Rz1563 (a2)

note: See MaceyB, 55, 138-9. Since R2988 gives only ‘O anima accecata’ as a cc. incipit, it is not clear whether Belcari’s ‘O anima accecata che non trovi’ or the anon. ‘O anima accecata tu vai per mala via’ served as the immediate model for ‘Divo Bernardo’ and 2 other laude in this source. Belcari’s lauda is also widely transmitted in the cc. sources with a cc. title of the carnival song ‘Siamo stati in Firenze’ (the ‘Canzona del’Orso’).Rz1563 setting of ’O anima’ ed. Mancuso, no. 27.

note: RostirollaB, 724; D’AnconaPP, 57--8 (re. lauda text). Music (Rz1563) ed. in MaceyS, 42-4 with texts of ‘Non fu mai...dolce amor’, Benivieni’s ‘Non fu mai el più bel solazzo’, & ‘Franza, Franza’. See MaceyS,225, where he proposes the cc. link based on an interrated chain of cc. links involving the above laude & carnival song. Benivieni’s lauda is also the poetic model for ‘Non fu mai più bel convito/lieto dolce, e dilettoso’ in M365, which suggests a musical link for this anonymous lauda.

note: Music ed. w/ both texts, as well as that of original carnival song text, ‘Giovani mandati siamo’, in MaceyS, 45-9.

note: On cc., see MaceyB, 55, 85, 146. cc. for ‘Chi non ama’ = carnival song, ‘Giovani mandati siano’ (Canto dell’imperatore’ or ‘Canzona de’ tedeschi’). Music ed. in MaceyS, 46-50 (Rz1563), along with 2 other proposed lauda texts (‘Oggi torna alla memoria’, ‘Io vo darti anima mia’). Music ed. Mancuso, 346-50. MaceyS, 225-6 dates Benivieni’s lauda to mid-1490s.

note: lauda ‘della Assunta della Vergine’

note: music & text ed. Mancuso, 281-6. Razzi transmits another lauda with a similar incipit (‘Venga ogni cor ardente a veder il Messia’), but with different line lengths, and text & music of ‘L’amor a me’ as cc.

note: CattinCC, 194, 205-6; MaceyB, 55, 84; Carboni-ZiinoLM, 281. Music ed. MaceyS, 43; Carboni-ZiinoLM, 321; Mancuso, no. 42. 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; a frottola with extant music in P676 & Triv55). 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). The two-part setting in Rz1563 is probably an arrangement of the original 3- or 4-part music for ‘Franza, franza’. See ‘Ogni giorno’ as cc., and for other possible musical models for Castellani’s lauda, see ‘Oimè, lasso’ as alternate cc. w/modo proprio setting, and ‘Jesù nostro riscatto’ as a cc. w/3-part setting in Anim1577.