[MaceyS

note: RostirollaB, 724; D’AnconaPP, 57--8 (re. lauda text). Music (Rz1563) ed. in MaceyS, 42-4 with texts of ‘Non fu mai...dolce amor’, Benivieni’s ‘Non fu mai el più bel solazzo’, & ‘Franza, Franza’. See MaceyS,225, where he proposes the cc. link based on an interrated chain of cc. links involving the above laude & carnival song. Benivieni’s lauda is also the poetic model for ‘Non fu mai più bel convito/lieto dolce, e dilettoso’ in M365, which suggests a musical link for this anonymous lauda.

note: lauda re. Savonarola and his 2 companions. See MaceyS, 221, where he proposes the cc. link based on similarity of 1st-line syntax and form.

note: lauda re. Savonarola; entire Luschino text ed. & trans. in MaceyS, lvi-lvii; music ed. 90-3. See also MaceyB, 131f, where he proposes a link to Catherina de’ Ricci’s Savonarolan lauda, ‘Da che tu m’hai dimostro tanto amore’, which is clearly modeled on Belcari’s ‘Da che tu m’hai Iddio’.

note: Savonarola’a lauda modeled on d’Astore’s ‘Alma che sì gentile/ti fe’, a ballata grande w/rhyme scheme identical to ‘Deh dolce redentore’ with music in Rz1563; see reconstruction/ed. in MaceyS, 71-9; text ed. & translated on xlix-l. D’Astore’s lauda had modo proprio and cc. = ‘O benigno Signore’. ‘O benigno’ & ‘O dolce redentore’ [Deh dolce’] are also cc. sources for ‘Signore soccorri aita’ (BNF J.VIII.5)