R196

note: see ‘Cristo ver’ as cc. in later sources. On this cc. link, see CummingsP, 143-7 (both texts ed. 145, music of ‘Cristo ver’ on 146-7). The text and music of ‘Laudate’ are called for in Belcari’s sacra rappresentazione, the Festa di San Felice. Music w/Belcari’s text transmitted in Rz1563, and ed. Mancuso, 416-20.

note: See CattinR, 41. ‘In su quel monticello’ = ‘In su quell’alto monte’? The imagery of Antonio’s lauda (‘Ave Regina celi, istella tramontana/ogni macula svegli cristallina fontana’) suggests that it was modelled on Bianco Gesuato’s. Differs from the ‘Ave regina celi isposa del Signore’ in Rz1563. Antonio’s text ed. LanzaLT, i, 189-90.

note: sources agree on alternate cc. = ‘Se non ti guardi amore’ (music in BR62,& related version in Rz1563 w/text ‘Se tu donassi il core’, and a slightly varied C & T, different CT). See FallowsCat, 560.

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 CattinR, 34; CattinS, 269-70; RostirollaB, 705; RostirollaLC, 758. Alternate cc. = ‘La madre tornò dal santo’ (Gall2, R196), though this may refer to the same piece; the first 4 lines of the secular text are: ‘Giù per la villa lunga/la bella se ne va/la ma’ torno dal santo/trovo il figliuol mal.’ Lauda text copied by Savonarola into CB. 1577 Roman version ed. in RostirollaTL, 46 (+facs.). Similar setting, w/slight variants, transmitted in 1589/2.

note: CattinCC, 214-15; RostirollaB, 704. Alternate cc. = ‘Io ti lascio stolto mondo’ (also in Anim1577, along w/music for ‘Giovanetti’, w/facs. for both pieces in RostirollaTL, 31).

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’.