taccio” (I am silent) also is lengthened but this treatment is coupled with a
stagnation of the melodic movement and a lowering in register, not to mention three beats of
silence after the singers finish. These rather conventional uses of word painting reveal
Casulana’s training in and familiarity with traditional madrigal tropes.
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