PetF/xi

note: though the lauda is transmitted in Pal120 and R196 with a cc. of modo proprio, the poetic model is clearly Petrarch’s canzone, ‘Be mi credea passar mio tempo omai’, of which there is a musical setting by Tromboncino in PetF/xi, ed. LuisiFr, no. 7. Tromboncino’s cantus in this piece is unusually declamatory, more reciting tone than full-fledged melody.

note: FallowsCat, 552; CattinNR, 289. Music & text ed. EinsteinIM, iii, no.1 (discussed i, 125). Pix was contemporary in Florence with lauda sources, so was probably the setting d’Albizo had in mind given also the formal compatibility between Petrarch’s and d’Albizo’s texts. 4-part setting in PetF/xi (1514) by Eustachius Romanus, ed. LuisiFr, no. 10. In LA424, lauda sent to ‘Ser Matteo, prete in San Lorenzo’. Both settings use Petrarch’s sonnet, though Franco Sacchetti wrote a sonnet modeled on Petrarch’s, with an identical incipit & form, and addressed it to Filippo Villani; ed. AgenoFS, 435. For a discussion of Petrarch’s sonnet and its 16thc. musical settings, see J. Haar, ‘Pace non trovo’: A Study in Literary and Musical Parody, «Musica Disciplina» XX (1966), pp. 95-133.

note: JeppesenF, ii, 213. Music & text of cc. ed. LuisiFr, no. 26 (notes on 35, 43-4, and text ed. 61-2); EinsteinCS, 52; LuisiMVR, 284-5; SpartiW, 159-60 (& discussion of ‘Che faralla’ as a ballo adaptation on 144-5). Music & lauda text in Rz1563, ed. Mancuso, 542-5, & LuisiFr, 282. The two-part version in Razzi freely adapts the cantus & tenor of Pesenti’s frottola setting. In Pal169, the lauda text is presented with the form Ba4/6:5/8 (xxYy aaYBBY). Text also ed. and discussed in D’AnconaPP, 94-5.