Ferr84

note: lauda re. San Vincentio

note: re. ‘Ogn’un’, see Carboni-ZiinoLM, 283; text ed. 307-8, w’rubric: ‘Fr. Thomas [de Neapoli] dictabat anno 1558’.

note: the musical settings of ‘Jesù’ in Anim1563, et al. differ from the setting of ‘Vergine tu mi fai’ in Anim1563.

note: incipit for cc. & lauda is ‘Chi pensassi’, both presumably modeled on Belcari’s ‘S’i’ pensassi a’ piacer’. The cc. may allude to the text & music of Verdelot’s madrigal, ‘S’io pensassi madonna che mia morte’, also a ballata, though a BaG (1533/2; Fenlon/HaarIM, 298; Lincoln, 692), or to another lauda modeled upon it.

note: Lauda re. St. Ursula

note: attr. to d’Astore in Ch266. ‘Chi pensassi’ has modo proprio in CS1545; incipit in A160 is ‘Chi pensassi’. Music ed. Carboni-ZiinoLM, 327-8 (Ferr84) and Mancuso, no. 30 (Rz1563) . 4-part version in Rz1563 (& cantus in Ferr84) is contrafactum of Baccio’s carnival song, ‘Donne per electione’ (see ‘Donne’ as cc. with musical settings in BR230 & BR337, and ‘S’ i’ pensassi’ as a modo proprio lauda). In many sources, cc. for S’ i’ pensassi a’ piacer’ = ‘Rose, gigli et viole’.

note: lauda and cc. reversed in Ferr84; see modo proprio for ‘Riposo alcun’. On ‘Quel glorioso’ see Carboni-ZiinoLM, 283, text ed. 305-6.

note: on extant musical settings of the lauda text, see CattinCon, 57 (Ven, based on the ‘Verbum car factum est’ melody, which confirms the cc. link in Triv535). According to CattinCon, 73, the lauda text dates from the era of the Bianchi (c. 1400).