CS1545

note: CattinCC, 207, where Cattin mentions several other laude with similar incipits, but singles out Fr. del Bianco’s Carnival song, ‘Pace, guerra, guerra e pace’, (text ed. SingletonCC, 231-2; music ed. Mancuso) as the clear model.

note: CattinCC, 207, where Cattin mentions several other laude with similar incipits, but singles out Fr. del Bianco’s Carnival song, ‘Pace, guerra, guerra e pace’, ed. SingletonCC, 231-2 as the clear model.

note: CattinCC, 200. Carnival song--’Canzona degli uomini d’arme’. See ‘Peccatori Maria’ (music in Rz1563) as cc. paired w/’Temporal fuor di natura’.

note: CS1545 rubric= ‘Questa lalda fu cantata alla Nuntiata di firenze in sul’organo da dua fraticini la notte di pasqua di natale che fu la pasqua in domenica. A dì 25 di dicembre 1558. copiate 26 Ott. 1569’.

note: FallowsCat, 566-7; MaceyB, 44-47 (+CD); MaceyNC, 158-9 (music ed. 166); CattinR, no.120; RostirollaB, 709; RostirollaLC, 693-6; PrizerL, 176-7. Music ed. in MaceyS, 12-14 (Panc.27; both texts), PrizerL, 177 (Rz1563); Jaenecke, 143 (BerAT30, with errors); Mancuso, 447-50 (Rz1563, w/Belcari’s text). Facs. in GhisiCC (Panc27 & BR62). The cc. is the ‘Canzona degli spazzacamini’, the carnival song of the chimney sweeps (see FallowsCat for text sources); text ed. SingletonCC, 90-91. A different musical version is transmitted in Anim1563, and in subsequent non-Florentine sources (where Belcari’s lauda remained very popular); RostirollaLC, 831.

note: CattinCC, 201-2; CattinNR, 280; CattinCI, 434-5. Unclear whether this cc. is Castellani’s ‘Vox clamantis in deserto/factus sum e pietà chiamo’ (R196), or the cc. for Castellani’s lauda in R196: Tebaldeo’s ‘Vox clamantis in deserto/facto son e pietà chiamo/e la donna’, set to music by Tromboncino (ed. CesariLF, 138-9, text ed. 49*). Gall4 transmits a ‘Vox clamantis in deserto/oggi in tutto audito fia’ w/ cc = ‘Vox clamantis’, probably also a reference (along with that in M310) to the Tromboncino setting. A ‘Nel tuo furore’ immed. precedes ‘Vox clamantis’ in Gall4, but w/ cc. = ‘Ben venga maggio’. The cc. text was formerly attributed to Serafino Aquilano (see Rubsamen, Literary Sources of Secular Music in Italy (ca. 1500), Berkeley, Calif., 1943, p. 16).

note: FallowsCat, 386-7; CattinCI, 427. Music ed. ThibaultM, 60 (Cord); CMM19, no. 1 (Lab); PerkinsM, ii, no. 35 (Mel); GutiérrezW, 8 (Wolf); RehmB, no. 58 (SevP). T used in s works by Agricola (2), Tinctoris, & Josquin (see FallowsCat,387). LA424 indicates lauda sent to ‘Sano lanternaio’, probably the Sano di Giovanni lanternaio who was an active, free-lance laudesi & tenorista ca. 1468-1518 at the Companies of San Zanobi, San Piero Martire, & Orsanmichele (where he was pensioned in 1518; see WilsonMM,145-6). Cc. rubric in LA424 = ‘Tota per moi’ (‘Tot pur moi’ in Gall).

note: FallowsCat, 561-2. Music ed HoflerA, no.1 (SevP). It is unclear whether the form of Belcari’s lauda in CS1545 is a single 10-line stanza (a single rhyme scheme, like that of a StrS, runs throughout) or a 6 + 4 structure (as it looks on the page).

note: Carboni-ZiinoLM, 281, w/music ed. 327. ‘Chi pensassi’ in CS1545. Cf. ‘S’ i’ pensassi’ as cc. in many sources, cc. for ‘S’ i’ pensassi’ = ‘Rose, gigli’. 4-part version in Rz1563 (& Ferr84 melody) is contrafactum of Baccio’s Carnival song, ‘Donne, per electione’ (see as cc.). On ‘S’ i’ pensassi’ in later Roman sources, see RostirollaLC, 711-12, 844.