Rs424

note: Dammonis setting (‘Anima che del mondo vo’ fugire’) ed. LuisiLG, ii, 318-21.

note: alternate cc. = ‘Leggiadra damigella’. Music ed. in MaceyS, 68-9; Mancuso, no. 79. See ‘Jesù sommo’ as cc. for ‘Jesù dolce’.

note: alternate cc. for ‘Jesu sommo diletto’ = ‘Molto m’annoia dello mio messere’. Lauda setting ed. in MaceyS, 68-9; Mancuso, 688-93. See ‘Jesù sommo’ as cc. for ‘Jesù dolce’.

note: possibly same cc. as ‘lamento di Jeremia propheta’, though separate Latin & vernacular versions may have existed. Grey transmits a rather contrapuntal a3 setting of the ‘oration Hieremie prophete’ (ed. CattinG, no.38), which resembles an anon. lamentation in Petrucci’s 1st book of Lamentations (Venice, 1506); it is more likely that the cc. refers to an intonation formula used in Florence, than that Petrucci’s lamentation prints preserve some version of the music once sung in Florence for penitential and lenten lauda texts. The widely disseminated lauda text was entered into the Florentine laudario Florence, BNF, Banco rari 19 (no. 103) sometime after the Company of San Gilio compiled the ms. in the 1370s. Rubric in LA1072 reads, ‘Ista lamentio cantata in tono lamentationis ieremie profete.’

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

note: lauda attr. to d’Astore in Ch266. Cf. ‘S’i’ pensassi’ as cc. based on Baccio’s setting of ‘Donne per electione’.

note: WilsonMM, 173-4; Diederichs192ff. Music ed. WilsonMM, 282 (Ven); Diederichs, 380 (Ven); JeppesenL, 126 (PetL/i; music by Innocentius Dammonis); LuisiLG, ii, 60-62 (Ven & PetL/i). Text ed. LuisiLG, i, 260. In most sources, lauda bears rubric ‘facta per la adnuntiata de’ Servi’, that is, intended for performance at the Florentine church of Santissima Annunziata, where polyphonic singing was culitivated during the 15thc. Giustinian text entered in R2929, which was copied by 1448.

note: Text ed. Wiese, 139f. Alternate cc. = ‘Non à lo cor’, ‘Più bel viso’, modo proprio.