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 Carra : 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.

[Soneto XXI in PujolV].

Attributed by Valderrábano to Morales. Stevenson (Cathedral Music, p. 108) “Valderrábano (fols. 92v-93) attributed to Morales a “canción,” Omni mal de amor procede, which, however, is not Moales’ at all, but is a frottola by the wife-murdering lutanist Bartolomeo Tromboncino. Schöner (1999), 218, also suggests that this is possibly a setting by Tromboncino. The Tromboncino setting is reprinted in Körte (1901), 159-160.
My cursory examination of this [3/10/2001] confirms Schöner’s conclusion.

Einstein confirms (Italian Madridgal, II, 840 that this piece is one for which no vocal model survives but was probably in Petrucci’s lost 10th book of Frottoli