Database

note: full cc. title = ‘Anima ingrata poi che vuoi seguire pur le mondane voglie’

note: lack of cc. in Rs424, R2896 implies the modo proprio indication found in RC395. See CattinCC, 199-200, music (a3) ed. 220-222. Lauda also entered (w/out cc.) in Ferr84. ‘Miseremini mei’ = cc. for ‘O Jesù a’ tuo’ piedi’ (R2896). The music found in 1531/4 is in fact for a secular text (‘Miseremini mei...I’ son proprio la sciagura’) that CattinCC, 199 argues was the model for Castellani’s lauda, and form of which is more compatible with the lauda text than is the text of ‘Anima ingrata’.

note: alternate cc. = ‘Leggiadra diva’

note: CattinR, 43, no.70; RostirollaB, 680. There is a monodic setting of the lauda in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & a 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-11, with text ed. i, 259-10. Gall3 = ‘Donna esto mio lamento, vinitiana’. The lauda also enjoyed an extended life in early 17thc. lauda prints (Lodi et Canzonette, 1608); see LuisiLG, ii, 147-9. In 1589/2, ‘Anima benedetta’ sung to a3 setting of ‘Jesù nostro riscatto’. The lauda may be modeled on the 14thc. secular ballata ‘Era tutta soletta in un prato d’amore’ (ed. CarducciCBSM, 67-8), which shares the same rhyme scheme of the refrain ‘Anima benedetta’, as well as its BaG:7 form. Cc. text variously attributed to Giustinian, Jacopone da Todi, and Clemente Pandolfini; entered in R2929, which was copied by 1448.

note: Rs424 = ‘Anzola tu mi fai’. Text of cc. ed. in D’AnconaPP, 93-4. Alternate version in some sources is ‘Angela che mi fai’. RA2435, pp. 112-13, transmits a version of what is probably the original secular text to which the cc. incipit refers: ‘Angiola tu mi fai/cantando, a te, venire/et bellezze ch’ai/non te le posso dire’.

note: PetL/i & Como1600 settings of ‘Spirito santo amore’, which differ, are ed. LuisiLG, ii, 128-33. On ‘Spirito santo amore’, and musical settings in the later Roman sources, see RostirollaLC, 705-6. There are ten further madrigal settings of this lauda text by Palestrina in his Primo libro de’ madrigali (1581). See also the cc. reconstructions based on 17thc. sources in LuisiLG, ii, 189-92 (‘Amor divino’ on 191, where the text of the ripresa is provided); Giustinian text ed. i, 258. Cc. text entered in R2929, which was copied by 1448. Cc. possibly refers to ‘Amor divino amore/amor che non se amato’, a very old lauda attr. in many sources to Jacopone da Todi (e.g. BML, Ashburnham 1072, 29r, where the form is a Ba2/4:7 (xy aaax bbbx cccx...).

note: this link cited in D’AnconaPP, 476, but omitted from other secondary literature. Text of ‘Questa sposa’ ed. LuisiLG, i, 398-9, and is found in 14thc. laudarios like BML, Ashburnham 423, vol. 129r.

note: Music of cc. ed. in SlimG, ii, no. 4; text ed. p. 441. There are later settings of this text by J. Gero (1543), V. Ruffo (1553), and A. Molino (1568). The poetic forms of lauda and cc. model are compatible if the three pairs of 7-syllable lines in Machiavelli’s poem are resolved into single endecasyllabic phrases.