Panc27

note: see AtlasN, 147-8 (where he argues for the Neapolitan provenance of the cc.); AtlasRM, 202-3; PrizerWC, 409, where he notes that the cc. text was recorded in BML, Antinori 158, a Florentine collection of poesia per music dating from ca. 1505-8. Music ed. AtlasN, 223 (Per431); AtlasRMA, 149. For doubts about Serafino’s authorship of the music, see CattinNR, 235, no. 47. The only evidence that this lauda and its singing model may have been linked in Florence is the presence of the cc. text and music in the Florentine source M121, and the tendency for lauda contrafacta in north Italian sources to have Florentine connections.

note: incipit ‘Dolce regina’ transmitted in Panc27; same music in Grey w/text ‘Ave dulcis, ave pia’, & PetL/ii w/text ‘Popule meus’ (ed. in JeppesenL, no.32 based on both sources). See CattinNF, 198. Unclear which was the model for the other, though in Grey the Latin texts tend to be the contrafacta, and if the ‘Dolce regina’ is the same as the ‘Dolce regina vergine Maria’ transmitted in Ch266, then this was likely the earlier setting. See this ‘Dolce regina’ as a lauda with several cc. models.

note: incipit ‘Dolce regina’ transmitted in Panc27; same music in Grey w/text ‘Ave dulcis, ave pia’, & PetL/ii w/text ‘Popule meus’ (ed. in JeppesenL, no.32, based on both sources). See CattinNF, 198.

note: SeeCattinNF, 205-6; PrizerF, 25-7, including ed. of both texts & music (Panc27) on 32-7, and discussion on 24-7. Prizer also shows that the cc. was one of the pieces ‘Don Acteon’ (in a letter to Francesco Gonzaga) claims to have been taught by Pietrobono. Music from Grey (which carries only the lauda text) ed. CattinG, n. 34. Alternate cc. for ‘A Maria’ = Caron’s ‘Accueilly m’a la belle’. Panc27 reading carries the lauda text, and ‘Vive lieto’ as a superscript (14v-15r); see also JeppesenF, ii, 122-3. On ‘Vivi lieto’ see also C. Gallico, Un libro di poesie per musica dell’epoca d’Isabella d’Este, Mantua, 1961, pp. 105-6.

note: FallowsCat, 518-20; CattinNF, 206 (esp. n.50 for bib.); CattinR, no.108; RostirollaB, 740. 36 versions of ‘Fortuna’ are ed. in MeconiF. Settings a4 of lauda text transmitted in Grey & Panc27 (different music in Anim1563); ed. CattinG, no.35; CG version (w/Felice’s substitute bass) ed. AtlasCG, ii, 38. Panc27 reinforces the cc. link: the music (the original 3-voice song with an added si placet altus part) is underlaid with d’Albizo’s lauda text, but transmits the incipit ‘Fortuna disperata’ as well; ed. in MeconiF, no. 4. Lauda also transmitted in LA424 without cc., but indication that it was ‘sent to Ser Firenze, prete’. See also the Florentine quodlibet built on the ‘Fortuna’ melody in M164-7, ed. BecheriniT; MeconiF, no. 13; quodlibet strands ed. JeppesenF, iii, 56ff.

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.