ModF.9.9

note: BridgmanM, 204-5 (incipits for a4 version in P676). ModF.9.9 version (a3) = P676 (minus alto), ed. CattinCon, 69, with notes on 74. The ModF.9.9 version was copied Oct. 6, 1495. Music ed. BridgmanM, 260-2 (P676; both texts); La Face/BianconiGS, 281-2 (ModF.9.9; text ed. 201-2). P676 transmits the lauda text, which is closely modelled on the original strambotto, with the rubric: ‘hec sunt pro vergine maria’.

note: La Face/BianconiGS, 216; PrizerCP, 110; BoormanOP, 957. Music ed. La Face/BianconiGS, 342-4 (ModF.9.9), and PrizerCP, 502-4 (P676). Panc27 incipit = ‘Oyme’. Gall4 lists this lauda incipit and cc. title, but with a cross-reference to a text in Gall2 (p. 72) attr. to Belcari, with the incipit ‘Tutto se’ dolce, Iddio, Signore eterno’ (Str:11), and 2 stanzas drawn from Belcari’s Rappresentazione d’Abramo e Isacco (1449). It is quite likely that the two incipits refer to the same poem, as all (including the cc.) involve the same Str:11 form. Music attributed in Panc27 to ‘Marcetus’ (Marchetto Cara). Not to be confused with a frottola setting by Michele Pesenti of ‘Aime ch’io moro, aime ch’io ardo’ (PetF/iii).

note: Gall4 lauda title reads ‘drento’. 4part setting of ‘Maria dentro’ by I. Dammonis in PetL/i, ed. LuisiLG, ii, 338-40.

note: Music ed. La Face/BianconiGS, 363-5, & text ed. 219 (ModF.9.9). Incipit in ModF.9.9 is ‘Laudato idio die usi [usci?] de le tue trame/o bella cosa che è la libertade’, and the similarity of rhyme, form and subject matter suggest that this secular poem was the model for the lauda, and its music the intended cc. source. La Face/BianconiGS, 291 lists a title in a concordant literary source as ‘Laudato Dio che son fuor di toi trame’, much closer to that given in the Florentine cc. sources.

note: no cc. indication in the sources, but identity of form, opening lines and ryhme scheme indicate that the secular song ‘Fin che vivo et poi la morte tamera el tristo core’ was the model for Giambullari’s lauda, and the source of its cc. music. Settings of cc. survive a3 (P676, P1597) & a4 (ModF.9.9 & Per431). Music ed. Hernon, 380-3 (Per431); La Face/BianconiGS, 309-12, and text ed. 207-8 (ModF.9.9; ‘Fin che vivo...’). Cc. text ed. A. Saviotti, Rime inedite del secolo XV (Bologna, 1893), 30.

note: CattinR, no.141. Similar incipts in ModF.9.9 (‘Vedendo gli ochi mei la sepultura’, 98v-99r) and Per431 (‘Vederà l’occhi mei la sepultura’), and idential rhyme schemes and poetic form point to the versions in these sources as the correct cc. models for this lauda. The cc. sources agree on ‘Vedranno’. Music ed. Hernon, 406 (Per431, a4); La Face/BianconiGS, 361-2, & text ed. 218-19 (ModF.9.9); in her discussion of this strambotto on 114-17, she identifies the work as originating in Neapolitan circles, and cites variants among Neapolitan, Roman-Tuscan, and Paduan sources that demonstrate the works wide diffusion and its roots in oral tradition.

note: alternate cc. = a ballo, ‘Quando Isaac ascende il monte cou [sic] Abraam’ (Gall2); alternate cc. in Gall4 = ‘Aimè ch’ i’ moro’ (with music in ModF.9.9 & P676).