Database

note: CattinCC, 201-2; CattinNR, 280; CattinCI, 434-5. Unclear whether this cc. is Castellani’s ‘Vox clamantis in deserto/factus sum e pietà chiamo’ (R196), or the cc. for Castellani’s lauda in R196: Tebaldeo’s ‘Vox clamantis in deserto/facto son e pietà chiamo/e la donna’, set to music by Tromboncino (ed. CesariLF, 138-9, text ed. 49*). Gall4 transmits a ‘Vox clamantis in deserto/oggi in tutto audito fia’ w/ cc = ‘Vox clamantis’, probably also a reference (along with that in M310) to the Tromboncino setting. A ‘Nel tuo furore’ immed. precedes ‘Vox clamantis’ in Gall4, but w/ cc. = ‘Ben venga maggio’. The cc. text was formerly attributed to Serafino Aquilano (see Rubsamen, Literary Sources of Secular Music in Italy (ca. 1500), Berkeley, Calif., 1943, p. 16).

note: Fenlon/HaarIM, 151 (concordant sources); Lincoln, 311 (‘Voi ven’ andat’ al cielo’). Music ed. SeayJA, ii, no. 59. Arcadelt formally treats the poem like a ballata, musically setting off the first three lines as if they were a ripresa (xyY), but the text is too irregular to be a ballata.

note: Music & text of Razzi’s lauda ed. Mancuso, 611-15. Lauda re. S. Antonio. See ‘Vo’ gir a Roma’ as cc. for ‘Vo’ gir all’hermo’.

note: Ch266 = ‘Vivo per voi madonna’

Note: text of cc. ed. CarducciCBSM, 150-1 (as ‘Vivo per voi, madonna, in gran pensiero’).

note: On the interrelated complex of ‘Viva viva’ songs related to the Savonarolan carnival of 1496, see MaceyB, 61-73 (Giambullari’s ‘Vivi vivi in contrizione’ is not mentioned here, but it surely belongs to this complex of songs).