Inc34

note: carnival song (mascherata): ‘Canzona de’ profumi’, or ‘Canzona di Valenziani’. Text ed. BruscagliTCC, i, 5; OrvietoCC, 62-4 (ca. 1474-78). Text attrib. to Jacopo da Bientina in some sources; see CattinNR, 261. Music ed. MaceyS, 3-8 (both texts); MaceyB, 41-4 (text,music,CD); GallucciFFM, 4-5; Mancuso, 39; ed. and discussed in PerkinsMAR, 418-21. In Ferr84, cc. for ‘O maligno’ is ‘Benedetto sia quell’ora’. Rs424 = ‘E galanti di Valenza’.

note: carnival song: Canzona de’ Profumi or Canzona di Valenziana. Music transmitted in Rz1563 w/ text of ‘O maligno e duro core’.

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: 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’.

note: FallowsCat, 357; WilsonSC, 88; CattinCI, 422-3. Music ed. CMM1/vi, no.85 (R2356); PlamenacU, 83 (Pix; facs. of Pix & BerK). Alternate text of cc. = ‘Benedictus qui venit’. Song for accession of Leonello d’Este as Marquis of Ferrara, c. 1441? (FallowsD, 62-3). Alternate cc. = ‘Pour preson’.

note: FallowsCat, 332; PopeM, 644-6; WilsonSC, 88; CattinR, no.106. Music ed. CMM88, 30 & NanenE, no.31 (EscB), PopeM, 474 (MC), PerkinsM, ii, no.53 (Mel). Form and rhyme scheme of lauda closely modeled on the French rondeau; see CattinCI, 428-9, who suggests (along with PopeM, 646) that the lauda was conceived as a rondeau quatrain. Incipit of Fr. text in lauda sources frequently appears as ‘Plus que...’