Cas794

note: Gall2, Pal117, et al. attribute the lauda to d’Albizo, but it is not to be found in the authoritative d’Albizo source, LA424. Cc. identified as a carnival song in D’AnconaPP, 481.

note: see lauda ‘Signor Jesù quando sarò io mai’ (cc. ‘La vampeggia’), with settings of the lauda text in Grey, Ferr84, & Rz1563 that may constitute original music of ‘La vampeggia’. Cc. title may refer to ‘Do che è quel che dentro a me vampeggia’, a cc. for 3 different lauda which share the same form and rhyme scheme with the laude for which ‘La vampeggia’ is the designated cc.

note: CattinR, no.119; GhisiCC, 99; MaceyB, 55, 138. Cc. is Giambullari’s carnival song, the Canzona dell’Orso, for which the refrain incipit is ‘Omè, omè, omè’, and ‘Siamo stati’ the incipit of the first strophe. The ‘Omè’ refrain recurs as well at the end of each strophe of Belcari’s lauda text (which is clearly modelled on the carnival song text), and also in the different lauda text preserved with music in Rz1563, ‘O anima accecata tu vai per mala via’, which appears to have been modelled upon Belcari’s text; ed. in Mancuso, 412-14. It is therefore quite likely that Razzi’s setting preserves something of the original music for ‘Siamo stati’. Cc. text ed. SingletonCC, 20-21, and BruscagliTCC, i, 237-8. According to a rubric in M119, this lauda ‘fece la feo balchari e ffu l’u[l[tima’; NosowB, 225 took this to mean that ‘O anima’ was among the last laude Belcari wrote before his death in 1484, but ‘O anima’ belongs to a part of M119 copied by its owner, Bruno di Nicholaio di Matteo Lachi, and bound on Oct. 15, 1481. ‘O anima’, therefore, was probably among Belcari’s most recent poems in 1481. Both carnival song and lauda share the same unusual sequence of line lengths: 6/6 7/7/7/7/7/5/5/6.

note: FallowsCat, 589; CattinR, no.86; CattinNF, 209-10, no.59; CattinCI, 433-4 (both texts ed., compared; the two texts are not entirely compatible); BridgmanM, 208-9. Music ed. in DTO15, 219 (Tr91); facs. in BrownF, i, pl. 17 (Pix).

note: CattinR, no.90

note: FallowsCat, 566-7; MaceyB, 44-47 (+CD); MaceyNC, 158-9 (music ed. 166); CattinR, no.120; RostirollaB, 709; RostirollaLC, 693-6; PrizerL, 176-7. Music ed. in MaceyS, 12-14 (Panc.27; both texts), PrizerL, 177 (Rz1563); Jaenecke, 143 (BerAT30, with errors); Mancuso, 447-50 (Rz1563, w/Belcari’s text). Facs. in GhisiCC (Panc27 & BR62). The cc. is the ‘Canzona degli spazzacamini’, the carnival song of the chimney sweeps (see FallowsCat for text sources); text ed. SingletonCC, 90-91. A different musical version is transmitted in Anim1563, and in subsequent non-Florentine sources (where Belcari’s lauda remained very popular); RostirollaLC, 831.

note: FallowsCat, 386-7; CattinCI, 427. Music ed. ThibaultM, 60 (Cord); CMM19, no. 1 (Lab); PerkinsM, ii, no. 35 (Mel); GutiérrezW, 8 (Wolf); RehmB, no. 58 (SevP). T used in s works by Agricola (2), Tinctoris, & Josquin (see FallowsCat,387). LA424 indicates lauda sent to ‘Sano lanternaio’, probably the Sano di Giovanni lanternaio who was an active, free-lance laudesi & tenorista ca. 1468-1518 at the Companies of San Zanobi, San Piero Martire, & Orsanmichele (where he was pensioned in 1518; see WilsonMM,145-6). Cc. rubric in LA424 = ‘Tota per moi’ (‘Tot pur moi’ in Gall).

note: ‘Latin lauda’, planctus Mariae; processional music for deposition during Holy Week. See PerkinsMAR, 452-6; MaceyB, 53; CattinR, 39, n.59.; CattinNF, 192-3; PopeM, 646-9; Diederichs, 230-7; CattinCI, 432-3. Musical variant in Razzi: ‘Cum autem venissent’, where he indicates that ‘le parole insieme col canto, sono antichissime’. Music of related versions based on same melody ed. PerkinsMAR, 453-6 (Razzi facs., Quadris, PetL/ii); CattinPav, 14 (Pav361); PopeM, no.120 (MC); JeppesenL, 8-9 (PetL/ii, ‘Quum autem’), Diederichs, 412-22 (Panc27, Grey, MC, PetL/ii), Mancuso, 620-4 (Rz1563). Quadris version (ca. mid-15thc.) publ. in Petrucci Lamentationum Jeremiae prophete liber primus (1506), ed. Cattin in Johannes de Quadris, Opere (Bologna, 1972), 71. In Grey, cc. is explicit by addition of lauda incipit ‘Peccator, pensa al tuo signore’, a link that is in turn confirmed by all the Florentine cc. sources; see CattinNF, 192-3. For complete list of musical sources, see PopeM, 646-7, & CattinNF, 192-3. In LA424, lauda sent to ‘Pierino vinitiano’.

note: FallowsCat, 501; PopeM, 657-8; CattinR, no.104 (where he suggests an origin of cc. as a carnival song for locksmiths). Music ed. PopeM, 503 (‘Chiave, chiave’--incipit only). Gall2 & CS1545 textual incipits = ‘Alle schiave, alle schiavone’.