Gamb206

note: FallowsCat, 507. LA424 indicates the lauda was sent to Ser Firenze prete, a Florentine singer and composers who was perhaps responsible for the musical setting of the cc. in Pix. Text incomplete in Pix, which appears to provide the refrain and first piede of a ballata.

note: FallowsCat, 68-9; CattinCI, 420-1. Text ed./trans. in PerkinsM, ii, 193-8; music ed. PerkinsM, i, 43 (Pix facs. on p. 11). Alternate version of chanson (with added low CT) transmitted in Tr91 & Tr1947. Same lauda text with later setting in Grey (ed. CattinG, no.34) & Panc27, both bearing title ‘Vive lieto’ (ed. in PrizerF, 34-7). Incipit in Pal117 = ‘Achollie malabelle’.

note: in LA424, ‘della sanctissima croce’; sent to Maestro Bernardino frate in Sancta Croce.

note: CattinR,35

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: 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.