1583/3

note: RostirollaB, 697-8. Anim1577 transmits a 3-part setting of Razzi’s text, with a melody vaguely similar to that in Rz1563. Rz1563 text & music ed. Mancuso, 441-3; facs. of Anim1577 version in RostirollaTL, 29. Anim1577 setting reprinted in 1583/3, 1585, & 1589/2.

note: see ‘Signor per la tua fe’ as a modo proprio.

note: note: RostirollaB, 717. Music of cc. ed. RostirollaTL, 43 (Anim1577); similar cantus in Rz1563 w/text ‘Leviam’ i nostri cori’, which also appears to be related to the music in Rz1563 for ‘I’ sento al cor conforto’ (the latter is paired with ‘Levate su pastori’ as cc. models for Razzi’s lauda ‘Oggi lieto e giocondo’); ed. Mancuso, 370 (‘I’ sento al cor’), 439-40 (‘Leviam’ i nostri cuori’). ‘Levate su pastori’ and similar melody transmitted in 1689/2, ed. LuisiLG, ii, 164 (ed. with both of the above texts), and in 1583/3. Giustinian text ed. LuisiLG, i, 400. See ‘Levate su pastori’ as a lauda with modo proprio setting.

note: RostirollaB, 688; RostirollaLC, 769. Music ed. with both texts in LuisiLG, ii, 193 (1689/2). A different setting of ‘Chi vuol’ is transmitted in Anim1577 and its Roman successors; facs. in RostirollaTL, 22. In 1584/2, the relationship between lauda and cc. is reversed; ‘Chi vuol’ is to be sung to the music associated with ‘Spirito santo amore’ (as transmitted in Mil1576, etc.).

note: RostirollaB, 751-2; MaceyB, 57-8, where he notes that Razzi adapted the music for this lauda from an anon. villotta, ‘Gentil signor’ affe ch’io mi moro’ (Venice, 1560); music ed. Mancuso, 585-6. Different musical setting of Razzi text (with textual variants) in Anim1577; ed. RostirollaTL, 47 (facs. p.24); Anim1577 & 1589/2 versions nearly identical, but bear only vague similarities to the setting in Rz1563.

note: CattinCC, 214-15; RostirollaB, 744 (‘Quanto è stolto’); RostirollaLC, 781, 834 (‘Io ti lascio’). Alternate cc. = ‘Giovanetti con fervore’, in turn linked to ‘Ora mai’ music. Music in Anim1577 for ‘Io ti lascio’ and ‘Giovanetti’ adjacent, but different, and neither resembles traditional music of ‘Ora mai’ complex.

note: CattinCC, 205; RostirollaB, 730 (‘Ogni giorno’). Setting a3 in Anim1577 (facs. in RostirollaTL, 23) & 1589/2 appears to be unrelated to the a2 setting of ‘Ogni giorno’ in Rz1563 (ed. Mancuso, no. 42). See ‘Ogni giorno’ as cc. 1589/2 lists 12 other lauda texts to be sung to the music of ‘Jesù nostro riscatto’, among them ‘Ogni giorno tu mi di’ & ‘Anima benedetta da l’alto creatore’.

note: cf. ‘Giù per la villa lunga’ as possible original secular model, of which the cc. incipit is the third line. Lauda copied by Savonarola into CB. 1577 Roman version ed. in RostirollaTL, 46 (with facsimile). The remainder of the cc. incipit in some sources (e.g., M1083) is ‘trovo il figliuol mal’.

note: on ‘Jesù clement’ e pio’ see RostirollaB, 703; RostirollaLC, 831; facs. of Anim1577 (a3) in RostirollaTL, 32. Fabbroni’s lauda is transmitted in non-Florentine sources (including Animuccia) with music that differs from Rz1563.

note: Carboni-ZiinoLM, 279; RostirollaB, 712. Music ed. RostirollaTL, 28 (Anim1577), which differs from the setting in Rz1563, ed. Mancuso, 517-22. Tenor part transmitted in RC395, fol.7v matches tenor of Rz1563. Alternate texts in Rz1563 = ‘Non si puo imaginar’ (P. Chaiani); ‘Jubili tutto’l mondo al suo signore’ (A. Bettini); ‘Chi veder bram in terra un Serafino’ (Razzi); ‘Ecco’l gran padre ch’all’hermo’ (Razzi); ‘Jubili tutto il mondo al nascimento’ (N. Fabbroni). 1589/2 transmits a3 setting identical to Anim1577, except with shortened candential melismas for the first stanza, and (as in Rz1563) a musically independent ‘seconda parte’ for the 2nd stanza. Lauda ascribed to d’Albizo in Ferr84.