Sq

note: CattinSq, 251 cites this link, but indicates it is tentative. The cc. title is not to be found in Ch266, fol. 204r, where the lauda text is copied with a cc. title indicating Landini’s setting of Sacchetti’s ‘Non creder donna’. WilsonSC, 75. Cc. text ed. AgenoFS, 355.

note: music & text of cc. ed. PMFC8, 107-8. Variant incipit = ‘Ciascun faccia per se’, according to CattinSq, 250 where the cc.link cannot be verified in the sources (nor are the poetic forms compatible); Cattin cites R2224, 18v, but here the cc. for ‘O Jesù Cristo’ is ‘Partiti messere’, whereas ‘Ogni huom faccia’ is the cc. for ‘Ogni huom con pura fe’ on the same folio of this source. ‘O Jesù Cristo’ is transmitted in Ch266, but without a cc. WilsonSC, 74. In CattinSq, the music is ascribed to Paolo Tenorista & the text to Niccolò Soldanieri, whereas in PMFC8, 107 & 206, the music is attributed to Niccolò da Perugia and the text is considered to be anonyomous. The cc. poem appears in Giovanni Sercambi’s Novelliere (ca.1400); see CilibertiP, 13-15, where the cc. poem is attributed to Antonio Pucci.

note: see CattinSq, 249; WilsonSC, 73, Diederichs, 71. Music ed. in PMFC4, no. 11, and in Diederichs, 291-3. On the tentative identification of ‘Vanni’ as the free-lancing lauda singer Vanni di Martino, see WilsonSC, 76-7.

note: WilsonSC, 75. Cc. in M130 = ‘Oretta, anima mia, per costei rinvenuta’. Music ed. PMFC4, no.17; lauda text ed. VaraniniRS, 30, 177f.

note: WilsonSC, 74. Music ed. in PMFC10, 44-5; lauda text ed. VaraniniRS, 29, 164f. Title of Andrea’s ballata is ‘Questa leggiadra luce...’, which taken together with the difference in poetic forms suggests that Andrea’s ballata may not be the intended model for Pagliaresi’s lauda.

note: CattinSq, 251, where he lists the lauda as ‘Seguite per via d’un gentil bracchetto; WilsonSC, 75; Diederichs, 58-9. Music ed. in PMFC9, nos. 23a-b (versions a2 & a3). The first line of the lauda is closely modeled on the second line of the secular ballata (‘Seguito l’orma d’un gentil brachetto’), and formally lines 1-7 of the lauda match closely lines 2-8 of the cc. The cc. title appears in Simone Prodenzani’s Il Saporecto (ca. 1415), sonnet 25; see CilibertiP, 23-34, and NàdasCR.

note: CattinSq, 250; WilsonSC, 74. Ed. in PMFC8, 148-50. Text ed. AgenoFS, 69.

note: CattinSq, 248-9; WilsonSC, 73. Music ed. in PMFC7, no. 8. Lauda text ed. VaraniniRS, 29, 162; Soldanieri text ed. CarducciCBSM, 200. The cc. poem appears in Giovanni Sercambi’s Novelliere (ca.1400); see CilibertiP, 13-15.

note: CattinSq, 248; WilsonSC, 73; CorsiM, 329 (where both texts are compared); Diederichs, 58. Music ed. in MFCI 1, 8-11.

note: see CattinSq, 248; WilsonSC, 73; Diederichs, 64; CorsiM, 332. Music ed. PMFC4, no.18. According to D’AnconaPP, 476, title also found in Ch266, and he gives original title of cc. as ‘Ama chi t’ama e chi non t’ama lassa’. The cc. title appears in Simone Prodenzani’s Il Saporecto (ca. 1415), sonnet 48; see CilibertiP, 23-34, and NàdasCR.