Pal169

note: CattinCC,194; alternate cc. = the carnival song ‘Franza è Franza [Franza, Franza, viva Franza] (Gall4). Lauda re. Passion/crucifixion; see MaceyB,55. Music (Rz1563) ed. Mancuso, 493-6; MaceyS,42-4 with texts of ‘Non fu mai...dolce amor’, Benivieni’s ‘Non fu mai el più bel solazzo’, & ‘Franza, Franza’.

note: lauda re. Passion

note: ‘Diva vergine’ re. St. Catherine of Siena. If the cc. text is Giustinian’s ‘Maria vergine bella, scala’ (likely, given its presence in the cc. sources as a lauda) found in Rz1563, then text & music are ed. in LuisiLG, ii, 73-4; Mancuso, 663-9 (text incomplete); text ed. Luisi, i, 274, and in Gall3. Cc. incipit in Pal169 reads, ‘O Maria vergine bella’, which must be Giustinian’s lauda since the poetic forms are identical.

note: Lauda re. circumcision. Lauda may be related to Savonarola’s ‘Jesù sommo diletto e vero lume’ & Belcari’s ‘Jesù dolce conforto e sommo bene’ (& their musical setting), or may be erroneous version of Castellani’s incipit,‘Jesù sommo conforto e vero amore’, w/music in Rz1563

note: Carboni-ZiinoLM, 283. Lauda re. Sant’Agnese.

note: lauda re. S. Stefano

note: text & music of ‘Dolce Dio’ ed. Mancuso, 512-14. The popular tone and homophonic texture of the 3-part setting in Rz1563 suggest that this may be some version of the original music for the secular cc. text.

note: despite the similarity between this lauda incipit and another (‘Si ch’ i’ la vo seguire nessun’ altra offesa’), the latter is a secular song with a different form, and was set by Layolle and Cara.

note: Lauda re. St. Ursula