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Regina del cor mio-i BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

Regina del paradiso

Notes:

note: see BridgmanM, 200-201.

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Regina del cor mio-h BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

Regina del cor mio noi ti preghiamo BaG (xyyX AbAbbccx)

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Regina del cor mio-g BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

Per ciascun allegrezza
BaMz3/8 (xyX AbAbbccX)

Music Sources:

Cantasi Come Sources:

RA2274

Read more about Regina del cor mio-g BaG (xyyx AbAbbccx)

Regina del cor mio-f BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

O speranza del mio core
Ba?1/8:8/5 (ABABBCCXx)

Lauda Poet:

Francesco d’Albizo

Notes:

note: in Gall2/R196 = ‘O regina del mio core’ as cc. for ‘O speranza’ & ‘O Colomba’. LA424: ‘mandata alle murate’; the Murate was a wealthy Benedictine convent in Florence criticized by Savonarola for their cultivation of figural singing; see MaceyB, 95-6.

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Regina del cor mio-e BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

O colomba santa e bella
Ba?:8/5 (ABABBCCX+x)

Lauda Poet:

Francesco d’Albizo

Notes:

note: variant of cc. in Gall2: ‘O Regina del mio core’

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Regina del cor mio-d BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

O Battista perfetto
BaMz (xyX AbAbbcX)

Notes:

note: lauda text entered in R2929, which was copied by 1448.

Music Sources:

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CorsC33

RA2274

Read more about Regina del cor mio-d BaG (xyyx AbAbbccx)

Regina del cor mio-c BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

Madre sposa di Dio
BaMz (xyX AbAbbcX)

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Regina del cor mio-b BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

Genitrice di Dio-c
BaG (xyyx AbAbbccx)

Lauda Poet:

Feo Belcari

Notes:

note: music of cc. ed. in LuisiLG, ii, 229 with both texts.

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Regina del cor mio-a BaG (xyyx AbAbbccx)

Poet:

Leonardo Giustinian

Language:

Lauda:

Donna in cui venne il sole-b
BaMz (Xyyx AbAbbccx)

Lauda Poet:

Antonio di Guido

Notes:

note: See BridgmanM, 200-1. It is unclear whether the cc. incipits refer to Giustinian’s lauda ‘Regina del cor mio a te con mente pia’, or to his canzonetta, ‘Regina del cor mio non ti par tempo ancora’, though probably the latter since Ch266 transmits the lauda text with the full incipit of the secular song as its cc. The secular text is in RA2435, pp. 144-5, and ed. in Wiese, 225-8; the lauda text is ed. in LuisiLG, i, 285-6. Music in Grey à2 (prob. a contrafactum), a setting of the lauda text, ed. CattinG, no. 14 (notes on p. xxi), and LuisiLG, ii, 120. Different music a3 in P676. A rubric in RA2274, fol. 298v indicates that Antonio di Guido wrote his lauda for Giovanni di Cosimo de’ Medici ‘alle Murate’ (at the convent of the Murate, or for performance at the convent).

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RA2274

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Questo mostrarsi adirato di fore BaMz3/5 (XyX AbAbX)

Poet:

Angelo
Poliziano

Language:

Composer:

H. Isaac/
Pintello/ Bartolomeo degli Organi

Lauda:

Ben ch’adirato si mostri’l Signore BaMz3/5 (XyX AbAbX)

Lauda Poet:

Ser Firenze

Notes:

note: CattinRP, 387 (‘canzone a ballo’); WilsonSC, 91; RubsamenLS, 22; HaarCM, 60, 74; EinsteinIM, 32. BR230 transmits versions by Isaac (a3), Pintello (a3), & Bartolomeo Organista (a4; also in BR337 & Bas2440). Music of Bartolomeo version ed. D’AcconeMFR, ii, 31 (text ed. p. xix); Pintello version ed. D’AcconeSN, music ex. no. 3; Isaac version ed. in EinsteinIM, iii, 2-3 (Poliziano text ed. p. xi). Lorenzo Strozzi’s closely related ballata text, ‘Questo mostrarsi lieta a tutte l’hore’, is preserved in settings by Pisano (EinsteinIM, iii, 3), Layolle (ed. D’AcconeMFR, iii, 66) and Bartolomeo, as well as an anonymous 3-part setting (latter two ed. D’AcconeMFR, ii, 34 & 47).

Music Sources:

BR230(x3)

BR337

Bas2440

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Questa sposa diletta-g BaG (xyyX ababbccX)

Poet:

Leonardo Giustinian?

Language:

Lauda:

Vergin di sol vestita
BaG (xyyX ababbccX)

Lauda Poet:

[Petrarch]

Notes:

note: the lauda text is an adaptation of Petrarch’s canzone, ‘Vergine bella che di sol vestita’, altered perhaps to match the poetic form of its secular model and borrow its melody.

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