Ch266

note: Luisi transcription = ‘Che chiedi’. Alternate lauda for this cc. = ‘O dolce amor Jesù’, w/music a3 in Rz1563; alternate cc. for this lauda = ‘Levati su omai’, with music a4 in Rz1563.

note: variants in Ch266; ‘Che tu credi’, ‘Chi chiedi’. Alternate cc. = ‘O dolce amor Jesù’, w/music a3 in Rz1563. See D’AnconaPP, 478. Lauda text entered in R2929, which was copied by 1448.

note: FallowsCat, 506, where he proposes ‘Vaughe le gallee’ or ‘Et vaughe la gallee’ (see BrownM, 217; JeppesenF, iii, 59) as probable source of melody, with melodic & textual links to ‘Trois files estoient’ (see FallowsCat, 391; Japart’s setting in Pix, M107bis, Cas & P16664; related setting in CG [ed. AtlasCG, ii, 69] & Q16--’Vire le galee’), & the German ‘Allegalea’ (FallowsCat, 414; music in Bux, ed. EDM38, 232). See also AtlasCG, i, 210-11 on the texts (w/comparative transcriptions of excerpts from CG & Q16 versions). A related incipit transmitted with different music is ‘Voca la galiera’ (a4 in MC), the original text of which appears to be ‘Vray dieu d’amours confortez l’amoureux’ (see FallowsCat, 409 for widely dispersed, multiple versions based on same melody); music w/text incipit ‘Voca la galiera’ ed. PopeM, 157-8 & LuisiLG, ii, 157-8 (MC); ‘Vray dieu’ ed. in BernsteinN, 312 (Ver757), discussion 310-16. Italianized text ed. in GallicoRM, 207, 210, 217, 221; musical incipit on 141. Alternate cc. = ‘Dapoi che ‘l mio messere’. For a similar cc. text, but different melodic and cantasi come tradition, see ‘La vita della sgalera’ (linked to Belcari’s lauda ‘Tu che puoi’).

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: see Diederichs, 54 for a comparison of the two texts, where she shows that a text with a title (‘Avrai tu mai pietà donna crudel di me’) very similar to Landini’s (‘Ara’ tu pietà mai di me, o giovnetta’) is the more likely cc. model, since its rhyme scheme is nearly identical to that of ‘Volgi li occhi’.

note: see CattinSq, 249; WilsonSC, 74; Diederichs, 53-4, 73. Music ed. in PMFC4, no.57 (where the incipit is ‘Ara’ tu pietà mai di me, o giovinetta’). The intended cc. for ‘Mercè’ may in fact be a different secular ballata with a similar title, ‘Arai tu mai pietà donna crudel’; see this title as a cc. for the lauda ‘Volgi li occhi tuoi in qua’.

note: alternate cc. = ‘Leggiadra diva’

note: CattinS, 269; RostirollaB, 765. Ch266 cc. = ‘Angiola tu mi fai piangendo a te venire’; Rs424 = ‘Anzola tu mi fai’. Text of cc. ed. in D’AnconaPP, 93-4. The line lengths of Cheill’s lauda are: 7/7/7/7/4/4/10, so they match the secular model except at the end, where the lauda conflates the final two 7-syllable lines into a single 10-syllable line.

note: this link cited in D’AnconaPP, 476, but omitted from other secondary literature. Text of ‘Questa sposa’ ed. LuisiLG, i, 398-9, and is found in 14thc. laudarios like BML, Ashburnham 423, vol. 129r.