Ferr84

note: MaceyB,99-105; RostirollaB, 710; PerkinsMAR, 449-52 (w/Rz1563 setting ed. p.451). Settings by Paulus Scotus (a4; PetL/ii; ed. JeppesenL, no. 22), Animuccia (Anim1563), Razzi (Rz1563; ed. Mancuso, no. 3), & Verovio (Rome,1586; w/lute & keybd. intab.) The Razzi and Animuccia settings are musically related. All extant settings ed. in MaceyS, 53-60, and Savonarola’s text is translated on xlii-xliii. Razzi cantus is transcribed in Carboni-ZiinoLM, 322 (Ferr84 transmit music w/ text ‘Ogn’un lodi Maria’). Savonarola’s lauda set in Rz1563 (a3), which transmits a separate 3-part setting of Belcari’s ‘Jesù sommo diletto e vero lume’ (a cc. for Savonarola’s lauda in many sources). The form of Savonarola’s lauda could be construed as Ca2/4: 7/8/10 (abab XX cdcd...) if the two four-syllable lines (xx) are treated as a single line; in other words, his lauda is formally compatible with all laude in this form. As it is, the sequence of line lengths is: 7/7/7/7/4/4/10.
See ‘Jesù sommo conforto’ as modo proprio, and see ‘Angela tu mi fai’ as the original secular model for both Savonarola’s lauda, and Chelli’s ‘Vergine tu mi fai’.

note: Lauda re. nativity. Lauda in Gall2, Pal117, etc. without cc., but probably because it has its own strong modo proprio tradition. Unclear whether or not the Pal169 cc. rubric indicates a modo proprio setting, or another piece with a similar incipit.

note: FallowsCat, 600 (a4 in R2356); CattinCI, 434-5. Ed. LuisiLG, ii, 194-221 (settings from Ven, BU, Pal472, Panc27, Grey, P676, M112bis, PetL/i, Rz1563); Diederichs, 330-3, 355-7. See also Jaenecke, 136-42 (5 versions edited, with inaccuracies). Rz1563 concordances are Ven, Panc27, & Grey; see Mancuso, 421-6. The intended cc. text was apparently the older Latin poem, which is formally compatible with the laude to which it is linked (and transmitted in Gall2, as well), rather than Giustinian’s vernacular ‘Verbum caro factum est/de Maria’ (2/3:7/8 [xy AAx BBx...). The ‘Verbum caro’ in R2356 was copied at the end of the manuscript, and appears to be later addition. It bears no resemblance to any of the other extant settings. The setting most likely known in 15th-early 16thc. Florence came from northern Italy; among the many versions found in north Italian sources may be discerned a primary setting consisting of the popular ‘In hoc anni circulo’ tune in the tenor, with a cantus melody that is recognizable but extremely varied among these sources (see versions in Ven, BU, Panc27, and BNF, Magl. XIX.112b, all edited in LuisiLG, ii, nos. 42-3, 46, 48, & 53). Its clear derivation from the unwritten tradition would make it a likely candidate for use in the cc. tradition.

note: see ‘Ogni giorno’ as cc.

note: see modo proprio for ‘Riposo alcun’.

note: Carboni-ZiinoLM, 283, 288; melody ed. 319. CattinCC, 193.

note: lauda re. St. Cecilia

note: note: Carboni-ZiinoLM, 283, 288; melody ed. 319. CattinCC, 193. Lauda re. St. Catherine of Siena. See also ‘Io son quella villanella’ as cc. for ‘Io son quella pecorella’.

note: CattinCC,194, 205-6; MaceyB, 55, 84; Carboni-ZiinoLM, 281; RostirollaB, 730. Music ed. MaceyS, 43; Carboni-ZiinoLM, 321; Mancuso, 493-6. Rz1563 rubric: ‘cantasi come Ogni giorno tu mi di’. 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). 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).

note: lauda re. St. Catherine, martyr