Q18

note: cc. is a 3-part frottola; BoormanOP, 974.

note: see CattinG, xxv; CattinNF, 203; CattinNR, 250. Critical ed. of music with Aquilano’s text in G. La Face Bianconi and A. Rossi, eds., Le rime di Serafino Aquilano in musica, Firenze, Olschki 1999, pp. 255-9, 143-5. The other cc. for this lauda is Aquilano’s ‘Lontan pur me convien’, another strambotto from north Italian sources; BL.Eg3051 derives from Medici circles in Rome sometime just after 1500, and is a repository of music some of it north Italian that made its way to Florence, so it is conceivable that ‘Jesù dolce’ and its singing models came to Florence by the same route.

note: CattinNF, 203. Grey ed. in CattinG, no.29 (see also notes on xxv); Triv55 ed. JeppesenF, iii, 258-60; text ed. iii,152-3. ‘Lontan’ also found in Canzone Sonetti Strambotti Frottole. Libro Primo (Siena, 1515). Grey also transmits a 3-part setting of ‘Jesù dolce mio sposo’, ed. CattinG, no.39, & xxix where Cattin speculates that this music too may have been originally fitted with a secular strambotto text. Cattin also notes that ‘Jesù dolce mio sposo’ is a fragment from a longer lauda by Jacopone called ‘A l’amor ch’è venuto’. The other cc. for this lauda is Aquilano’s ‘Peregrinando vo per mio destino’, a link noted in BL.Eg3051; this source derives from Medici circles in Rome sometime just after 1500, and is a repository of music some of it north Italian that made its way to Florence, so it is conceivable that ‘Jesù dolce’ and its singing models came to Florence by the same route.

note: CattinNF, 204-5. The 4-part setting of ‘L’orazione’ in Grey, ed. CattinG, no.31 (‘L’oration’) is a contrafactum of this well-known Tromboncino frottola, which is ed. & discussed in PerkinsMAR, 407-9; JeppesenF, iii, 249-50; text ed. 152 (Triv55). Music also ed. in CesariLF, 16 (text in appendix, p. 8).

note: BridgmanM, 200-1; CattinCI, 434 (‘una frottola musicata da Josquin’); JeppesenF/i, 80-81 (a list of all sources). Music ed. CesariLF, 38; text ed. 19*.

note: FallowsCat, 624-5; CattinCI, 431-2 (with comparison of Spanish & Italian texts); RubsamenLS, 16-17. Survives in four different versions and lute tablature (c. 19 extant sources); the most popular of all 15thc. songs. Music ed. in StevensonC, 228 (CMC); IMM/iv, 28 (Pix); HewittO, 226 (Odh version w/added voice); ed. & discussed in PerkinsMAR, 492-4 (see FallowsCat, 624 for further editions). Music adapted by Tromboncino as a macaronic barzelletta (‘Nunqua[m] fu pena maggiore’; in PetF/iii & Bas2441, ed. CesariLF, 136), and T & D voices cited in a number of other compositions. Cited in Italian (esp. Florentine) sources with Latin version of incipit, ‘Nunquam fuit pena (poena) maior’. In LA424, lauda sent to ‘Francesco miniatore’; cc. = ‘Nunquam fu pena maior’.

note: cf. CattinR, 28

note: Chelli closely modeled his lauda on ‘Ben lo sa Dio’, using identical rhyme scheme and words.

note: Belcari closely modeled his lauda on ‘Ben lo sa Dio’, employing identical rhyme scheme and words.