Pal120

note: RostirollaB, 749-50 (re. ‘Se tu donassi’). Sources agree on alternate cc. = ‘Se non ti guardi amore’ (music in BR62,& related version in Rz1563 with text ‘Se tu donassi il core’, with slightly varied C & T, and a different CT). See FallowsCat, 560. Rz1563 text & music ed. Mancuso, 739-42, and appears to differ from the music in Anim1570 (see incipit in RostirollaB, 750).

note: hunting song set in Rome, ca. 1485. See FallowsCat, 528; OsthoffT, i, 52-69, passim; PirrottaMT, 58-64; GallicoRM, 91; D’AnconaPP, 482. Music ed. OsthoffT, ii, 45-54 [2 stanzas] (SevP, Panc27, BR337); PirrottaMT, 60 (P676); EDM34, 366 (Leip1494); JeppesenF, iii, 75 (melodic incipits). Text of cc. ed. CarducciCR, 86-90, and PirrottoMT, 59. In the Rappresentazione di Santa Margherita (c.1500) hunters sing ‘Iamo alla caccia’ (OsthoffT, i, 39-43); in the Rappresentazione di Santa Uliva hunters sing ‘Su alla caccia’ (PirrottaMT, 59; OsthoffT, i, 42; BecheriniSR, 215). Transmitted in P676 w/incipit ‘A la cazza, a la cazza’ (a4), & with 2nda part incipit ‘Te qui balzan ‘; see GallicoRM, 49. Music differs from the a4 ‘Alla caccia, su su su a cacciare’ in Pix, and the a4 ‘Alla cazza, te te te, sona sona...’ in Q16.

note: CattinR, 31; RostirollaB, 744.

note: see FallowsCat, 189-90; BrownM, 232; CattinCI, 429-31 (with comparison of both texts). Music ed. in CMM37 (Rei; major prolation version); conflated ed. in FallowsE, 64. EscA & Ox resemble the Rei version, but w/perfect time, doubled note values, and a more elaborate discantus. Lauda text in M690 transmitted in 3 stanzas, the middle of which is three lines long (aba), the outer five (ababa).

note: see CattinR, 42; Lincoln, 12. M121 & PetF/viii transmit two different 4-part versions of ‘Uscirò’. Composer of the Petrucci version is Francesco Ana, and text in this version also differs after the 2nd verse. As a Florentine source with other links to the cc. tradition, the setting in M121 (also a 4-part frottola) is the more likely source for the link in this case. Both settings, each with both texts, ed. LuisiLG, ii, 187-9; PetF version also ed. BoscoloFr, no. 36. The cc. text is in RA2435, pp. 141-2. For a different tradition of musical settings of ‘O Maria Diana stella’, see alternate cc. = ‘Galantina morosina’, & ‘Benedetta sia quell’ora’.

note: MaceyB, 125-9; RostirollaB, 732. The cc. for ‘Ecco il Messia’ is ‘Ben venga Maggio’ (see above). Ed. w/Lucrezia’s text in MaceyS, 62.

note: incipit in Gall1 = ‘Deh quel che dentro a me vampeggia’.

note: Diederichs, 101f.; music ed. 306-9. Text of cc. ed. LuisiLG, i, 297; music ed. ii, 40 (Q15) and 41 (Pav361). Cc. text in Gall3.

note: CattinCC, 214 attributes cc. (a lauda) to Castellani, as well. ‘Deh torna...smarrita’ transmitted as anon. lauda in Gall4, w/cc. = ‘Donne gentil’ di gran siam mercatanti’ (‘Canzona de’ granaiuoli’), w/music in BR230 & RC395. Text ed. SingletonCC, 228-9,