R196

note: incipit in Gall1 = ‘Deh quel che dentro a me vampeggia’.

note: Diederichs, 101f.; music ed. 306-9. Text of cc. ed. LuisiLG, i, 297; music ed. ii, 40 (Q15) and 41 (Pav361). Cc. text in Gall3.

note: lauda re. St. James the Greater

note: lauda re. St. Anne

note: See CattinCC, 195-6. There is a different setting of the Castellani text by Dammonis in PetL/i, 7v-8r.; ed. LuisiLG, ii, 322-4.

note: lauda re. St. Bernard, so probably differs from the ‘Cantiam con dolce canto e voce piena’ sung in the Rappresentazione di un miracolo di S. Maria Maddalena; BecheriniSR, 204-5.

note: although the incipits of lauda and cc. are identical, the cc. is probably a secular model, neither the text nor music of which has survived.

note: See CattinS, 271-3. Alternate cc. = ‘Quando Isaac ascende il monte cou [sic] Abraam’ (a reference to Belcari’s Rappresentazione d’Abramo e Isacco, 1449). A similar incipit in Gall4, ‘Tu se’ dolce Dio Signor superno’, which carries a cc. of ‘Aimè ch’ i’ moro’ (Str:11) cross-references the reader to the two stanzas of ‘Tutto se’ dolce’ found in Gall2 (p. 72), which is part of Belcari’s play (lines 393-408), and follow Isaac’s descent after the Angel’s intervention. The rubric reads: ‘Isaac prende il coltello in mano e discende il monte giubilando, e cantando dice: Tutto se’ dolce...’; the text of the play is ed. by Emilio Faccioli, «Il teatro italiano: dalle origini al Quattrocento», 2 vols. (Torino, Einaudi 1975), I, pp. 131-49; see also BecheriniSR, 199.