BR337

note: Castellani’s lauda is transmitted in R196 without a cc., but Cattin notes the similarity of incipt and rhyme scheme with his own sacred carnival song, most likely the poetic model and assumed cc. source.

note: see ‘S’ i’ pensassi’ as lauda with modo proprio for bibliographic information.

note: MaceyB,56. See ‘S’ i’ pensassi’ as modo proprio and as cc.

note: ‘Sequentia Sanctae Agnetis’.

note: ‘Sequentia Sanctae Ceciliae’; ‘cantasi come quella di Natale’.

note: ‘Sequentia Sancti Vencentii martyris’. Though Razzi’s rubric calls for this Latin sequence (and three others besides) to be sung to the music of ‘Dolor pianto’, the incompatibility of the poetic forms makes this unlikely. Another rubric following the two ‘Laetabundus’ sequences in Razzi calls for them to be ‘cantasi come quella di Natale’, while a rubric sandwiched between two paraphrases of ‘Victimae paschale laudes’ (‘Virginis Catherinae’ & ‘Virginis Romane’) calls for these to be ‘cantasi come quella della resurrezzione di nostro Signore’. Thus each pair draws its music from the more famous Latin sequences for Christmas and Easter (respectively) on which they are textually modeled.

note: ‘Sequenzia Sanctae Luciae’. Cc. = carnival song ‘Carro della morte’, 1507; for the most recent and thorough discussion of this song, see PrizerLC for full discussion, and ed. of text and music. Text ed. SingletonCC, 238-9. Music ed. GallucciFFM, no. 10 (w/notes on xiv-xv); Mancuso, no.57 (Rz1563). See also MaceyB, 56-7. See ‘Dolor, pianto’ as modo proprio. Of the 5 Latin ‘sequenziae’ that follow ‘Dolor, pianto’ in Razzi’s print, this (the first of them) is the only one that is formally compatible.

note: carnival song--’Canzona de’ contrarii venti’ or ‘Canzona de’ naviganti’. GhisiCC, 198; CattinR, 23. Music ed. D’AcconeMFR, ii, no.4. Text ed. SingletonCC, 230.