M365

note: music & text ed. Mancuso, 523-9, who attributes the poem to Pandolfini. Almost certainly a contrafactum of a carnival song, which MaceyB, 56-7 proposes to be Michele da Prato’s ‘Pescatori a lenza siamo’ (Canzona de’ pescatori); ed. SingletonCC, 386-9. However, the lauda ‘Alla morte horrenda’ is linked to two cc. sources, ‘Peccatori noi siamo Maria’ and the carnival song ‘Temporal fuor di natura’, an indication that Rz1563 may preserve the music not for the carnival song suggested by Macey, but for ‘Temporal fuor di natura’, the ‘Canzona degli uomini d’arme’ (text ed. SingletonCC, 21-2).

note: see ‘Jesù sommo conforto’ as cc. for musical settings.

note: Nativity lauda. RostirollaB, 697-8. Text & music of Rz1563 ed. Mancuso, 441-3; facs. of Anim1577 in RostirollaTL, 29. Rz1563, transmits only the cantus part, and this is a contrafactum of Pesenti’s frottola, ‘Tu te lamenti a torto’ (the cc. given in RC395); the 8-measure setting of a sing quatrain is ed. in CesariLF, no. XLVII. There are vague similarities between the cantus melodies of the Roman (Anim1577,1583/3, 1589/2) and Razzi (a1) versions. Unrelated in text or music to Verdelot’s setting of Machiavelli’s canzona, ‘O dolce nocte’.

note: music & text ed. Mancuso, 368-70. Lauda re. St. Cecilia. See ‘Io sent al cor’ as cc., with related settings linked to to other texts. Razzi states that this was his first lauda, written while he was still a novice at San Marco, where he took his habit in 1549.

note: see ‘Come d’un sol’ as cc. M365 lists this as lauda by Fabbroni, but/w 1st line identical to the Ottonaio’s Carnival song of the ‘soppiattoni’ (‘Come d’un sol’).

note: Carnival song (mascherata), ‘Canto di pastori, bacchiatori di bassette’. Music ed. D’AcconeMFR, ii, 23-5; & GallucciFFM, no.27. Text ed. SingletonCC,318-19. Music also transmitted in Rz1563, with Belcari’s lauda text, ‘S’i’ pensassi a’ piacer del paradiso’; ed. Mancuso, 427-35.

note: CattinNR, 263. Cc. indication in M365 is ‘le fanciulle’, a reference to the carnival song ‘Canzona di fanciulle in casa’, or ‘Amore che’n terra ogni timore’; text ed. SingletonCC, 311-12. Music & text for carnival song ed. GallucciFFM, 49-51 (notes on xvi); music & text of Rz1563 ed. Mancuso, 478-86.

note: CattinNR, 267; RubsamenLS, 35; HaarCM, 70, 96. Music ed. RubsamenLS, 66-8; SeayJA, vii, no. 6. Lincoln, 870-1 lists 5 settings in 16thc. prints attributed to: Arcadelt (1540/18, 1549/32), Lupacchino, Monte, Palestrina, & Spalenza, but Festa’s earlier setting in a Florentine source (M164-7; found also in Q21 & 1521/6) is the most likely cc. candidate.

note: Lincoln, 692; H Colin Slim, ‘An Iconographical Echo of the Unwritten Tradition in a Verdelot Madrigal,’ «Studi Musicali», XVII (1988), 3-54; Verdelot’s madrigal is discussed throughout the article, and ed. on 52-4, as well as in OwensSM, xxx, 22-25.