Chic

note: MaceyFS, 356 notes that Razzi recorded and used the cantus melody of Verdelot’s madrigal for four different laude in his autograph ms., Pal173. For an earlier and probably more complete use of Verdelot’s music, see its link to the lauda ‘Vergin gloriosa madre de’ peccatori.’ In Rz1609, Razzi used the cantus and tenor of Verdelot’s madrigal for two laude: ‘Le Vergin gloriose’ (possibly the same as the preceding text), and, ‘Questo dì glorioso.’

note: EinsteinIM, i, 250-1; Fenlon/HaarIM, 155 (concordant sources). This madrigal à4 appears in the Prologue of Machiavelli’s La Clizia. The story is set in Florence during the 1506 Carnival season, but the play was written and first performed in 1525; see discussion of the dramatic context in PirrottaMT, 128f, with ed. of music on 131-3. Music ed. SlimG, ii, 341-3.

note: EinsteinIM, i, 248-9; Fenlon/HaarIM, 156 (concordant sources); Lincoln, 690; HaarCM, 123, 253. Music ed. SlimG, ii, 379-81; EinsteinIM, iii, no. 16 (text ed. xv).

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.