Database

note: variant ‘peregrina’ in Gall1. See FallowsCat, 544; CarboniE, 457-8; CattinNR, 230. Ed. ThibaultM (Cord, versions A & B), PopeM & LuisiLG (MC, version A in ballade form; see discussion in PopeM, 566), LuisiLG, ii, 245-6 (Pav362, version B, parody of ‘O rosa bella’), LuisiLG, ii, 247-8 (M176, canonic version C). Though ‘O pellegrina’ is not ascribed to Giustinian anywhere, and is probably not by him, it is transmitted in Venetian mss. and belongs to the broader tradition of giustiniane. It is the only strambotto in the cantasi comes sources traceable to a Venetian orbit.

note: text of ‘Se per diletto’ ed. LuisiLG, i, 302-3.

note: both texts receive different settings in PetL/i; music ed. LuisiLG, ii, 26-7 (‘Como dinanzi a Christo fuzirai’), and 96-7 (‘O peccator moverati tu mai’). Text of ‘O peccator’ ed. LuisisLG, i, 287, with more irregular line lengths than version ed. in Gall3, p. 129, which is hendecasyllabic throughout. Text of ‘Come dinanzi’ is sometimes attr. to Giustinian, but it may predate him, and is found in (late?) 14thc. laudarios (like BML, Ashburnham 423, fol. 187r) where it is attributed to Jacopone da Todi; also entered in R2929, which was copied by 1448; ed. LuisiLG, i, 294-5.

note: HaarCM, 69-70, 96, 110. Festa a4 version in 1526/6, ed. PrizerLP, no.4; HaarCM, 229-34 (see also 245-6 for link to anon. setting of ‘Dite di non’). Setting a5 by F. de Layolle, Venticinque canzoni (Moderne,1540), ed. D’AcconeMFR, iii, 16-18. Cf. lauda in R196 ‘O alma, che diverse cose e tante’ w/ same rhyme scheme. There is also a strambotto by Serafino d’Aquila with the same incipit as the cc. (preserved in BML, Antinori 158, but with no extant music), but the Petrarchan settings remain the likely source for the cc. link. There are later settings of this text by Portinaro (1560), and A. Gabrieli (1587). For evidence of another possible setting of a strambotto with this incipit, see PrizerWC, 409-10; the text is preserved in BML, Antinori 158, and was reportedly brought from Rome to Florence by a Maria, ‘woman of Bianchino da Pisa’ by ca. 1505-8.

note: See FallowsCat, 543-4. Music ed. Hernon, 460 (Per431, but textless in ms.); GhisiStr, 65 (excerpt). CattinR, 40 & GhisiStr, 64 note that ‘Partita crudele’ is the title of a ballo mentioned by the 15thc. dancing master Guglielmo Ebreo. Guglielmo corresponded with the Medici, and there is evidence his balli were known to Florentines; see Barbara Sparti, Guglielmo Ebreo of Pesaro: De pratica seu arte tripudii [On the Practice or Art of Dancing], Oxford, Clarendon Press 1993, p. 36 (on ‘Partita crudele’ as a bassadanza), pp. 41-2, 48-9. CattinNR, 231 suggests that a strambotto in the MC with the title ‘Quanto mi dolse sta crudel partita’ may be related to the cc.; ed. PopeM, no. 125. On possible interrrelationships between ‘O partita crudele’ (Per431), ‘Crudele’ (P676; see also ‘O crudel donna’ as a cc. ), and ‘Quanto mi dolse sta crudel partita’ (MC), see PopeM, 652, and GhisiStr, 64-6 (excerpts of all three pieces are transcribed and compared on 65-6). For a different Belcari lauda, O Jesù, sommo bene’, Gall2 gives the cc. title as ‘O partita crudele ed oimè.’

note: text of cc. ed. in CarducciCBSM, 67-8, and in Rome, Biblioteca Angelica 2435, 133-4; D’AnconaPP, 96. Probably a late 14thc. or early 15thc. Florentine poem, judging from the reference to the (new) cathedral of Santa Maria del Fiore. Alternate cc. for ‘In ciel’ = ‘Virgo Maria beata’; alternate cc. for ‘Virgo Maria beata’ = ‘O morte dispietata’.

note: Carboni-ZiinoLM, 284, text ed. 312-13 (w/rubric: ‘De Fra Thommaso da Napoli nel 1559’); melody of ‘O Maria’ ed. 327.