1589/2

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: RostirollaLC, 781, 834, 845 (‘Io ti lascio’). See ‘Spirito santo’ as a lauda for further information. The Anim1577 & 1589/2 settings of ‘Io ti lascio’ appear to be musically unrelated to the music associated with ‘Spirito santo amore’ in the later Roman sources (RostirollaLC, 705-6).

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: RostirollaB, 713 (‘Io ti lascio’). Lauda ‘fatta per una fanciulla che va alla Religione’. See ‘Io ti lascio’ as cc. for musical settings of this text.
The musical settings of ‘O Maria’ and ‘Io ti lasso’ appear to be unrelated. The lauda text appears in Anim77 set to the same 3-part music as that used in this same source for Belcari’s ‘Giù per la mala via’.

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: 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.

note: lauda re. San Vincenzo. Razzi’s ‘Levate su sorelle’ & ‘Leviam’i nostri cori’ clearly linked to music of ‘Levate su pastori’, but Razzi also indicates that his ‘Oggi lieto e giocondo’ is to be sung to the music of ‘I’ sent’al cor conforto Cecilia gloriosa’ (fol. 31v; a2--cantus possibly related to that of ‘Levate su pastori’).

note: see ‘Leviam’i nostri cori’ as cc.