Gamb206

note: Giustinian text ed. Wiese, 385f. See Belcari’s lauda ‘Salve regina’, with musical settings in Grey, Rz1563, & PetL/i, for possible musical settings of ‘Ave del verbo/cielo’. Giustinian’s poem is briefly discussed in HaarE, 33.

note: See CattinS, 271-3. Cc. refers to Belcari’s Rappresentazione d’Abramo e Isacco, 1449, and alternate cc. of ‘ballo’ & ‘gli strambotti’ may be part of a single cc. indication, and may refer to one of the melodic formulas used to recite Florentine strambotti. The lines appear in the play at the moment when Isaac descends from (not ascends) the mountain (lines 393-408 in Belcari’s play).

note: in LA424, lauda sent to ‘Jacopo di Luigi de’ Morsi’.

note: FallowsCat, 559 (where he notes that the attribution of the cc. to Poliziano is no longer tenable); La Face/BianconiGS, 189. Music of cc. not extant, but of the many text sources most appear to be of Florentine provenance. The cc. text was also recorded in BML, Antinori 158, a Florentine collection of poesia per music dating from ca. 1505-8; see PrizerWC.

note: FallowsCat, 557. 3-part setting in MC ed. PopeM, 313, with commentary on 608.

note: FallowsCat, 518-20; CattinNF, 206 (esp. n.50 for bib.); CattinR, no.108; RostirollaB, 740. 36 versions of ‘Fortuna’ are ed. in MeconiF. Settings a4 of lauda text transmitted in Grey & Panc27 (different music in Anim1563); ed. CattinG, no.35; CG version (w/Felice’s substitute bass) ed. AtlasCG, ii, 38. Panc27 reinforces the cc. link: the music (the original 3-voice song with an added si placet altus part) is underlaid with d’Albizo’s lauda text, but transmits the incipit ‘Fortuna disperata’ as well; ed. in MeconiF, no. 4. Lauda also transmitted in LA424 without cc., but indication that it was ‘sent to Ser Firenze, prete’. See also the Florentine quodlibet built on the ‘Fortuna’ melody in M164-7, ed. BecheriniT; MeconiF, no. 13; quodlibet strands ed. JeppesenF, iii, 56ff.

note: CattinR, no.107

note: FallowsCat, 553; CattinCC, 207-8, where he explains that the cc. (cited in the index to SevP) refers to the 2nd stanza of a song in Act III of Aretino’s Ipocrito, the 1st stanza of which begins with ‘Tempo fu che bene andò’ (‘Bene andò’ in R196), also a cc. title for this lauda . Lauda attributed to Castellani in R196.

note: FallowsCat, 552; CattinNR, 289. Music & text ed. EinsteinIM, iii, no.1 (discussed i, 125). Pix was contemporary in Florence with lauda sources, so was probably the setting d’Albizo had in mind given also the formal compatibility between Petrarch’s and d’Albizo’s texts. 4-part setting in PetF/xi (1514) by Eustachius Romanus, ed. LuisiFr, no. 10. In LA424, lauda sent to ‘Ser Matteo, prete in San Lorenzo’. Both settings use Petrarch’s sonnet, though Franco Sacchetti wrote a sonnet modeled on Petrarch’s, with an identical incipit & form, and addressed it to Filippo Villani; ed. AgenoFS, 435. For a discussion of Petrarch’s sonnet and its 16thc. musical settings, see J. Haar, ‘Pace non trovo’: A Study in Literary and Musical Parody, «Musica Disciplina» XX (1966), pp. 95-133.