Rz1563

note: RositrollaB, 709. Text & music of cc. ed. Mancuso, 447-50, but ultimately derived from Carnival song ‘Vicin, vicin, vicin’ (see this title as a cc.), which is ed. in MaceyS, 12-14 with both Belcari & carnival song texts (Panc27). RC395 indicates ‘Ecco’l signore’ also has modo proprio (presumably independent of music for ‘Jesù, Jesù, Jesù’/’Vicin, vicin, vicin’); see ‘Ecco’l signore’ with ‘Ben venga Maggio’ as original text & music; text transmitted as cc. in Razzi, with music bearing text ‘Ecco’l Messia’. ‘Ecco’l signore’ appears several times in RC395, with music for C & T parts on fols. 3v-4r, and as text: once with 2nd line continuing ‘e la madre’ (instead of ‘...ognun/ciascun gli doni’), perhaps the result of scribal confusion with the related text ‘Ecco’l Messia, ecco’l Messia, e la madre sua Maria’.

note: alternate cc. = ‘Ecco’l signor’

note: lauda text & music ed. Mancuso, no. 18; the simple a2 setting and popular melody preserved in Rz1563 may be the original music for the secular text of the cc.

note: Rz1563 transmits music for both ‘Da che tu’ (a2, which differs from Dammonis’ setting a4 in PetL/i; see ‘Da che tu-a’) and ‘Deh dolce redentor Jesù soccori a me’ (by Lorenzo Tornabuoni), though given the mixed 7- & 11-syllable lines of the latter, this is probably a different lauda from Tornabuoni’s ‘Deh dolce redentor’ in RC395.

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: FallowsCat, 600 (a4 in R2356); CattinCI, 434-5. Ed. LuisiLG, ii, 194-221 (settings from Ven, BU, Pal472, Panc27, Grey, P676, M112bis, PetL/i, Rz1563); Diederichs, 330-3, 355-7. See also Jaenecke, 136-42 (5 versions edited, with inaccuracies). Rz1563 concordances are Ven, Panc27, & Grey; see Mancuso, 421-6. The intended cc. text was apparently the older Latin poem, which is formally compatible with the laude to which it is linked (and transmitted in Gall2, as well), rather than Giustinian’s vernacular ‘Verbum caro factum est/de Maria’ (2/3:7/8 [xy AAx BBx...). The ‘Verbum caro’ in R2356 was copied at the end of the manuscript, and appears to be later addition. It bears no resemblance to any of the other extant settings. The setting most likely known in 15th-early 16thc. Florence came from northern Italy; among the many versions found in north Italian sources may be discerned a primary setting consisting of the popular ‘In hoc anni circulo’ tune in the tenor, with a cantus melody that is recognizable but extremely varied among these sources (see versions in Ven, BU, Panc27, and BNF, Magl. XIX.112b, all edited in LuisiLG, ii, nos. 42-3, 46, 48, & 53). Its clear derivation from the unwritten tradition would make it a likely candidate for use in the cc. tradition.

note: lauda re. ‘la sveglia’. Lauda incipit resembles that of ‘Non dormite, o peccatori’ (Ba2/8:8) in Gall4 without cc.