Anim1577

note: RostirollaB, 712; Carboni-ZiinoLM, 279. Music ed. Mancuso, no. 47 (Rz1563); RostirollaTL, 28 (which differs from the setting in Rz1563); RC395 (tenor only, which matches tenor of Rz1563). Cc. text attr. to A. Bettini in M365. Ferr84 melody is a version of Razzi’s melody; both ed. in Carboni-ZiinoLM, 329. 1589/2 transmits a3 setting identical to Anim1577, except with shortened cadential melismas for the first stanza, and (as in Rz1563) a musically independent ‘seconda parte’ for the 2nd stanza. See ‘Io mi trovo’ as modo proprio. The Roman sources transmit and set to music only the refrain text of ‘Io mi trovo’, which in this condition is used as a formally compatible singing model for laude with the form of CapQ (AbbA...).

note: see ‘Signor per la tua fe’ as a modo proprio.

note: note: RostirollaB, 717. Music of cc. ed. RostirollaTL, 43 (Anim1577); similar cantus in Rz1563 w/text ‘Leviam’ i nostri cori’, which also appears to be related to the music in Rz1563 for ‘I’ sento al cor conforto’ (the latter is paired with ‘Levate su pastori’ as cc. models for Razzi’s lauda ‘Oggi lieto e giocondo’); ed. Mancuso, 370 (‘I’ sento al cor’), 439-40 (‘Leviam’ i nostri cuori’). ‘Levate su pastori’ and similar melody transmitted in 1689/2, ed. LuisiLG, ii, 164 (ed. with both of the above texts), and in 1583/3. Giustinian text ed. LuisiLG, i, 400. See ‘Levate su pastori’ as a lauda with modo proprio setting.

note: RostirollaB, 688; RostirollaLC, 769. Music ed. with both texts in LuisiLG, ii, 193 (1689/2). A different setting of ‘Chi vuol’ is transmitted in Anim1577 and its Roman successors; facs. in RostirollaTL, 22. In 1584/2, the relationship between lauda and cc. is reversed; ‘Chi vuol’ is to be sung to the music associated with ‘Spirito santo amore’ (as transmitted in Mil1576, etc.).

note: RostirollaLC, 781, 834, 845 (‘Io ti lascio’). See ‘Spirito santo’ as a lauda for further information. The Anim1577 & 1589/2 settings of ‘Io ti lascio’ appear to be musically unrelated to the music associated with ‘Spirito santo amore’ in the later Roman sources (RostirollaLC, 705-6).

note: CattinR, 43, no.70; RostirollaB, 703-4; RostirollaLC, 774 . There is a monodic setting of ‘Anima benedetta’ in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-7. 1589/2 lists 12 lauda texts to be sung to the music of ‘Jesù nostro riscatto’ (which is unrelated to the extant settings of ‘Anima benedetta’), among them ‘Ogni giorno tu mi di’ & ‘Anima benedetta da l’alto creatore’.

Note: there is no cc. source explicitly linking these two texts, but the relatively early date of the cc. as a carnival song text copied into Gianozzo Salviati’s zibaldone (by 1482), and the identity of incipit, compatibility of rhyme scheme, and similarity of subject matter (images of flight/escape) suggest that despite some irregular line lengths in the cc., d’Albizo modeled his lauda on the carnival song and thereby opened up the possibility of musical borrowing as well; see PrizerP.

note: both lauda are linked to ‘Ora mai’ and its musical settings, and to the youth confraternities at San Marco under Savonarola’s supervision. In LA424, lauda was sent to the ‘Compagnia di San Marco’, probably the Company of the Purification, a prominent youth confraternity at San Marco. See WilsonHM, passim.

note: RostirollaB, 751-2; MaceyB, 57-8, where he notes that Razzi adapted the music for this lauda from an anon. villotta, ‘Gentil signor’ affe ch’io mi moro’ (Venice, 1560); music ed. Mancuso, 585-6. Different musical setting of Razzi text (with textual variants) in Anim1577; ed. RostirollaTL, 47 (facs. p.24); Anim1577 & 1589/2 versions nearly identical, but bear only vague similarities to the setting in Rz1563.

note: lauda re. San Paolo