M121

note: CattinCC, 212-13, where he speculates that it was common to designate as modo proprio a cc. of identical or similar incipit, in this case a frottola. The original model (and source of music) for Castellani’s lauda must be the anon. barzelletta ‘Occhi mia di lacrymare’ transmitted in BML Antinori 158 (text only; ), which was among a group of frottole in that collection sent to Lionarda degli Organi from Rome ‘in the songbook’; see PrizerWC, 407. Text and music ed. in BL.Eg3051 & M121. The incipit in M121 is ‘Ochi ormai di lacrimare’; BlackburnTCS, 150

note: Rz1563 rubric for ‘Ricchi siam’ = ’laude de compreensori’. A version of the music for the carnival song ‘Caritate amore Dei’ is transmitted in Rz1563 with the text ‘Povertà, fatiche, stenti’, and cc. link to the text of ‘Ricchi siam’.

note: see AtlasN, 147-8 (where he argues for the Neapolitan provenance of the cc.); AtlasRM, 202-3; PrizerWC, 409, where he notes that the cc. text was recorded in BML, Antinori 158, a Florentine collection of poesia per music dating from ca. 1505-8. Music ed. AtlasN, 223 (Per431); AtlasRMA, 149. For doubts about Serafino’s authorship of the music, see CattinNR, 235, no. 47. The only evidence that this lauda and its singing model may have been linked in Florence is the presence of the cc. text and music in the Florentine source M121, and the tendency for lauda contrafacta in north Italian sources to have Florentine connections.

note: Carboni-ZiinoLM, 282. See B. Landini’s ‘Oimè, oimè quanto misero se’ as alternate cc. and s.v. modo proprio. In Ferr84 ‘Tambur, tambur’ cc. indication cancelled, but the a2 music in Rz1563 for Landini’s text (ed. Mancuso, 549-52) 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; CortP ed. 156-7).

note: FallowsCat, 129-30; CattinCI, 424-5. Gall4 incipit = ‘Di tuo ben pleni’. Music ed. ThibaultM, 38 (Cord); PopeM, 320 (MC); PerkinsM, ii, no. 32 (Mel); HewittO, 263 (Odh, w/added CtA); JeppesenK, 7 (Cop); and others (see FallowsCat). For lists of later pieces based on Hayne’s song, see CMM74, xxxix-xli; ThibaultM, xcix, & MeconiA, 27. For a recent edition of 28 settings of ‘De tous biens’, see CyrusD.

note: carnival song (mascherata)-Canzona (or Canto) de’ Diavoli; music ed. GallucciFFM, no.9. Lauda = song of condemned souls. Text of cc. in BruscagliTCC, i, 27, where it is called the ‘[Canzona] de’ diavoli iscacciati di cielo’. BruscagliTCC, i, 218 transmits the text of a different ‘Canzona de’ Diavoli’, ‘Se colui ch’ora in ciel gode immortale’, and il Giuggiola’s ‘Trionfo di diavoli’, set by A. Coppini, is a cc. for the lauda ‘Giù nelle infernal grotte morte’. GhisiCC, 93 mistakenly associates the Coppini setting with the Machiavelli text. See CattinNR, 260, and BlackburnTCS, 129 who cites a likely date of Carnival, 1502 for Machiavelli’s carnival song (the text of which alludes to the election of Cardinal Giuliano de’ Medici).

note: M121 = ‘Se bem soletto vado’ (a4); see BlackburnTCS, 125, 171-2. Appears in PetrucciF/v, f.17 with text ‘Ben che soletto vado’, and in BL.Eg3051 with text of Serafino’s strambotto, ‘Io mando ognora al ciel’.

note: FallowsCat, 518-20; CattinNF, 206 (esp. n.50 for bib.); CattinR, no.108; RostirollaB, 740. 36 versions of ‘Fortuna’ are ed. in MeconiF. Settings a4 of lauda text transmitted in Grey & Panc27 (different music in Anim1563); ed. CattinG, no.35; CG version (w/Felice’s substitute bass) ed. AtlasCG, ii, 38. Panc27 reinforces the cc. link: the music (the original 3-voice song with an added si placet altus part) is underlaid with d’Albizo’s lauda text, but transmits the incipit ‘Fortuna disperata’ as well; ed. in MeconiF, no. 4. Lauda also transmitted in LA424 without cc., but indication that it was ‘sent to Ser Firenze, prete’. See also the Florentine quodlibet built on the ‘Fortuna’ melody in M164-7, ed. BecheriniT; MeconiF, no. 13; quodlibet strands ed. JeppesenF, iii, 56ff.

note: BlackburnTCS, 151-2, 172, where she designates the cc. a frottola. Music & text of frottola ed. PrizerCP, 505-8 (cc. text; P676); same music with lauda text in Rz1563 ed. Mancuso, 297-303, where she attributes the text of ‘Mai riposo’ to d’Albizo without explanation. Lauda is not to be confused with another of similar incipit also transmitted in M365, ‘Risposo alcun non trovo Jesù’. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per musica dating from ca. 1505-8; see PrizerWC.

note: Razzi transmits a 3vv setting of his text (ed. Mancuso, no. 37), suitable for singing ‘Caritate amore Dei’ (see MaceyB, 56), but a different 4-part setting of ‘Caritate’ is transmitted in the extant Florentine carnival song sources (ed. GallucciFFM, no.41; cc. text ed. SingletonCC, 280-81), and Razzi adapts this music in a 2-part arrangement for a different lauda linked to ‘Caritate’, ‘Povertà, fatiche, stenti santo’. The music for ‘Spirti sian’ in Rz1563 looks very much like a carnival song setting, but either this is a sacred carnival song or the original secular text has not yet been identified. MaceyB, 56 proposes that there were two distinct musical settings for ‘Caritate amore Dei’. Oddly enough, Razzi transmits yet a different melody for the text of ‘Spriti sian’ in Pal173, fol. 97r.