Bas2495

note: MaceyFS, 356.

note: MaceyFS, app. 3, lists another, apparently sacred, madrigal title associated with Verdelot and the above two texts, ‘Quando Maria io vengo a contemplarti.’

note: music ed. SeayCF, viii, no. 5.

note: Lincoln, 692; H Colin Slim, ‘An Iconographical Echo of the Unwritten Tradition in a Verdelot Madrigal,’ «Studi Musicali», XVII (1988), 3-54; Verdelot’s madrigal is discussed throughout the article, and ed. on 52-4, as well as in OwensSM, xxx, 22-25.

note: M365 incipit = ‘Da’ dolci campi Elisei’. Lincoln, 31; EinsteinIM, i, 160, where Einstein prints the text of the madrigal, and assigns the madrigals of Arcadelt’s third book to his years in Florence (c. 1532-7?). See also Fenlon/HaarIM, 151 (concordant sources), and 62, where it is suggested that this madrigal may have been a part of the theatrical music for a performance of Lorenzino de’ Medici’s L’Aridosio at the wedding festivities for Alessandro de’ Medici in 1536. Music ed. SeayJA, iii, no. 17.

note: Lincoln, 692; EinsteinIM, i, 248. Music ed. OwensSM, xxx, 43-47.

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: Lincoln, 29; EinsteinIM, i, 269-71; Fenlon/HaarIM, 146 (concordant sources); MaceyFS, 357-60 (where he discusses the relationship between madrigal text, lauda text, and music, and edits both texts (369). Music ed. SeayJA, i, no. 18.

note: Music of cc. ed. in SlimG, ii, no. 4; text ed. p. 441. There are later settings of this text by J. Gero (1543), V. Ruffo (1553), and A. Molino (1568). The poetic forms of lauda and cc. model are compatible if the three pairs of 7-syllable lines in Machiavelli’s poem are resolved into single endecasyllabic phrases.