Ven

note: ‘Qualunque’ cc in Gall1 is ‘O canzonetta mia’. Lauda re. San Bernardino

note: for bibliographic information on ‘O dolce’, see ‘Che credi fare amore’ (Ch266) as an alternate cc.

note: lauda re. S. Stefano

note: Razzi transmits another lauda by him with similar incipit (‘Venga ogni cor ardente a lodar Maddalena peccatrice’), but different line lengths and its own musical setting a2 (see this title as a modo proprio).

note: laude re. S. Agnesa. Rz1563: ‘lauda d’una Vergine quando si appresenta il giorno del tuo martirio davanti a Christo..’

note: according to BecheriniSR, 201, a lauda with the incipit ‘Vergine santa immacolata e pia’ concludes the Rappresentazione dell’Annunciazione.

note: CattinR, 43, no.70; RostirollaB, 680. There is a monodic setting of the lauda in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & a 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-11, with text ed. i, 259-10. Gall3 = ‘Donna esto mio lamento, vinitiana’. The lauda also enjoyed an extended life in early 17thc. lauda prints (Lodi et Canzonette, 1608); see LuisiLG, ii, 147-9. In 1589/2, ‘Anima benedetta’ sung to a3 setting of ‘Jesù nostro riscatto’. The lauda may be modeled on the 14thc. secular ballata ‘Era tutta soletta in un prato d’amore’ (ed. CarducciCBSM, 67-8), which shares the same rhyme scheme of the refrain ‘Anima benedetta’, as well as its BaG:7 form. Cc. text variously attributed to Giustinian, Jacopone da Todi, and Clemente Pandolfini; entered in R2929, which was copied by 1448.

note: Belcari’s text appears in Ch266 without a cc. (fol. 49v); ed. Lanza, i, 211-12.