BL.Eg3051

note: CattinCC, 212-13, where he speculates that it was common to designate as modo proprio a cc. of identical or similar incipit, in this case a frottola. The original model (and source of music) for Castellani’s lauda must be the anon. barzelletta ‘Occhi mia di lacrymare’ transmitted in BML Antinori 158 (text only; ), which was among a group of frottole in that collection sent to Lionarda degli Organi from Rome ‘in the songbook’; see PrizerWC, 407. Text and music ed. in BL.Eg3051 & M121. The incipit in M121 is ‘Ochi ormai di lacrimare’; BlackburnTCS, 150

note: CattinNF, 203. Grey ed. in CattinG, no.29 (see also notes on xxv); Triv55 ed. JeppesenF, iii, 258-60; text ed. iii,152-3. ‘Lontan’ also found in Canzone Sonetti Strambotti Frottole. Libro Primo (Siena, 1515). Grey also transmits a 3-part setting of ‘Jesù dolce mio sposo’, ed. CattinG, no.39, & xxix where Cattin speculates that this music too may have been originally fitted with a secular strambotto text. Cattin also notes that ‘Jesù dolce mio sposo’ is a fragment from a longer lauda by Jacopone called ‘A l’amor ch’è venuto’. The other cc. for this lauda is Aquilano’s ‘Peregrinando vo per mio destino’, a link noted in BL.Eg3051; this source derives from Medici circles in Rome sometime just after 1500, and is a repository of music some of it north Italian that made its way to Florence, so it is conceivable that ‘Jesù dolce’ and its singing models came to Florence by the same route.

note: CattinR, 27. Cc. indications for ‘L’orazione’ are ‘Ferrivecchi’ and ‘L’erba buona’. 4-part setting of ‘L’orazione’ in Grey, ed. CattinG, no.31 (‘L’oration’). This is a contrafactum of a well-known Tromboncino frottola, ‘Se ben hor non scopro el foco’, ed. in JeppesenF/iii, 249-50 (Triv55). For more on the frottola, incl. eds., see CattinNF, 204-5. The setting of Belcari’s text in Anim1563 differs from the music found in the other sources; see RostirollaB, 718.

note: CattinR, 23-4. Music ed. G. Cesari, et al., Le frottole nell’ edizione principe di Ottaviano Petrucci, 2 vols. (Cremona, 1954), i, 123. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per musica dating from ca. 1505-8; see PrizerWC.

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: CattinCC, 205; CattinR, 24; RostirollaB, 691-2. Text & music ed. Mancuso, 358-60 (Rz1563). See ‘Oimè lasso’ as cc. for ‘Cor maligno’, with music in Ferr84 & BL.Eg5041. Rz1563 music for ‘Cor maligno’ differs from that of ‘Oimè lasso’ in Ferr84.

note: lauda ‘della morte’

note: In Ferr84 cc. for ‘Occhi miei’ is = Castellani’s ‘Oimè, lasso, oimè, oimè’ (w/same melody for both). JeppesenF, ii; Carboni/ZiinoLM, 279; melody ed. 318.

note: see ‘Occhi miei’ as cc. Lauda re. vanitas. CattinCC, 212-13, where he speculates that it was common to designate as modo proprio a cc. of identical or similar incipit, in this case a frottola. The original model (and source of music) for Castellani’s lauda may be the anon. barzelletta ‘Occhi mia di lacrymare’ transmitted in BML Antinori 158 (text only), and BL.Eg3051 & M121 (text and music). The incipit in M121 is ‘Ochi ormai di lacrimare’; BlackburnTCS, 150.