Gamb206

note: Gall2 = ‘Donna sti mie’ lamenti’. Ed. with both texts, and music from Pav361 (which transmits the text of only ‘L’amor’) in LuisiLG, ii, 225; text of ‘L’amor’ ed. i, 291. See also link to lauda ‘Anima benedetta’ (w/extant musical settings). On the connection between these two texts of the Giustiniana trad., see GhisiUL, 61-4. Both laude serve as cc. for Belcari’s ‘Dolce madre Maria’. Lauda text entered in R2929, which was copied by 1448.

note: CattinR, 33. See links to other laude, esp. ‘Anima benedetta’ and ‘L’amor a me venendo’, both with extant musical settings.

note: CattinR, 43, n.70 and (re. the cc.), 33, n.40; RostirollaB, 680 (re. ‘Anima benedetta’). There is a monodic setting of the lauda in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & a 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-7, with text ed. i, 259-10. Gall3 = ‘Donna esto mio lamento, vinitiana’. The lauda also enjoyed an extended life in early 17thc. lauda prints (Nap1608); see LuisiLG,ii,147-9. In 1589/2, ‘Anima benedetta’ sung to a3 setting of ‘Jesù nostro riscatto’. Cc. text ed. Wiese, 159 (‘Donna, sto mio lamento/piazzate aldire in pace’). Other variants: ‘Donna sti mie’ lamenti’, ‘Donna questi mie’ lamenti’ (see D’AnconaPP, 481). RA2435, pp.102-5 transmits a ‘Donna questi lamenti/piacciati udire in pace’ with the unusual form Ba3+3/7 (xyZ xyZ abababZ). Lauda text entered in R2929, which was copied by 1448.

note: Vittore Branca has shown that this cc., often attributed to Lorenzo de’ Medici, is a canzone a ballo that refers to a novella in the Decameron, and that it was already circulating in the late trecento; BrancaP, 403-8. The cc. text is also transmitted in RA2435, pp. 138-40.

note: FallowsCat, 560. BR62 & Rz1563 versions closely related but not identical (w/text ‘Se tu donassi’ in Rz). Rz1563 text & music ed. Mancuso, 739-42.

note: alternate cc. = rispetti

note: alternate cc. = rispetti. Lauda re. St. Matthew. See ‘Se mai lo vice Re vien ista terra’ as cc. for ‘Se mai la tua virtù’. The poetic form of the cc. is technically that of a rispetto. According to BecheriniSR, 226, Belcari’s lauda was sung by a chorus of Hebrews after their subjection by Holofernes in the Rappresentazione di Juditha Hebrea.