Il Papa - la Primavera (reconstruction)
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steps La Vita Ippiter Lasso Non Mi Parto I Tromboni La Traditora Lucretia Che Faralla La Primavera La Reale La Franciosetta Lo Dimostra La Villanella Baramattio Fiammetta

la Primavera

By Giovannino

transcription and translation

trans. meas. man 1 lady man 2 notes end position
8:15:3-4 1 RL RL RL h. line
2 cL cR cL cR cL cR
3 sL sR sL sR sL sR
4 vL vL vL
8:15:4-5 5 pL pr pL pR turning to face at the end triangle
8:15:6-7 6 rL rL rL It just says they do "the riprese - number unspecified, but clearly plural. We here assume two full riprese, one left and one right.
7 rR rR rR
8 cL cR cL cR cL cR
9 PL PL PL forwards, presumably to almost meet - leave enough room to reverenza to one another near-line
10 PR PR PR
8:15:7-8 11 RL RL RL taking hands (but presumably still facing the opposite gender)
8:15:8-10 12 sL sR sL sR sL sR The directions here are very confusing, but amount to either going through one another to end in a triangle, or returning back the other way into a triangle. We strongly favor going through. triangle
8:15:10-12 13 vL vL vL

Could be a no-time turn.

At this point, the text says, "and you must know that all that they do from this point on will be in the same tempo", which we would take to mean they are dancing in unison from here on - a statement he belies within 3 measures.
8:15:12 14 sL sR sL sR sL sR Presumably returning to their line near-line
15 vL vL vL entirely unclear whether this is full or half. Perhaps the first pair of scempi brought one out only far enough so that the second could reverse the shallow triangle of the set, and these are half-turns, or perhaps the second scempi merely returned the set to a near-line (as we assume in the previous measure), and these are full turns?
8:15:13-14 16 sL sR sL sR

With right hands, switch places.

The text says she gives her right hand to the man on her right; we believe this is the first man, but due to the confusion of the previous few measures, there are certainly alternate interpretations.
8:15:14-16 17 pL pR pL pR pL pR pL pR switching to left hands, and returning places back
8:15:16-19 18 sL sR sL sR with the other man, this time left hands first (yes, left hands to two different men two measures in a row)
19 pL pR pL pR pL pR pL pR and right hands back
trans. meas. man 1 lady man 2 notes end position
8:15:19-20 20 sL sR sL sR sL sR lady passing through, probably back the direction from which they last came triangle
8:15:20-21 21 sL sR sL sR sL sR back towards one another triangle
8:15:21-23 22 ½rL½rL ½rL½rL ½rL½rL "straight through the hall" - i.e., perhaps, not flanking, but rather shoulders in line straight away from one another (the lady from the men); turning between the left and right riprese to keep going straight away from one another.
23 ½rR½rR ½rR½rR ½rR½rR
8:15:23-24 24 ½rL½rL ½rL½rL ½rL½rL Now facing each other, going sideways.
25 ½rR½rR ½rR½rR ½rR½rR
8:15:24-25 26 RL RL RL
8:15:25-26 27 sL sR sL sR sL sR "coming together" shallower tirangle
28 vL vL vL
8:15:26-27 28 RL RL RL
29 sL sR sL sR sL sR near-line
30 vL vL vL
8:15:28-30 31 tL PR tL PR switching places, with right hands
8:15:30- 8:16:2 32 tL PR tL PR Same as last measure, but with left hands
8:16:2-4 33 tL PR tL PR switching places, with left hands
34 tL PR tL PR Same as last measure, but with right hands
8:16:4-7 35 tL tR tL tR tL tR A full hay, one switch per trapassino, with hands, starting with the lady giving her right hand to the man on her right
36 tL tR tL tR tL tR
37 tL tR tL tR tL tR
8:16:7-8 38 sL sR sL sR sL sR backing away with the scempi triangle
39 vL vL vL
8:16:9-11 40 RL RL RL
41 sL sR sL sR sL sR forwards near-line
42 vL pL pR pL pR vL lady returns to the middle while men turn line

Notes