Gall4

note: CattinCC, 198. The forms of cc. and lauda are not particularly compatible.

note: GhisiCC, 95, where the title is the ‘Canzone delle nocciole’. The poetic form and first-person plural of the lauda title suggest that it was indeed modeled on a carnival song.

note: carnival song (mascherata)-Canzona (or Canto) de’ Diavoli; music ed. GallucciFFM, no.9. Lauda = song of condemned souls. Text of cc. in BruscagliTCC, i, 27, where it is called the ‘[Canzona] de’ diavoli iscacciati di cielo’. BruscagliTCC, i, 218 transmits the text of a different ‘Canzona de’ Diavoli’, ‘Se colui ch’ora in ciel gode immortale’, and il Giuggiola’s ‘Trionfo di diavoli’, set by A. Coppini, is a cc. for the lauda ‘Giù nelle infernal grotte morte’. GhisiCC, 93 mistakenly associates the Coppini setting with the Machiavelli text. See CattinNR, 260, and BlackburnTCS, 129 who cites a likely date of Carnival, 1502 for Machiavelli’s carnival song (the text of which alludes to the election of Cardinal Giuliano de’ Medici).

note: M121 = ‘Se bem soletto vado’ (a4); see BlackburnTCS, 125, 171-2. Appears in PetrucciF/v, f.17 with text ‘Ben che soletto vado’, and in BL.Eg3051 with text of Serafino’s strambotto, ‘Io mando ognora al ciel’.

note: no cc. indication in the sources, but identity of form, opening lines and ryhme scheme indicate that the secular song ‘Fin che vivo et poi la morte tamera el tristo core’ was the model for Giambullari’s lauda, and the source of its cc. music. Settings of cc. survive a3 (P676, P1597) & a4 (ModF.9.9 & Per431). Music ed. Hernon, 380-3 (Per431); La Face/BianconiGS, 309-12, and text ed. 207-8 (ModF.9.9; ‘Fin che vivo...’). Cc. text ed. A. Saviotti, Rime inedite del secolo XV (Bologna, 1893), 30.

note: CattinCC, 198. cc appears as a lauda w/out cc. in Gall3, and much older collections like BNF, Fondo Naz. II.IX.58 (early 15thc.).

note: possible source for cc. is ‘Volgi gli occhi, o madre mia’ by A. Demophon Venetus (a4) in PetL/ii, ed. JeppesenL, no.27. Unlikely as a cc. source for a late 15thc. lauda is ‘Deh volgi li occhi a me, donna’ in a setting by Landini (Sq, FP); more likely is the music associated with the text ‘Deh volgi gli occhi tuoi piatosi’ (see as a lauda with cc. indications), though the poetic forms of the these two laude are quite different. In LA424, lauda sent to Pagholo Moregli [Morelli].

note: CattinCC, 215; partial transcription 228-9. Music ed. La Face/BianconiGS, 313-16, & text ed. 208-9 (ModF.9.9). Both texts share 11-syllable Latin phrase as 3rd line of refrain: ‘Quam conturbata sunt omnia ossa mea’.

note: carnival song, ’Canzona de’ Vecchi’ (rubric in Gall4: ‘cantasi come la canzona de’ vecchi, cioè: Deh guardate in quanti affanni’). The actual carnival song is very likely the ‘Canzona delle ninfe e de’ vecchi’, ‘Deh, porgete un po’ gli orecchi’, the first stanza of which begins ‘Risguardate in quant’affanni’. The poetic form of the carnival song is compatible with both laude that adopt it as a cc., ‘Deh volgete’, and d’Albizo’s ‘I’ non vo’ più teco stare’ (6:8 ababba). This link was first suggested by G. Ciappelli, Carnevale e Quaresima, Rome, Ed. di Storia e Letteratura 1997, 199n. The carnival song text is ed. in SingletonCC, 23-4.