M121 (a3)

note: BlackburnTCS, 126-7; La Face/BianconiGS, 184; D’AnconaPP, 476; OsthoffT, i, 73-7, where he discusses the lauda in its theatrical context, Lorenzo’s Rappresentazione di San Giovanni e Paolo. Francescso Buonacorsi’s Florentine print of ca. 1485-90 is accompanied by the rubric ‘cantasi come Amore io vo fuggendo, e ancora [h]a uno modo proprio composto per Isac’. Thus, both Lorenzo’s lauda and its cc. models must predate 1490. Music for both versions (& text of ‘Vieni’) ed. in OsthoffT, ii, 138-40 (ModF.9.9; M121). Lauda text ed. ToscaniL, 99-102, and in DucciniL, 202-10, with extensive commentary.

note: CattinNR, 264; CattinCC, 209, music ed. 222-4. Text ed. SingletonCC, 261-3. Carnival song--’Canzona d’anime dannate’. Cattin mentions also that the ‘Canzona di pellegrini trufatori’ (‘Pellegrin, donne, in questo abito strano’) matches closely the meter and rhyme of the lauda text. R196 indicates this lauda has a modo proprio, possibly a reference to the music of Bernardino’s carnival song, though R196 also gives ‘Anime siamo’ as a cc. for the lauda ‘Peregrin tutti in questo mondo siano’. It is possible, therefore, that the lauda ‘Peregrin tutti in questo mondo siano’ is based on the carnival song ‘Pellegrin, donne, in questo abito strano’, though no cc. source testifies directly to this link.

note: carnival song--’Canzona d’anime dannati’. CattinCC, 200; music ed. 222-4.