Pal120

note: CattinR,35

note: CattinR, 35. The cc. text is ed. in Wiese, 304-9.

note: alternate cc. = ‘O gloriosa regina mundi succurre’, with musical settings in many sources (FallowsCat, 589).

note: See CattinNF, 202. See ‘I’ vedo ben’ as cc. for ‘Ave del cielo’ & ‘Salve regina di misericordia’ for possible musical settings associated with ‘Ave tempio’ (an Ave Maria acrostic). Settings of Belcari’s text ed. CattinG, no.26 & LuisiLG, ii, 152-3 (Grey, but w/cc text underlaid as well); JeppesenL, 136-7 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletti’in suon’e canto’ (the 1st tercet of which uses the same rhymes as ‘Ave tempio’), followed by six other texts (Belcari’s ‘Ave del verbo’ & ‘Salve Regina’, plus four Razzi laude: ‘Ave stella del mar’, ‘Magnifica il Signor’, ‘Svegliati hormai’, & ‘Riposatevi in pace’), all in the form of CapT:11. Belcari’s ‘Ave Maria acrostic and Salve Regina pair are probably modeled on a very similar pairing by Giustinian; see LuisiLG, i, 356-7.

note: see ‘I’ vedo ben’ and ‘Lodate fanciulletti’ (as cc. for ‘Ave del cielo’ & ‘Salve regina di misericordia’) for musical settings associated with ‘Ave tempio’ (an ‘Ave Maria’ acrostic). Lauda probably = ‘Ave del verbo eterno genitrice’, which is the standard Ave Maria paraphrase paired with the Salve Regina in most Belcari mss. (incl. M690); see CattinR, no.60.

note: On the interrelated complex of ‘Viva viva’ songs related to the Savonarolan carnival of 1496, see MaceyB, 61-73 (Giambullari’s ‘Vivi vivi in contrizione’ is not mentioned here, but it surely belongs to this complex of songs).