Grey

note: the cc. clearly refers to a carnival song, but not one I have been able to locate in the printed sources.

note: Cc. is a carnival song on the subject of peace and fortune; the text is ed. in SingletonCC, 15-16. See ‘Con desiderio’ as a cc. for bibliography on the lauda. Lauda text entered in R2929, which was copied by 1448.

note: incipit ‘Dolce regina’ transmitted in Panc27; same music in Grey w/text ‘Ave dulcis, ave pia’, & PetL/ii w/text ‘Popule meus’ (ed. in JeppesenL, no.32 based on both sources). See CattinNF, 198. Unclear which was the model for the other, though in Grey the Latin texts tend to be the contrafacta, and if the ‘Dolce regina’ is the same as the ‘Dolce regina vergine Maria’ transmitted in Ch266, then this was likely the earlier setting. See this ‘Dolce regina’ as a lauda with several cc. models.

note: see BridgmanM, 200-201.

note: CattinNF, 200; Diederichs, 246-51. Music ed. CattinG, no.19 (Grey), w/notes on xxii; CattinCon, 68-9 (Pav361); Diederichs, 430-2 (Pav361 & Grey), and LuisiLG, ii, 12-14 (Grey,Pav361 & PetL/i versions, which are unrelated). B207 version, also unrelated to the others, ed. in EynardLP, 84-5. Text ed. LuisiLG, i, 287-8, and found in Gall3 without cc. Text entered in R2929, which was copied by 1448, so it is likely to have been known in Florence with a modo proprio setting (implied by its entry in Gall3 without a cc. title), possibly one of those transmitted in the above non-Florentine sources.

note: incipit ‘Dolce regina’ transmitted in Panc27; same music in Grey w/text ‘Ave dulcis, ave pia’, & PetL/ii w/text ‘Popule meus’ (ed. in JeppesenL, no.32, based on both sources). See CattinNF, 198.

note: See CattinNF, 205. Music ed. CattinG, no.33 (with notes on xxvi); LuisiLG, ii, 185-6. Text ed. LuisiLG, i, 281-3; Grey incipit is to first stanza, whereas the refrain incipt is ‘Non tardati peccatori/tornati a penitenzia’. This text is found in older Florentine sources like BML, Ashburnham 423, fol. 50r, and R2929, no. 140 (copied by 1448), and is acribed in some sources to Jacopone da Todi.

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: See CattinNF, 202. See ‘I’ vedo ben’ as cc. for ‘Ave del cielo’ & ‘Salve regina di misericordia’ for possible musical settings associated with ‘Ave tempio’ (an Ave Maria acrostic). Settings of Belcari’s text ed. CattinG, no.26 & LuisiLG, ii, 152-3 (Grey, but w/cc text underlaid as well); JeppesenL, 136-7 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletti’in suon’e canto’ (the 1st tercet of which uses the same rhymes as ‘Ave tempio’), followed by six other texts (Belcari’s ‘Ave del verbo’ & ‘Salve Regina’, plus four Razzi laude: ‘Ave stella del mar’, ‘Magnifica il Signor’, ‘Svegliati hormai’, & ‘Riposatevi in pace’), all in the form of CapT:11. Belcari’s ‘Ave Maria acrostic and Salve Regina pair are probably modeled on a very similar pairing by Giustinian; see LuisiLG, i, 356-7.