Database

Che bella vit’ ha ‘l mondo-d Str:11

Language: 

it

Lauda: 

Misera me che in van mi doglio
2:11

Lauda Poet: 

Serafino Razzi?

Notes: 

note: 3-part setting in Pal173, 14v, is an variant of the setting found in Rz1563; the poem is arranged as 21 unrhymed couplets in endecasyllabic lines.

Music Sources: 
Rz1563 (a3) Pal173
Cantasi Come Sources: 
Pal173

Che bella vit’ ha ‘l mondo-c Str:11

Language: 

it

Lauda: 

Essendo già col carro il biondo Apollo 16:11

Lauda Poet: 

Serafino Razzi

Notes: 

note: rubric in Rz1563: ‘Hinno che si dice a prima tradotta con i seguenti da Fra Serafino Razzi’ .

Music Sources: 
Rz1563 (a3)
Cantasi Come Sources: 
Rz1563

Che bella vit’ ha ‘l mondo-b Str:11

Language: 

it

Lauda: 

Dio delle cose, tenace vigore
10:11

Lauda Poet: 

Serafino Razzi

Notes: 

note: rubric in Rz1563: ‘Hinno dell’hora Nona’.

Music Sources: 
Rz1563 (a3)
Cantasi Come Sources: 
Rz1563

Che bella vit’ ha ‘l mondo-a Str:11

Language: 

it

Lauda: 

Adesso, spirto, in noi preghiamo
13:11

Lauda Poet: 

Serafino Razzi

Notes: 

note: rubric in Rz1563: ‘Hinno dell’hora Terza’. Razzi’s rubric immediately following the Latin hymn ‘Jesus dulcis memoria’ would seem to indicate that the ‘following hymns’ (including ‘Adesso, spirto’ and 4 others on 98v) were to be sung to the music of ‘Jesus dulcis memoria’, but the poetic forms and content of all five are more closely matched to the text and music following on 99r (Str:11), ‘Che bella vita ha il mondo’; a3 setting ed. Mancuso, no. 56. Mancuso, 567 reached the same conclusion. The cc. text extols the delights of rustic life, and is ed. and discussed at length by E. Pasquini, Una «bucolica» anonima del primo cinquecento e il manoscritto della ‘Mandragola’, «Giornale storico della letteratura italiana», CXLIV, 1967, 170-233. The secular poem clearly circulated in oral tradition, and to the version available to Razzi was added three more stanzas (Rz1563, fol. 100) extolling the virtues of the life of the hermit, the friar, and the nun, the only sacred texts among the 14 stanzas in Rz1563. A slightly different setting of this same melody is found in Razzi’s autograph ms., Pal173, 14v, with the text ‘Misera me che in van mi doglio’ (also a cc. text).

Music Sources: 
Rz1563 (a3)
Cantasi Come Sources: 
Rz1563

Ch’il paradiso vuole BaMz (xyZ aBaBbcX)

Poet: 

Gherardo d’Astore

Language: 

it

Lauda: 

Jesù mio dolce Dio-a
BaMz (xyX aBaBbcX)

Lauda Poet: 

Feo Belcari

Notes: 

note: CattinR, no. 67. Music & text of cc. ed. Mancuso, 743-8. Alternate cc. = Giustinian’s ‘Poi ch’i aggio perduta’.

Music Sources: 
Rz1563 (a3)
Cantasi Come Sources: 
Cas794
Gamb206
Inc34
M744
Pal117
Pal119
Pal120
R193
R196

Ch’i’ m’ero adormentato cotanto dolcemente-b

Language: 

it

Lauda: 

Io son la Maddalena la qual dolente BaG (XxxY aBaBbCcY)

Music Sources: 
Cantasi Come Sources: 
R2224

Ch’i’ m’ero adormentato cotanto dolcemente-a

Language: 

it

Lauda: 

Ch’ i’ m’ ero adormentato e nel peccato mortal-a BaG (xYxY ababbCcX)

Notes: 

note: Ch266 variant lauda title: ‘Io m’ero adormentata’, and variant endings in both cc and lauda titles: ‘m’ero/a, adormentato/a. Lauda in R2929 (copied by 1448), the 2nd line is ‘e nel pechato forte e la mortale’.

Music Sources: 
Cantasi Come Sources: 
Ch266 (twice)

Ch’i’ m’ero adormentato [e nel peccato mortal] BaG (xYxY ababbCcX)

Language: 

it

Lauda: 

Sempre sia Jesù laudato
BaMz

Notes: 

note: unclear from source whether incipit refers to secular (‘...cotanto dolcemente’) or sacred (‘...e nel peccato mortal’) title, both of which turn up in lauda and cc. lists. Both texts were entered in R2929, which was copied by 1448. According to BecheriniSR, 228, the lauda text was sung in the Rappresentazione di S. Eufemia.

Music Sources: 
Cantasi Come Sources: 
LA480

Cela sans plus et puis hola R4:8/11 (aBba)

Language: 

fr

Composer: 

C. Lannoy or Josquin

Lauda: 

Andiamo ad Jesù Cristo-a
Qr:7 (abab cdcd...)

