Cas794

note: ‘Signore a questa volta’ is the 2nd line of the poem ‘Non so perchè si sia’, a cc. for Belcari’s ‘Mort’ è l’anima mia’ and many other laude besides, and so probably does not represent a title separate from that of ‘Non so’.

note: cf. ‘Giù per la villa lunga’ as possible original secular model, of which the cc. incipit is the third line. Lauda copied by Savonarola into CB. 1577 Roman version ed. in RostirollaTL, 46 (with facsimile). The remainder of the cc. incipit in some sources (e.g., M1083) is ‘trovo il figliuol mal’.

note: ‘L’erba buona’ is usually linked with ‘Ferrivecchi’ as cc. for ‘L’orazione’ (and Belcari’s ‘Chi vuol pace’).

note: FallowsCat, 134-5; CattinR, 37; BrownM, 261. Music ed. PopeM, no.127 (MC); commentary 653-6, and monophonic melody from P12744 ed. 538-9. For editions of CMP version, see FallowsCat, 134. Dindiridin = refrain; verse incipit = ‘Me levay un domatin’ (CMP: ‘Ju me levè un bel maitin’); Paris12744 refrain = ‘ladinderlindine’ and verse incipit = ‘M’y levay par ung matin’. Latter appears as incipit in altus and tenor parts of quodlibet ‘Fortuna disperata’ in M164-7 (ed. BeccheriniT, 89-91), and may be related to ‘ [E] Levami un bel mattino’ (GallicoRM, 71, 191), or ‘E levomi d’una bella matina’ (Ve); see ‘E levomi’ as cc. for Belcari’s ‘Andiamo a Jesù Christo’. M119 lauda incipit = ‘Laldato sia di Dio’; cc. incipit in Gall2 = La Dingherlindina’. Cc. referred to as ‘canzona’ in margin of Pal117. Later songs w/similar incipit are textually & musically unrelated (cf. list in BrownM, 261). See complex of melodies ed. JeppesenF, iii, 27-31; LuisiAp, lxxv-lxxix.

note: RC395 lauda title = ‘Non por punto l’amore, anima mia’

note: Lorenzo’s lauda is ed. in ToscaniL, 90-92 (on p. 33 he suggests the lauda was composed in 1491), and in DucciniL, 184-90, with extensive commentary.

note: CattinR, no.141. Similar incipts in ModF.9.9 (‘Vedendo gli ochi mei la sepultura’, 98v-99r) and Per431 (‘Vederà l’occhi mei la sepultura’), and idential rhyme schemes and poetic form point to the versions in these sources as the correct cc. models for this lauda. The cc. sources agree on ‘Vedranno’. Music ed. Hernon, 406 (Per431, a4); La Face/BianconiGS, 361-2, & text ed. 218-19 (ModF.9.9); in her discussion of this strambotto on 114-17, she identifies the work as originating in Neapolitan circles, and cites variants among Neapolitan, Roman-Tuscan, and Paduan sources that demonstrate the works wide diffusion and its roots in oral tradition.

note: CattinCC,192; JeppesenF/ii,162; iii,153 (text); Carboni-ZiinoLM, 302; BridgmanM,196-7. Music ed. JeppesenF/iii, 264-5. P676 version lacks Ct. Cattin notes similarity to incipit in PetF/iii & PetF/v--’Prendo l’arme, amore ingrato’.

note: CattinCC,194; RostirollaB, 725. Cc. incipit apparently alludes to a different and probably secular poem.