This is a four-voice setting of a frottola that is known in a three-part setting by Bartolomeo Tromboncino published in Frottole de Misser Bartolomio Tromboncino & de Misser Marcheto Cara: con tenori & bassi tabulati & con soprani in canto figurato per cantar et sonar col lauto. [Venice/Rome] : [Antico/Giunta], [1520?]. Listed in BrownI as 152?-01. The only surviving copy of this source (in I-Fc) is incomplete and does not include this piece, but Körte transcribed and edited it in his 1901 anthology, pp. 159-160. From this transcription it can be confirmed that Valderrábano’s music is a setting of the same music.
The work is attributed by Valderrábano to Morales. But it was Stevenson who first identified its true author: “Valderrábano (fols. 92v-93) attributed to Morales a “canción,” Omni mal de amor procede, which, however, is not Morales’ at all, but is a frottola by the wife-murdering lutanist Bartolomeo Tromboncino (stevenson1961, 108). Einstein confirms that this piece is one for which no vocal model survives but was probably in Petrucci’s lost 10th book of Frottoli (einstein1949, II, 840).
This piece is edited as Soneto XXI in Pujol’s edition (pujol1965).