[see note]

note: carnival song--’Canzona di pellegrini truffatori’; text ed. SingletonCC, 174. The cc. given in R196 for this lauda is ‘anima siamo ch’a l’inferno’, which matches formally, but an equally good match with a more similar incipit in ‘Pellegrin, donne, in questo abito strano’.

note: lauda linked to ‘modo proprio’ in M365, with music & text ed. Mancuso, 523-9. Almost certainly a contrafactum of a carnival song, which MaceyB, 56-7 proposes to be Michele da Prato’s ‘Pescatori a lenza siamo’ (Canzona de’ pescatori che pigliono ranocchi); ed. SingletonCC, 386-9. However, the lauda ‘Alla morte horrenda’ is linked to two cc. sources, ‘Peccatori noi siamo Maria’ and the carnival song ‘Temporal fuor di natura’, an indication that Rz1563 may preserve the music not for the carnival song suggested by Macey, but for ‘Temporal fuor di natura’, the ‘Canzona degli uomini d’arme’ (text ed. SingletonCC, 21-2).

note: CattinCC, 212-13, where he speculates that it was common to designate as modo proprio a cc. of identical or similar incipit, in this case a frottola. The original model (and source of music) for Castellani’s lauda must be the anon. barzelletta ‘Occhi mia di lacrymare’ transmitted in BML Antinori 158 (text only; ), which was among a group of frottole in that collection sent to Lionarda degli Organi from Rome ‘in the songbook’; see PrizerWC, 407. Text and music ed. in BL.Eg3051 & M121. The incipit in M121 is ‘Ochi ormai di lacrimare’; BlackburnTCS, 150

note: FallowsCat, 556. This link was proposed by F. Liuzzi, I musicisti in Francia, Rome, 1946, 73, and a comparison of the texts shows that in fact Belcari’s lauda was directly modeled upon this secular text. The music of the cc. is edited in PeaseP, 283-6, which includes the refrain and piedi (but not volta) of the poem (also ed. in Liuzzi, I muscicisti, 58). ‘Poy ché bivo super’ indicated in index of MC, but the relevant folios are missing from the manuscript.

note: there is no cc. source that specifies Lorenzo’s carnival song a singing model for his lauda, but RC395 transmits the music as well as the cc. indication for a ‘modo proprio’ for his lauda; this can only refer to his carnival song, which is clearly the model for his lauda. Carnival song text ed. OrvietoCC, 80-82. Music ed. with carnival song text in RubsamenQ, 181-2, and GallucciFFM, 6-7. BR230, fol. 150r, transmits untexted T & B parts of ‘Quant’è bella’ (folio with texted cantus part missing from codex).

Note: there is no cc. source explicitly linking these two texts, but the relatively early date of the cc. as a carnival song text copied into Gianozzo Salviati’s zibaldone (by 1482), and the identity of incipit, compatibility of rhyme scheme, and similarity of subject matter (images of flight/escape) suggest that despite some irregular line lengths in the cc., d’Albizo modeled his lauda on the carnival song and thereby opened up the possibility of musical borrowing as well; see PrizerP.