Jesù sommo conforto/tu se’-a 3/4:4/7/10 (abab xxX cdcd..)

note: MaceyB,99-105; RostirollaB, 710; PerkinsMAR, 449-52 (w/Rz1563 setting ed. p.451). Settings by Paulus Scotus (a4; PetL/ii; ed. JeppesenL, no. 22), Animuccia (Anim1563), Razzi (Rz1563; ed. Mancuso, no. 3), & Verovio (Rome,1586; w/lute & keybd. intab.) The Razzi and Animuccia settings are musically related. All extant settings ed. in MaceyS, 53-60, and Savonarola’s text is translated on xlii-xliii. Razzi cantus is transcribed in Carboni-ZiinoLM, 322 (Ferr84 transmit music w/ text ‘Ogn’un lodi Maria’). Savonarola’s lauda set in Rz1563 (a3), which transmits a separate 3-part setting of Belcari’s ‘Jesù sommo diletto e vero lume’ (a cc. for Savonarola’s lauda in many sources). The form of Savonarola’s lauda could be construed as Ca2/4: 7/8/10 (abab XX cdcd...) if the two four-syllable lines (xx) are treated as a single line; in other words, his lauda is formally compatible with all laude in this form. As it is, the sequence of line lengths is: 7/7/7/7/4/4/10.
See ‘Jesù sommo conforto’ as modo proprio, and see ‘Angela tu mi fai’ as the original secular model for both Savonarola’s lauda, and Chelli’s ‘Vergine tu mi fai’.