Lauda Poet: 

Feo Belcari

Notes: 

note: see FallowsCat, 105. Lauda text transmitted in Gall3, et al. with cc. = ‘È levomi d’una bella mattina’. See CattinCI, 417 on link and poetic compatibility with ‘Cela sans plus’, the music of which is ed. in BrownF, ii, 198 (BR229).

Music Sources: 
Q16
Q17
SevP
M176
M178
BR229
CG
Wolf
Cantasi Come Sources: 
Pal120
R196

Caritate amore Dei-c BaG4/6:8 (xyyx ababbx)

Poet: 

Guglielmo ‘il Giuggiola’

Language: 

it-carn

Lauda: 

Spirti sian sempre gaudenti
BaG4/6:8 (xyyx ababbx)

Lauda Poet: 

Serafino Razzi

Notes: 

note: Razzi transmits a 3vv setting of his text (ed. Mancuso, no. 37), suitable for singing ‘Caritate amore Dei’ (see MaceyB, 56), but a different 4-part setting of ‘Caritate’ is transmitted in the extant Florentine carnival song sources (ed. GallucciFFM, no.41; cc. text ed. SingletonCC, 280-81), and Razzi adapts this music in a 2-part arrangement for a different lauda linked to ‘Caritate’, ‘Povertà, fatiche, stenti santo’. The music for ‘Spirti sian’ in Rz1563 looks very much like a carnival song setting, but either this is a sacred carnival song or the original secular text has not yet been identified. MaceyB, 56 proposes that there were two distinct musical settings for ‘Caritate amore Dei’. Oddly enough, Razzi transmits yet a different melody for the text of ‘Spriti sian’ in Pal173, fol. 97r.

Music Sources: 
M121
BR230
BR337 Rz1563
a3
Cantasi Come Sources: 
M365

Caritate amore Dei-b BaG4/6:8 (xyyx ababbx)

Poet: 

Guglielmo ‘il Giuggiola’

Language: 

it-carn

Lauda: 

Ricchi siam, lieti, e contenti-a
BaG4/6:8 (xyyx ababbx)

Notes: 

note: Rz1563 rubric for ‘Ricchi siam’ = ’laude de compreensori’. A version of the music for the carnival song ‘Caritate amore Dei’ is transmitted in Rz1563 with the text ‘Povertà, fatiche, stenti’, and cc. link to the text of ‘Ricchi siam’.

Music Sources: 
M121
BR230
BR337
Cantasi Come Sources: 
M365
Rz1563

Caritate amore Dei-a BaG4/6:8 (xyyx ababbx)

Poet: 

Guglielmo ‘il Giuggiola’

Language: 

it-carn

Lauda: 

Povertà, fatiche, stenti santo
BaG4/6:8

Lauda Poet: 

Bastiano da
Poggibonsi

Notes: 

note: cc. = carnival song, Canto di lanzi pellegrini. Music ed. GallucciFFM, no.41, text in SingletonCC, 280-1. See BlackburnTCS, 133, where she notes that the reference in the carnival song text to Rome & the Jubilee suggests it was composed ca. 1500. In Rz1563 (ed. Mancuso, no. 38), only the superius agrees with the secular song preserved in the other sources, while the tenor appears to have been newly composed. M365 reads ‘estento’ for ‘stenti’. Rz1563 also transmits a different 3-part setting for the previous text in the print, ‘Spirit sian sempre gaudenti’, for which M365 also gives ‘Caritate amore Dei’ as a cc. The musico-poetic traditions are intertwined, however, for the rhyme schemes of the refrains of both laude (‘Povertà’ and ‘Spirti sian’) are identical.

Music Sources: 
M121
BR230
BR337 Rz1563
a2
Cantasi Come Sources: 
M365

capitolo per cantare

Language: 

it

Lauda: 

Vieni ad Jesù figlia benedetta
CapT:11

Notes: 

note: full rubric = ‘capitolo per cantare quando si veste del habito delle sancta religione’ (cf. ‘Ora mai’ settings & vesting songs for nuns); in LA766: ‘invisto cha fanno le suore alle fanciulle quando si vestono.’

Music Sources: 
Cantasi Come Sources: 
A160 [LA766]

Canzona di Valenziani--see Siam

Language: 

it-carn

Music Sources: 
Cantasi Come Sources: 

Canzona di Bardoccio

Language: 

it-carn?

Composer: 

I. Dammonis

Lauda: 

Peccatori, a una voce-a
BaMn:8 (xx ababbx)

Lauda Poet: 

Lorenzo Tornabuoni

Notes: 

note: GhisiCC, 92 gives the alternate title of this possible carnival song as the ‘Canto de’ votacessi’, and attributes it to Lorenzo de’ Medici. A 4-part setting of Tornabuoni’s lauda text is ed. in JeppesenL, 154-5. Alternate cc. for this lauda is Tornabuoni’s ‘Canzona dell’insalata’, possibly a reference to the same carnival song.

Music Sources: 
PetL/i
Cantasi Come Sources: 
Cas794
Gall3
Inc34
Pal119 [Gall4]

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