Pal117

note: see also ‘L’amor a me venendo’ as cc for ‘Dir pur’, though the Gall2 rubric seems to indicate that the modo proprio setting of this lauda is independent of the music for ‘L’amor a me venendo’.

note: cc. text tranmitted in LAD759, fol.327, Filippo Scarlatti’s autograph ms., where it is labeled a ‘chanzona ciciliana’; also a cc. for Scarlatti’s lauda, ‘Quanto sono in verde etate’ (fol.382, dated 1470/1), with poetic form CapQ:8 (abbc cdde effg..). See FerraraV, 7; PasquiniFS, 427, 438, 538, 567. For biblography on the lauda, see ‘Deh venitene’ as a cc. The music preserved in Rz1563 is a simple, homophonic 3-part setting with a popular tone that suits the cc. text perfectly, and is probably some version of the original music for this text; ed. Mancuso, 382--3, and first two quatrains of cc. text ed. in D’AnconaPP, 491.

note: Ch266 version = ‘Sappiatevi guardare, giovani’ (perhaps a different lauda); most readings transmit ‘Deh, sappiatevi guardare, o garzon, di non tor moglie’. On relation to ‘Ora mai’ complex of Florentine youth confraternity laude, see WilsonHM.

note: MaceyB, 54, 58, 116 n.54; WilsonSC, 91. Text & music of cc. ed. Mancuso, 721-30. Cc = ‘Et ha modo proprio molto bello facto da Ser Firenze prete’ (Rs424; similar in Gall2). Cc. attr. to Jacopone da Todi in some sources; see D’AnconaPP, 479. In LA424, rubric indicates the lauda sent to ‘Maestro Giovanni Carlli [Caroli], frate in Sancta Maria Novella (on Caroli & music, see WilsonHM, 286-8, & MaceyB, 20, 92). ‘Con somma’ re. St. John the Baptist.

note: cc. also ‘Laudate’ as cc. for ‘Cristo ver’, w/music in Rz1563, ed. Mancuso, 416-20. The secular text, ‘Perchè son io si bella’, that serves as a cc. for ‘Laudate il sommo Dio’, may be the original text for the music preserved in Razzi.

note: see ‘I’ son l’angel’ as a lauda, also.

note: music and text of lauda ed. in Mancuso, 743-8. The setting in Rz1563 may preserve something of the original music belonging to the cc. text.

note: lauda re. Mary Magdalen. In LA424, sent to ‘Don Ghido [Guido] monaco in cestello [San Frediano in Cestello?].

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.