Rz1563

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: both texts in Rz1563, w/Stabat underlaid twice to two different musical settings. Text & music ed. Mancuso, 351-7.

note: lauda re. S. Stefano

note: Razzi transmits another lauda by him with similar incipit (‘Venga ogni cor ardente a lodar Maddalena peccatrice’), but different line lengths and its own musical setting a2 (see this title as a modo proprio).

note: laude re. S. Agnesa. Rz1563: ‘lauda d’una Vergine quando si appresenta il giorno del tuo martirio davanti a Christo..’

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).