Pal119

note: Lauda possibly related to ‘Ora mai’ complex of songs advocating the monastic retreat of young Florentines (see WilsonHM), and intended primarily for performance in the Company of the Purification at San Marco. The related subject of the carnival song model, the ‘Canzona delle ninfe e de’ vecchi’ is a dialogue between young and old.

note: see ‘Genetrice’ as a lauda, with cc. = ‘Regina del cor mio’ & settings in Grey & P676 (in many cc. sources, incl. Gall2 & 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: 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.