M365

note: lauda re. Sant’Agnese.

note: in PetF/i, composer indicated as “Micha” (= Michele Pisenti, or Michael Vicentino?). Incipit in M365= Tuti lamenti.

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: lauda re. ‘la sveglia’. Lauda incipit resembles that of ‘Non dormite, o peccatori’ (Ba2/8:8) in Gall4 without cc.

note: MaceyB,55,85-6; MaceyNC, 148-150. Cc. = the carnival song ‘Canto dell’imperatore’, or ‘Canzona de’ tedeschi’ in CarraiCA--the text mentions King Maximilian, who became Holy Roman Emperor in 1493. Text ed. SingletonCC, 86. Music w/both texts ed. in MaceyS, 45-7, w/commentary on p.226, & 1st 2 stanzas of texts ed. & translated on xxxviii-xxxix. Lauda in Rz1563, ed. Mancuso, 346-50. Of the many carnival songs drawn upon in M365, this is the only one that belongs to the pre-1500 tradition.

note: BlackburnTCS, 151-2, 172, where she designates the cc. a frottola. Music & text of frottola ed. PrizerCP, 505-8 (cc. text; P676); same music with lauda text in Rz1563 ed. Mancuso, 297-303, where she attributes the text of ‘Mai riposo’ to d’Albizo without explanation. Lauda is not to be confused with another of similar incipit also transmitted in M365, ‘Risposo alcun non trovo Jesù’. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per musica dating from ca. 1505-8; see PrizerWC.

note: see ‘Ogni giorno’ as cc.

note: lauda re. San Vincenzo. Razzi’s ‘Levate su sorelle’ & ‘Leviam’i nostri cori’ clearly linked to music of ‘Levate su pastori’, but Razzi also indicates that his ‘Oggi lieto e giocondo’ is to be sung to the music of ‘I’ sent’al cor conforto Cecilia gloriosa’ (fol. 31v; a2--cantus possibly related to that of ‘Levate su pastori’).

note: CattinR, 21 (with excerpts of both texts edited); Fenlon/HaarIM, 158. Music & text ed. D’AcconeMFR, ii, 17-19. Cc. in R196 is ‘Signora mia’.

note: related to settings of ‘Ora mai che fora son’ (see as cc.). Variant arr. of ‘Ora mai’ melody transmitted in Rz1563 with above lauda text; ed. WilsonHM (all 4 versions of ‘Ora mai’ melodic settings); Mancuso, 361-4. See also CattinNR,224-6.