Grey

note: CattinR,29; CattinNF,202. Settings of Belcari’s text ed. CattinG,no.26 & LuisiLG, ii, 226-7 (Grey, but w/cc text underlaid as well); JeppesenL, p.136 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletii’in suon’e canto, 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’).

note: in some sources the lauda incipit is ‘Signor Jesù quando sarò’. Alternate cc. = ‘O Jesù dolce’ & modo proprio. See Carboni-ZiinoLM, 281, 324; MaceyB, 53-4, 71-2. Music ed. CattinG, no.27 (Grey; ‘Quando Signor Jesù); LuisiLG, ii, 117-19 (Grey & Rz1563); Mancuso, no. 80 (Rz1563), and MaceyS, 34-5 (Rz1563; Macey proposes ‘[Quando] Signor Jesù’ as cc. for two texts by Girolamo Benivieni, ‘Viva ne’ nostr cuori’, ed. 36-7, & ‘Da che tu ci hai Signore’, ed. 38-9). Simple a2 setting in Grey differs from a3 setting in Rz1563 (cantus in Ferr84). Text of ‘Quando Signor’ ed. LuisiLG, i, 257-8.

note: Carboni-ZiinoLM, 279; text ed. 304-5.

note: ed. in CattinG, 17; both Grey and Animuccia versions ed. in LuisiLG, ii, 19-23. Animuccia text varies, incl. title: ‘Benedetto sia lo giorno’.

note: FallowsCat, 508; Diederichs, 90-99. Alternate cc. for ‘Tu che poi’ = ‘La vita della sgalera’ (Gall2). Lauda re. San Lorenzo. The differing versions of the music for ‘Con desiderio’ ed.: LuisiLG, ii, 28-35 (BU, Grey, Panc27, M18); CattinG, no.5 (Grey; w/notes on p. xviii); Diederichs, 296-303 (M18 facs., BU & Panc27). See WilsonMM, 172, 280-1 (BU). A different a3 setting of ‘Con desiderio’ (found in Cord w/lauda text ‘Ben lo sa Dio’ & ed. in ThibaultM, 4-5; see FallowsCat, 504-5) is related to the identical versions in Grey (ed. CattinG, no.22) & Panc27 (LuisiLG, ii, 32 & Diederichs, 302). Text of ‘Con desiderio’ ed. LuisiLG, i, 292-3. Cc. text entered in R2929, which was copied by 1448, and Mgl II.IX.58, copied by ca. 1415.

note: cf. CattinR, 28

note: Chelli closely modeled his lauda on ‘Ben lo sa Dio’, using identical rhyme scheme and words.

note: Belcari closely modeled his lauda on ‘Ben lo sa Dio’, employing identical rhyme scheme and words.