CN75.1

note: RostirollaB, 744-5. ‘Quanto piu penso Dio’ (& ‘Arai tu mai piatà) = cc. for ‘Volgi li occhi tuoi in qua’ (Ch266)

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: 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.