RC395

note: D’AnconaPP, 479 quotes opening 6 lines of text, and notes that it can be found in M119 & Pal172.

note: the refrain continues with the line ‘...muova’l passo all’organetto’, and subsequent lines place instruments in the hands of each of the 3 archangels: ‘Michael suona quell’arpa...Gabriel da’n quella tromba...Raffael tocca’l liuto’.

note: JeppesenF, ii, 223; Fenlon/HaarIM, 141 (concordant sources); Lincoln, 688. 1530/1: ‘Fidel e bel cagnolo’.

note: CattinNR, 279; Lincoln, 478 (incipits); RubsamenLS, 26-7. In PetF/i, composer indicated as ‘Micha’ (=Michele Pesenti, or Michael Vicentino?). Music ed. CesariLF, 37; text ed. 17 (appendix), and this in fact is the source of the cantus part applied in Rz1563 to Razzi’s lauda. For musical settings of Razzi’s lauda, see ‘Dolce, felice’ as a modo proprio.

note: Fenlon/HaarIM, 158 (concordant sources); JeppesenF, ii, 114, 131, 136. Music ed. D’AcconeMFR, ii,16-17. Lauda re. nativity.

note: CattinCC,212. Alternate cc. = ‘A la fe’ che la tua fe’. See ‘Oimè, lasso, oimè’ as cc. and modo proprio with settings in Ferr84 & [BL.Eg3051]. RC395 also lists ‘Oimè’ as cc. for ‘Ogni giorno’!

note: lauda re. Passion

note: CattinCC, 196-7. Music & text of cc. ed. Mancuso, 523-9. Alternate cc. for ‘Alla morte’ = carnival song, ‘Temporal fuor di natura’, which may be the original text of this music. See ‘Peccatori Maria’ as modo proprio (M365).

note: JeppesenF, ii, 213. Music & text of cc. ed. LuisiFr, no. 26 (notes on 35, 43-4, and text ed. 61-2); EinsteinCS, 52; LuisiMVR, 284-5; SpartiW, 159-60 (& discussion of ‘Che faralla’ as a ballo adaptation on 144-5). Music & lauda text in Rz1563, ed. Mancuso, 542-5, & LuisiFr, 282. The two-part version in Razzi freely adapts the cantus & tenor of Pesenti’s frottola setting. In Pal169, the lauda text is presented with the form Ba4/6:5/8 (xxYy aaYBBY). Text also ed. and discussed in D’AnconaPP, 94-5.