R196

note: CattinCC, 208-9. Perhaps should read ‘ben venga’.

note: CattinCC, 208; CattinNR, 260. Lauda transmitted as modo proprio in R196, but form and rhyme correspond perfectly to Guglielmo’s ‘Canzona di donne che vendono agresto’, ‘Donne galanti’, which is preserved in BR230 w/A & B parts, and text beginning at v. 1 of 4th stanza: ‘Chi usa con duo man’. Text ed. SingletonCC, 272-3.

note: CattinCC, 208. See ‘Anime sante’ with a cc. of ‘Donne galanti sempre state siàno’ (Canzona de donne che vendono agresto), with alto & bass parts in BR230.

note: CattinCC, 208. Lauda transmitted as modo proprio in R196, but the lauda incipit and form are identical to those of the carnival song, ‘Trionfo de’ quattro elementi’ (by Antonio Alamanni; ed. SingletonCC, 241, 479), which was probably the model for Castellani’s lauda.

note: CattinCC, 208. Lauda incipit almost identical to incipit of the carnival song, ‘Trionfo de’ quattro elementi’ by Antonio Alamanni (‘Quel creator delle cose create, ch’ è vita de’ viventi’) ; ed. SingletonCC, 241, 479.

note: CattinCC, 207, where Cattin mentions several other laude with similar incipits, but singles out Fr. del Bianco’s Carnival song, ‘Pace, guerra, guerra e pace’, ed. SingletonCC, 231-2 as the clear model.

note: Carnival song, the ‘Canzona de’ cacciatori’. CattinCC, 206-7, where he notes that there are several Canzone (or Canti) de’ cacciatori, but this one is the most poetically compatible with the lauda. Music ed. GallucciFFM, no.15; text in SingletonCC, 109.

note: carnival song--’Canzona de’ sensali di scrocchi’. CattinCC, 206; GhisiCC, 35; SingletonCC, 166.

note: CattinCC, 206

note: CattinCC, 194, 205-6; MaceyB, 55, 84; Carboni-ZiinoLM, 281. Music ed. MaceyS, 43; Carboni-ZiinoLM, 321; Mancuso, no. 42. In Pal169, ‘Ogni giorno’ listed as lauda w/cc = Castellani’s ‘Tu mi di’ ch’io non morrò (Pal169), which in turn has a cc. = ‘Rendo l’arme al fiero amore’ (R196; a frottola with extant music in P676 & Triv55). Castellani’s laude ‘Non fu mai più dolce’ and ‘Ogni giorno’ share ‘Franza, Franza, viva Franza’ as cc., suggesting that this Carnival song is the original text for Razzi’s music (ed. w/carnival song text in MaceyS, 42). The two-part setting in Rz1563 is probably an arrangement of the original 3- or 4-part music for ‘Franza, franza’. See ‘Ogni giorno’ as cc., and for other possible musical models for Castellani’s lauda, see ‘Oimè, lasso’ as alternate cc. w/modo proprio setting, and ‘Jesù nostro riscatto’ as a cc. w/3-part setting in Anim1577.