Pal120

note: FallowsCat, 552; CattinNR, 289. Music & text ed. EinsteinIM, iii, no.1 (discussed i, 125). Pix was contemporary in Florence with lauda sources, so was probably the setting d’Albizo had in mind given also the formal compatibility between Petrarch’s and d’Albizo’s texts. 4-part setting in PetF/xi (1514) by Eustachius Romanus, ed. LuisiFr, no. 10. In LA424, lauda sent to ‘Ser Matteo, prete in San Lorenzo’. Both settings use Petrarch’s sonnet, though Franco Sacchetti wrote a sonnet modeled on Petrarch’s, with an identical incipit & form, and addressed it to Filippo Villani; ed. AgenoFS, 435. For a discussion of Petrarch’s sonnet and its 16thc. musical settings, see J. Haar, ‘Pace non trovo’: A Study in Literary and Musical Parody, «Musica Disciplina» XX (1966), pp. 95-133.

note: Carboni-ZiinoLM, 281. In LA424, sent to ‘Monache di Sancta Chiara’ (with variant first line, ‘[O] Sancta Chiara, vaso di fervore’).

note: in LA424, lauda sent to ‘Fra Domenico Ricci in Santa Maria Novella’.

note: Gall4 cc = ‘A cavallo, a caval, Pavia, Pavia’. Cc. penned into Pal117 as an apparently later addition.

note: FallowsCat, 624-5; CattinCI, 431-2 (with comparison of Spanish & Italian texts); RubsamenLS, 16-17. Survives in four different versions and lute tablature (c. 19 extant sources); the most popular of all 15thc. songs. Music ed. in StevensonC, 228 (CMC); IMM/iv, 28 (Pix); HewittO, 226 (Odh version w/added voice); ed. & discussed in PerkinsMAR, 492-4 (see FallowsCat, 624 for further editions). Music adapted by Tromboncino as a macaronic barzelletta (‘Nunqua[m] fu pena maggiore’; in PetF/iii & Bas2441, ed. CesariLF, 136), and T & D voices cited in a number of other compositions. Cited in Italian (esp. Florentine) sources with Latin version of incipit, ‘Nunquam fuit pena (poena) maior’. In LA424, lauda sent to ‘Francesco miniatore’; cc. = ‘Nunquam fu pena maior’.

note: in LA424, Ascension lauda, sent to Ser Lorenzo, priest in San Tomaso.

note: lauda re. St. Agata. In LA424--sent to ‘monache di Sancta Agata’

note: MaceyB, 54, 58, 116 n.54; WilsonSC, 91. Text & music of cc. ed. Mancuso, 721-30. Cc = ‘Et ha modo proprio molto bello facto da Ser Firenze prete’ (Rs424; similar in Gall2). Cc. attr. to Jacopone da Todi in some sources; see D’AnconaPP, 479. In LA424, rubric indicates the lauda sent to ‘Maestro Giovanni Carlli [Caroli], frate in Sancta Maria Novella (on Caroli & music, see WilsonHM, 286-8, & MaceyB, 20, 92). ‘Con somma’ re. St. John the Baptist.

note: lauda re. Mary Magdalen. In LA424, sent to ‘Don Ghido [Guido] monaco in cestello [San Frediano in Cestello?].

note: FallowsCat, 507. LA424 indicates the lauda was sent to Ser Firenze prete, a Florentine singer and composers who was perhaps responsible for the musical setting of the cc. in Pix. Text incomplete in Pix, which appears to provide the refrain and first piede of a ballata.