Como1596

note: On the cc., see RostirollaLC, 759, 845-6. Music ed. with both texts in LuisiLG, ii, 189 (Crema1605).

note: On the cc., see RostirollaB, 764. Music ed. with both texts in LuisiLG, ii, 190.

note: PetL/i & Como1600 settings of ‘Spirito santo amore’, which differ, are ed. LuisiLG, ii, 128-33. On ‘Spirito santo amore’, and musical settings in the later Roman sources, see RostirollaLC, 705-6. There are ten further madrigal settings of this lauda text by Palestrina in his Primo libro de’ madrigali (1581). See also the cc. reconstructions based on 17thc. sources in LuisiLG, ii, 189-92 (‘Amor divino’ on 191, where the text of the ripresa is provided); Giustinian text ed. i, 258. Cc. text entered in R2929, which was copied by 1448. Cc. possibly refers to ‘Amor divino amore/amor che non se amato’, a very old lauda attr. in many sources to Jacopone da Todi (e.g. BML, Ashburnham 1072, 29r, where the form is a Ba2/4:7 (xy aaax bbbx cccx...).

note: RostirollaB, 688; RostirollaLC, 769. Music ed. with both texts in LuisiLG, ii, 193 (1689/2). A different setting of ‘Chi vuol’ is transmitted in Anim1577 and its Roman successors; facs. in RostirollaTL, 22. In 1584/2, the relationship between lauda and cc. is reversed; ‘Chi vuol’ is to be sung to the music associated with ‘Spirito santo amore’ (as transmitted in Mil1576, etc.).

note: cc. title in R1502 is ‘Sposa diletta’, but must be the popular lauda ‘Questa sposa diletta’, which is formally compatible with Giustinian’s lauda. Both versions found throughout Ch266, where a much earlier musical setting than those above was intended.

note: CattinR,32.