Ferr84

note: CattinCC, 205, 212; RostirollaB, 731-2; Carboni-ZiinoLM, 279, 289, 302, with melody ed. twice at 318, for both ‘Oimè lasso’ and ‘Occhi miei di lacrimare’ (w/music a4 in BM.Eg3051). Different music for ‘Oimè lasso’ ed. in CattinCC, 226-7, with link to secular cc. (frottola) ‘A la fe’ che la tua fe’ (M365, RC395, Ferr84; music in BR230). Cc. indication cancelled in Ferr84. See ‘Oimè, lasso’ as a lauda with several cc. models, as well.

note: Rz1563 music for ‘Cor maligno’ differs from that of ‘Oimè lasso’ in Ferr84.

note: See ‘Occhi miei’ as modo proprio and as cc. CattinCC, 212-13. Variant incipit: ‘Occhi mia, de lacrimare’.

note: Carboni-ZiinoLM, 282, melody edited 319. Alternate cc. (cancelled in Ferr84) is ‘Oimè, lasso, oimè, oimè’ (linked also to ‘Occhi miei di lagrimare’), w/different musical settings. In Ferr84,‘Benedetto sia quell’ora’ is cc. for Lorenzo’s ‘O maligno e duro core’ (cf. ‘Siam galanti di Valenza’) & ‘Cominciamo Cristo a laudare’; ‘Occhi miei di lagrimare’ (w/music in Ferr84 & BL.Eg3051) is cc. for ‘Benedetto sia quell’ora’. See Giustinian’s ‘Benedetto ne sia lo giorno’ (& its extant musical settings) as cc. for ‘Benedetto sia quell’ora’. The ‘Benedetta sia l’ora’ in Gall3, 165 (without cc.) is probably a different lauda, given its 7-syllable lines; the extant laude to which ‘Benedetta sia quell’ora’ is linked are all octosyllabic (like the ‘Benedetta sia quell’hore/che noi fummo illuminati’ in M365). All of these incipits, along with Poliziano’s canzona a ballo ‘Benedetto sie ‘l giorno, l’ora e ‘l punto’, are ultimately indebted to Petrarch’s sonnet, ‘Benedetto sia ‘l giorno e ‘l mese et l’anno/e la stagione e ‘l tempo et l’ora e ‘l punto’.

note: Carboni-ZiinoLM,282. Music & text of cc. ed. Mancuso, 549-55. See ‘Oimè’ as modo proprio. In Ferr84, alternate cc.= ‘Tambur, tambur’ (cancelled), with music for single part in BR337. The a2 music in Rz1563 for Landini’s text is, in fact, the music for the soprano and tenor parts of ‘Tambur, tambur’ as preserved in M121 (the a4 version in CortP differs in texture, though is based on the same borrowed popular melody); see BlackburnTCS,134-8 (M121 version ed. 154--5); this confirms the direct cc. link between ‘Tambur’ and ‘E’ll’ardera’ entered (though cancelled) in Ferr84.

note: Rz1563 provides music for ‘I’ mi truovo’, then indicates 5 laude that may be sung to this music: ‘Non si puo imaginar’, ‘Jubili tutto’l mondo al suo signor’ (Bettini), ‘Jubili tutto’l mondo al nascimento’ (Fabbroni), ‘Chi veder brama’, & ‘Ecco’l gran padre’. M365 lists ‘Jubili tutto’l mondo al suo Signore’ with no stated cc. (i.e. as modo proprio in this case), followed by 4 laude (all by Bettini) to be sung ‘come quella di sopra’: ‘Riscalda il verde prato’,’Ecco’l dominator’, ‘Venitene fratelli’, & ‘I’ mi truovo Jesù’. Presumably the music in Rz1563 that serves the texts of both ‘Io mi trovo’ and ‘Jubili tutto’l mondo...signore’ is in fact the music intended for these other texts in M365.

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

note: Carboni-ZiinoLM, 281, w/music ed. 327. ‘Chi pensassi’ in CS1545. Cf. ‘S’ i’ pensassi’ as cc. in many sources, cc. for ‘S’ i’ pensassi’ = ‘Rose, gigli’. 4-part version in Rz1563 (& Ferr84 melody) is contrafactum of Baccio’s Carnival song, ‘Donne, per electione’ (see as cc.). On ‘S’ i’ pensassi’ in later Roman sources, see RostirollaLC, 711-12, 844.

note: Carboni-ZiinoLM, 279, where setting of lauda text in PetL/i is noted. Music ed. LuisiLG, ii, 325-7. Cc. text is probably that entered in R2929, no. 191 (‘O Signore dammi la morte’), which was copied by 1448.

note: Carboni-ZiinoLM, 282.