Cantasi come - ModF.9.9

Alta regina a ti piangendo Str:11

admin — Wed, 28 Jan 2015 20:56:43 +0000

Language:

Lauda:

Alta Maria a ti cantando io vengo
Str:11

Notes:

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’.

Music Sources:

P676

ModF.9.9

Cantasi Come Sources:

P676

Aimè ch’io moro [per te donna crudele] Str:11

admin — Wed, 28 Jan 2015 20:56:38 +0000

Language:

it-frot

Composer:

Marchetto Cara

Lauda:

Tu se’ dolce Dio Signor superno
?Str:11

Notes:

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).

Music Sources:

Cantasi Come Sources:

Fin ch’ io vivo e poi la morte/tam- era lo tristo core-b BaG:8 (xyxy ababbx)

admin — Wed, 28 Jan 2015 20:56:38 +0000

Language:

it-frot

Lauda:

Maria dentro alla tua corte
BaG:8 (xyxy ababbxxy)

Notes:

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

Music Sources:

Cantasi Come Sources:

Laudato Iddio ch’i’ son fuor di tue trame Str:11

admin — Wed, 28 Jan 2015 20:56:38 +0000

Language:

it-frot

Lauda:

Laudato Dio ch’io son fuor de’legami Str:11

Notes:

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.

Music Sources:

ModF.9.9

PetK?

Cantasi Come Sources:

Fin ch’ io vivo e poi la morte/tam- era lo tristo core-a BaG:8 (xyxy ababbx)

admin — Wed, 28 Jan 2015 20:56:37 +0000

Language:

it-frot

Lauda:

Fin ch’io vivo e poi la morte dolce madre BaG:8

Lauda Poet:

Bernardo Giambullari

Notes:

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.

Music Sources:

Cantasi Come Sources:

Vedranno gli occhi miei la sepoltura StrS

admin — Wed, 28 Jan 2015 20:56:31 +0000

Language:

Lauda:

Parmi sempre veder la sepoltura
StrS

Notes:

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.

Music Sources:

ModF.9.9

Per431

Cantasi Come Sources:

Fin ch’ io vivo e poi la morte/tam- era lo tristo core-c BaG:8 (xyxy ababbx)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

it-frot

Lauda:

Sento Jesù dirmi al core
BaG:8

Music Sources:

Cantasi Come Sources:

Rs424

strambotti [formula for ottave]-zj

admin — Wed, 28 Jan 2015 20:56:01 +0000

Language:

Lauda:

Tutto se’ dolce, Iddio, Signore eterno-c Str:11

Lauda Poet:

Belcari

Notes:

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).

Music Sources:

ModF.9.9

P676

Cantasi Come Sources: