Database

note: text of cc. and two settings of the music ed. Mancuso, 351-7 (Rz1563). Text of ‘Donna del paradiso’ ed. LuisiLG, i, 324-7, text of ‘Stabat’ ed. i, 297-8. Lauda text entered in R2929, which was copied by 1448.

note: On the cc., see RostirollaLC, 759, 845-6. Music ed. with both texts in LuisiLG, ii, 189 (Crema1605).

note: Music & text ed. Mancuso, 461-5. Cc. for ‘Spiriti sian’ = ‘Caritate amore Dei’ (M365). Though Razzi does not here transmit the original music for ‘Caritate amore Dei’, it nevertheless reinforces the impression that this lauda is a paraphrase of a carnival song, or more likely, that it is a sacred carnival song, and that the 3-part, homophonic, & rhythmically buoyant setting transmits the original music of this carnival song. As a kind of ‘Canzona deglie spiriti beati’, it is similar to Machiavelli’s ‘Spirti beati sìano’, which Bruscagli dates to ca. 1523; BruscagliTCC, i, 30-32. Following ‘Spirti sian’ in Rz1563 is ‘Povertà, fatiche’ (also bearing a cc. of ‘Caritate amore Dei’ in M365), and this is a 2-part arrangement of the original music for ‘Caritate amore Dei’.

note: FallowsCat, 561-2. Music ed HoflerA, no.1 (SevP). It is unclear whether the form of Belcari’s lauda in CS1545 is a single 10-line stanza (a single rhyme scheme, like that of a StrS, runs throughout) or a 6 + 4 structure (as it looks on the page).

note: there are three settings (all 4-part) by Pisano, ed. D’AcconeMFR, i, nos. 15 (M164-7, PetG), 16 (M164-7,Bas2440, Q21, PetG), and 29 (Bas2440); text (a dialogue in ballata form) ed. xvi. There are also anonymous settings in Paris, Bibliothèque Nationale, Res. Mus. Vmd 32, and for 3 parts in Bas2440. See Fenlon/HaarIM, 139, 158, 175, 185.

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.