Brus

note: music ed. SeayJA, IV, no. 6.

note: Fenlon/HaarIM, 151, 166, 243. Music ed. SeayJA, II, no. 19.

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: MaceyFS, 360-61, where he compares the two texts (ed. on 370); Fenlon/HaarIM, 151. In 1555, Palestrina published a setting of a possibly related text, ‘Lontan della mia diva’.

note: Fenlon/HaarIM, 152 for concordant sources, and attrib. to Festa, though it cannot be found among the edited complete works of either composer.

note: EinsteinIM, i, 274 (cc. text ed.); Fenlon/HaarIM, 151; Lincoln, 32 (madrigal), where the incipit is ‘Deh fuggite o mortali’. Music ed. SeayJA, ii, no. 4.

note: music ed. in D’AcconeMFR, iv, no. 43; text ed. xvi. First published in Venticinque canzoni a cinque voci (Lyons, Moderne c. 1538). The lauda is possible identical with the ‘O Maria del ciel regina’ sung by nuns in Castellano Castellani’s Rapresentazione di Santa Eufrasia; BecheriniSR, 210.

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: cc. possibly modeled on Arcadelt’s ‘Madonna oimè ch’io ardo’; both pieces transmitted in Brus. See Fenlon/HaarIM, 150, where it is suggested that the cc. may be a risposto to Arcadelt’s madrigal.