Database

note: carnival song--’Canzona di pellegrini truffatori’; text ed. SingletonCC, 174. The cc. given in R196 for this lauda is ‘anima siamo ch’a l’inferno’, which matches formally, but an equally good match with a more similar incipit in ‘Pellegrin, donne, in questo abito strano’.

note: lauda re. Sant’Agnese. Essentially same text as ‘Tuoi divoti’, but adjusted ‘per le suore’.

note: lauda author = Fra Pietro Antonio di Santa Maria Novella; alternate cc. = ‘Ora mai sone in età’.

note: this link is conjectural. ‘Partiti core’ is transmitted in Ch266 without a cc., but a surviving letter to Belcari relates how at the deathbed of his daughter Suor Orsula, a nun at the Convent of Santa Brigida, her companions sang ‘Partiti core’; see NosowS, 537-40. The secular song ‘Partiti messer’ was used in both R2224 and elsewhere in Ch266 as a cc., and given the similarity of incipit seems a likely model for ‘Partiti core’.

note: ‘Partiti messere e va lo tuo camino’ in R2224, where it is the cc. for ‘O Jesù Cristo padre e salvatore’ (Str:11).

note: Gall4 rubric = ‘fatta sopra la canzona, ch’ andó el dì di Berlingaccio’. See modo proprio for ‘Molto più guerra’ (Rz1563), which preserves the original music for the carnival song text. MaceyNC,152-3 has shown that the carnival song to which the cc. title refers (‘Berlingaccio’ is the last Thursday of carnival) is probably Giovan Francesco del Bianco’s ‘Pace, guerra, guerra e pace’, which makes use of identical form and rhyme words (including the same, unusual sequence of 7,8, and 11 syllable lines: 8/8/8/11 11/11/7/8/7/7/7/11); del Bianco’s text is ed. in SingletonCC, 231-2, where it is titled ‘Canzona degli amatori di pace’. The 4-part setting in Rz1563 (ed. Mancuso, 287-96) was thus probably associated originally with del Bianco’s carnival song. CattinCC, 207 notes that Castellani’s lauda with similar title, ‘Guerra e pace, pace e guerra’, uses the same metric scheme as del Bianco’s carnival song.

note: FallowsCat, 552; CattinNR, 289. Music & text ed. EinsteinIM, iii, no.1 (discussed i, 125). Pix was contemporary in Florence with lauda sources, so was probably the setting d’Albizo had in mind given also the formal compatibility between Petrarch’s and d’Albizo’s texts. 4-part setting in PetF/xi (1514) by Eustachius Romanus, ed. LuisiFr, no. 10. In LA424, lauda sent to ‘Ser Matteo, prete in San Lorenzo’. Both settings use Petrarch’s sonnet, though Franco Sacchetti wrote a sonnet modeled on Petrarch’s, with an identical incipit & form, and addressed it to Filippo Villani; ed. AgenoFS, 435. For a discussion of Petrarch’s sonnet and its 16thc. musical settings, see J. Haar, ‘Pace non trovo’: A Study in Literary and Musical Parody, «Musica Disciplina» XX (1966), pp. 95-133.

note: alternate cc. for ‘Temo non poter’ = ‘Lacrimoso aflicto e stanco’ (R196,Gall1)

note: lauda author = Fra Pietro Antonio di Santa Maria Novella. Alternate cc. for ‘Ora mai non vo’ = ‘Peccator che non hai posa’.