Gall4

note: see ‘Ecco’l messia’ and ‘Ben venga Maggio-a’ as cc for musical settings applicable to ‘Nel tuo furore’. The 4-part setting by Dammonis in PetL/i is ed. in JeppesenL, no. 89, and preserves a version of the Savonarolan melody ‘Ecce quam bonum’.

note: in LA424, lauda sent to ‘monache di Sancta Chiara’.

note: lack of cc. in Rs424, R2896 implies the modo proprio indication found in RC395. See CattinCC, 199-200, music (a3) ed. 220-222. Lauda also entered (w/out cc.) in Ferr84. ‘Miseremini mei’ = cc. for ‘O Jesù a’ tuo’ piedi’ (R2896). The music found in 1531/4 is in fact for a secular text (‘Miseremini mei...I’ son proprio la sciagura’) that CattinCC, 199 argues was the model for Castellani’s lauda, and form of which is more compatible with the lauda text than is the text of ‘Anima ingrata’.

note: alternate cc. for ‘Ave fonte’ = ‘Alma che sì gentile/sei per’; & ‘Ave fonte’ in turn is cc. for ‘Ave cella’ d’amore’.

note: in LA424, this ‘lauda della quaresima’ sent to the Compagnia di San Marco (Purification?).

note: See MaceyB, 99-105; RostirollaB, 710. Settings by Scotus (PetL/ii), in Anim1563, Rz1563, & Verovio (Rome,1586; w/lute & keybd. intab.), all ed. in MaceyS, 53-60, with text ed. & translated on xlii-xliii. Razzi cantus transcr. in Carboni-ZiinoLM, 322 (Ferr84 transmits music with text ‘Ogn’un lodi Maria’). Incipit in printed cc. sources is ‘O Jesu...’, and with textual variants in the first stanza. See also ‘Jesù sommo conforto’ as a cc.

note: lauda re. Nativity