Database

note: CattinCC,194, 205-6; MaceyB, 55, 84; Carboni-ZiinoLM, 281; RostirollaB, 730. Music ed. MaceyS, 43; Carboni-ZiinoLM, 321; Mancuso, 493-6. Rz1563 rubric: ‘cantasi come Ogni giorno tu mi di’. In Pal169, ‘Ogni giorno’ listed as lauda w/cc = Castellani’s ‘Tu mi di’ ch’io non morrò (Pal169), which in turn has a cc. = ‘Rendo l’arme al fiero amore’ (R196). Castellani’s laude ‘Non fu mai più dolce’ and ‘Ogni giorno’ share ‘Franza, Franza, viva Franza’ as cc., suggesting that this Carnival song is the original text for Razzi’s music (ed. w/carnival song text in MaceyS,42).

note: for notes on each title, see ‘Oggi’ as a lauda with cc = ‘Io sento al con conforto’, and ‘Dispost’ho’ as a cc.

note: Verdelot’s madrigal was published in his Book I, ca. 1536-7; see Fenlon/HaarIM, 304-5.

note: JeppesenF, ii, 240 lists frottole with incipits ‘Occhi mei lassi poichè’ (Cara; PetF/iv), ‘Occhi mei lassi acompagnate’ (Ioannes Lulinus Venetus; PetF/xi; ed. LuisiFr, no. 59), and Petrarch’s ballata grande ‘Occhi mei lassi mentre [ch’io vi giro]’ (Tromboncino; 1517/3, PetF, 1510, Ve). See CattinNR, 253. Lincoln, 868 lists 9 works in 16thc. prints with this incipit, including settings by the Florentine composer Layolle (‘Occhi miei lassi mentre’), Arcadelt (‘Occhi miei lassi ch’io’), Cara, Tromboncino, and 3 from the later 16thc. Given the strong recourse of M365 to early 16thc. Florentine polyphony (esp. that of Arcadelt and Verdelot), a setting by Layolle or Arcadelt was most likely intended as the cc. Layolle’s setting is ed. in D’AcconeMFR/iv, no. 28; Arcadelt’s in SeayJA, i, no. 36.

note: lauda ‘della morte’

note: It is unclear whether in all cc. sources of ‘Occhi miei’ (M365, RC396, Ferr84) the incipit refers to Castellani’s lauda or the secular frottola with identical incipit (BL.Eg3051, M121), though Castellani probably modelled his lauda on the frottola, and intended it as a cantasi come model as well. Carboni-ZiinoLM, 282, melody ed. 319. Musical settings of cc. in Ferr84, BL.Eg3051 (a4) & M121 (‘Occhi ormai di lachrimare’); see ‘Occhi miei’ as modo proprio. Alternate cc. = Giustinian’s ‘Benedetto ne sia lo giorno’, ed. in CattinG,17; Grey and Animuccia versions ed. in LuisiLG, ii, 19-23 (and are unrelated to one another or to the melody in Ferr84). Animuccia text varies, incl. title: ‘Benedetto sia lo giorno’. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per music dating from ca. 1505-8; see PrizerWC.

note: CattinR, 43, n.70 . There is a monodic setting of ‘Anima benedetta’ in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-7. Of the two laude in the Galletti prints with the incipit ‘O vergine Maria’, the ‘O vergine Maria/chiunche ti vuole amare’ in Gall4 matches the BaG:7 form of ‘Anima benedetta’.

note: cc. in Gall4 reads: ‘O vaghe montanine, pasturelle’