Ferr84

note: It is unclear whether in all cc. sources of ‘Occhi miei’ (M365, RC396, Ferr84) the incipit refers to Castellani’s lauda or the secular frottola with identical incipit (BL.Eg3051, M121), though Castellani probably modelled his lauda on the frottola, and intended it as a cantasi come model as well. Carboni-ZiinoLM, 282, melody ed. 319. Musical settings of cc. in Ferr84, BL.Eg3051 (a4) & M121 (‘Occhi ormai di lachrimare’); see ‘Occhi miei’ as modo proprio. Alternate cc. = Giustinian’s ‘Benedetto ne sia lo giorno’, ed. in CattinG,17; Grey and Animuccia versions ed. in LuisiLG, ii, 19-23 (and are unrelated to one another or to the melody in Ferr84). Animuccia text varies, incl. title: ‘Benedetto sia lo giorno’. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per music dating from ca. 1505-8; see PrizerWC.

note: Carboni-ZiinoLM, 282.

note: MaceyB, 53-4, 71-2; Carboni-ZiinoLM, 281, with music for Ferr84 & Rz1563 melodies ed. 324. Simple, 2-part setting in Grey differs; ed. CattinG, no.27. Music ed. LuisiLG, i, 117-19 (Grey, Rz1563); Mancuso, 694-700; MaceyS, 34-5. Macey also proposes ‘Signor Jesù’ as cc. for two texts by Girolamo Benivieni, ‘Viva ne’ nostri cuori’ (ed. MaceyS, 36-7) & ‘Da che tu ci hai Signore’ (ed. 38-9). Alternate cc. = ‘La vampeggia’

note: see CattinCC, 205; RostirollaB, 731-2; Carboni-ZiinoLM, 279, 289, 302, with melody ed. twice at 318, for both ‘Oimè lasso’ and ‘Occhi miei di lacrimare’. Different music for ‘Oimè lasso’ ed. in CattinCC, 226-7, with link to secular cc. (frottola) ‘A la fe’ che la tua fe’ (M365, RC395, Ferr84; music in BR230).

note: Cantus melody for ‘Facciam’ (Ferr84), ed. in Carboni-ZiinoLM, 318

note: cc. text attributed in Ferr84 to Fra Giovanni di Marco, and in Rz1563 to Fra Angelo Bettini. M365 lauda = ‘Diposo alcun non trova’, and cc = ‘Alcun non trovo’.

note: Carboni-Ziino, 278, w/melodies for lauda texts in Ferr84, Rz1563, & VallO.32 ed. on 320-21. Text & music of Rz1563 version ed. Mancuso, 497-500.

note: CattinCC, 205; RostirollaB, 730 (‘Ogni giorno’). Setting a3 in Anim1577 (facs. in RostirollaTL, 23) & 1589/2 appears to be unrelated to the a2 setting of ‘Ogni giorno’ in Rz1563 (ed. Mancuso, no. 42). See ‘Ogni giorno’ as cc. 1589/2 lists 12 other lauda texts to be sung to the music of ‘Jesù nostro riscatto’, among them ‘Ogni giorno tu mi di’ & ‘Anima benedetta da l’alto creatore’.

note: CattinCC, 212; RostirollaB, 730-1. Cf. musical settings of ‘Oimè, lasso, oimè, oimè’. RC395 also lists ‘Ogni giorno’ as cc. for ‘Oimè’! See ‘Ogni giorno’ as cc.for musical settings of this text.

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.