LA766

note: this lauda is a cc. for several other laude with the same incipit, and is transmitted as a lauda with a modo proprio. The cc. incipit may refer to this modo proprio, perhaps a secular song upon which Razzi drew for his 3-part setting of this lauda text. The cantus of Razzi’s version is identical to the 2nd superius of Francesco Layolle’s 5-part ‘Si ch’io la vo seguire nessun’altra offesa’, and both versions probably derive from an older source that may indeed be the music to which the LA766 incipit refers. The Layolle madrigal is ed. in D’AcconeMFR, iii, no. 19 (in the commentary D’Accone notes that it “uses a popular melody, albeit one of Italian origin, as a cantus firmus;” xiii). The same text was set by Cara, with music transmitted in Ve, no. 36, and PetF/xi (ed. in LuisiFr, no. 1, and PrizerCP, 449-51). Text & music of Razzi’s version ed. Mancuso, no. 75.

note: see ‘Alma mia’ with a cc. = ‘Spirti sian sempre gaudenti’ for possible music sources.

note: the ultimate musical source for both poems is ‘Ben venga Maggio,’ but it interesting here to see Bettini’s very savonarolan text having absorbed this music of the secular carnival song to the extent that Bettini’s text can function as a cc. title. For more on ‘Ecce quam bonum,’ see this title as a lauda with cc. = ‘Ecco’l Messia.’

note: Fenlon/Haar, 140 (concordant sources); JeppesenF, ii; Lincoln, 693 (incipits).

note: Fenlon/Haar, 140 (concordant sources); JeppesenF, ii; Lincoln, 693 (incipits). Music ed. OwensSM, xxx, 87-89.

note: The cantus of the cc. setting found in Rz1563 is borrowed, intact, from the 2nd superius of Francesco Layolle’s 5-part ‘Si ch’io la vo seguire nessun’altra offesa’; ed. D’AcconeMFR, iii, no. 19. Cc. ed. in Mancuso, no. 75 (Rz1563). Cara’s musically independent 4-part setting of the same text set by Layolle is in PetF/xi, and text and music are ed. in LuisiFr, no. 1, and in PrizerCP, 449-51 (see also BoormanOP, 1020); this text is formally identical to several others in the cc. sources with a similar incipit, suggesting that these ‘Si ch’i’ la vo seguire’ texts are interrelated. See this cc. title as a lauda with a modo proprio setting.

note: Fenlon/HaarIM, 159 (concordant sources of Pisano’s setting). Petrarch’s inicipt is ‘Che debb’io far, che mi consigli, Amore?’. Music ed. in D’AcconeMFR, i, no.17 (M164-7). For other settings of poems with identical incipits (including one by Tromboncino in PetF/vii), see Lincoln, 839; and Fenlon/Haar, 142 (anon.), 176 (Tromboncino), and 189 (anon.).