1531/4

note: CattinCC, 199, where ‘Anima ingrata’ (Gall4) is cc. for Castellani’s ‘Miseremini’, but RC395 indicates that this lauda has its own setting (modo proprio). The music found in 1531/4 is in fact for a secular text (‘Miseremini mei...I’ son proprio la sciagura’) that was surely (as CattinCC, 199 argues) the model for Castellani’s lauda: the refrains are identical in both poems, and the lauda is more formally compatible with the frottola than with the text of ‘Anima ingrata’. The music of the 3-part secular frottola is transcribed in CattinCC, 220-22.

note: CattinCC, 199, where ‘Anima ingrata’ (Gall4) is cc. for ‘Miseremini’; modo proprio in RC395. The music found in 1531/4 is in fact for a secular text (‘Miseremini mei...I’ son proprio la sciagura’) that CattinCC, 199 argues was the model for Castellani’s lauda, and form of which is more compatible with the lauda text than is the text of ‘Anima ingrata’.

note: cf. ‘Anima ingrata’ as cc. for ‘Miseremini mei’, and ‘Miseremini’ as cc. for ‘O Jesù a’ tuo’ piedi’. Lack of cc. in Rs424, R2896 implies the modo proprio indication found in RC395. See CattinCC, 199-200, music (a3) ed. 220-222. Lauda also entered (w/out cc.) in Ferr84. The music found in 1531/4 is in fact for a secular text (‘Miseremini mei...I’ son proprio la sciagura’) that CattinCC,199 argues was the model for Castellani’s lauda, and form of which is more compatible with the lauda text than is the text of ‘Anima ingrata’.

note: lack of cc. in Rs424, R2896 implies the modo proprio indication found in RC395. See CattinCC, 199-200, music (a3) ed. 220-222. Lauda also entered (w/out cc.) in Ferr84. ‘Miseremini mei’ = cc. for ‘O Jesù a’ tuo’ piedi’ (R2896). The music found in 1531/4 is in fact for a secular text (‘Miseremini mei...I’ son proprio la sciagura’) that CattinCC, 199 argues was the model for Castellani’s lauda, and form of which is more compatible with the lauda text than is the text of ‘Anima ingrata’.