Anim1563

note: It is unclear whether in all cc. sources of ‘Occhi miei’ (M365, RC396, Ferr84) the incipit refers to Castellani’s lauda or the secular frottola with identical incipit (BL.Eg3051, M121), though Castellani probably modelled his lauda on the frottola, and intended it as a cantasi come model as well. Carboni-ZiinoLM, 282, melody ed. 319. Musical settings of cc. in Ferr84, BL.Eg3051 (a4) & M121 (‘Occhi ormai di lachrimare’); see ‘Occhi miei’ as modo proprio. Alternate cc. = Giustinian’s ‘Benedetto ne sia lo giorno’, ed. in CattinG,17; Grey and Animuccia versions ed. in LuisiLG, ii, 19-23 (and are unrelated to one another or to the melody in Ferr84). Animuccia text varies, incl. title: ‘Benedetto sia lo giorno’. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per music dating from ca. 1505-8; see PrizerWC.

note: see CattinCC, 205; RostirollaB, 731-2; Carboni-ZiinoLM, 279, 289, 302, with melody ed. twice at 318, for both ‘Oimè lasso’ and ‘Occhi miei di lacrimare’. Different music for ‘Oimè lasso’ ed. in CattinCC, 226-7, with link to secular cc. (frottola) ‘A la fe’ che la tua fe’ (M365, RC395, Ferr84; music in BR230).

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: CattinCC, 194, 205-6; MaceyB, 55, 84; Carboni-ZiinoLM, 281. Music ed. MaceyS, 43; Carboni-ZiinoLM, 321; Mancuso, no. 42. In Pal169, ‘Ogni giorno’ listed as lauda w/cc = Castellani’s ‘Tu mi di’ ch’io non morrò (Pal169), which in turn has a cc. = ‘Rendo l’arme al fiero amore’ (R196; a frottola with extant music in P676 & Triv55). Castellani’s laude ‘Non fu mai più dolce’ and ‘Ogni giorno’ share ‘Franza, Franza, viva Franza’ as cc., suggesting that this Carnival song is the original text for Razzi’s music (ed. w/carnival song text in MaceyS, 42). The two-part setting in Rz1563 is probably an arrangement of the original 3- or 4-part music for ‘Franza, franza’. See ‘Ogni giorno’ as cc., and for other possible musical models for Castellani’s lauda, see ‘Oimè, lasso’ as alternate cc. w/modo proprio setting, and ‘Jesù nostro riscatto’ as a cc. w/3-part setting in Anim1577.

note: CattinCC, 205; CattinR, 24; RostirollaB, 691-2. Text & music ed. Mancuso, 358-60 (Rz1563). See ‘Oimè lasso’ as cc. for ‘Cor maligno’, with music in Ferr84 & BL.Eg5041. Rz1563 music for ‘Cor maligno’ differs from that of ‘Oimè lasso’ in Ferr84.

note: cc. text tranmitted in LAD759, fol.327, Filippo Scarlatti’s autograph ms., where it is labeled a ‘chanzona ciciliana’; also a cc. for Scarlatti’s lauda, ‘Quanto sono in verde etate’ (fol.382, dated 1470/1), with poetic form CapQ:8 (abbc cdde effg..). See FerraraV, 7; PasquiniFS, 427, 438, 538, 567. For biblography on the lauda, see ‘Deh venitene’ as a cc. The music preserved in Rz1563 is a simple, homophonic 3-part setting with a popular tone that suits the cc. text perfectly, and is probably some version of the original music for this text; ed. Mancuso, 382--3, and first two quatrains of cc. text ed. in D’AnconaPP, 491.

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: ‘L’erba buona’ is usually linked with ‘Ferrivecchi’ as cc. for ‘L’orazione’ (and Belcari’s ‘Chi vuol pace’).

note: RostirollaB, 718; CattinNF, 204-5. Music ed. CattinG, no. 31. (Grey); this is a contrafactum of a well-known Tromboncino frottola, ‘Se ben hor non scropro el foco’, transmitted in BR230, Triv55, Q18, BL.Eg3051, Panc27,& PetF/i. See cc = ‘Ferrivecchi’ & ‘L’erba buona’, and ‘Se ben hor non scopro el foco’ for bibliography. There is different setting of ‘L’orazione’ in Anim1563.