Rz1563

note: text and music of ‘In nulla’ ed. Mancuso, no. 88.

note: d’Astore’s text & music (a4 in Rz1563) ed. Mancuso, 384-94.

note: lauda and cc. reversed in Ferr84; see modo proprio for ‘Riposo alcun’. On ‘Quel glorioso’ see Carboni-ZiinoLM, 283, text ed. 305-6.

note: CattinR, no.119; GhisiCC, 99; MaceyB, 55, 138. Cc. is Giambullari’s carnival song, the Canzona dell’Orso, for which the refrain incipit is ‘Omè, omè, omè’, and ‘Siamo stati’ the incipit of the first strophe. The ‘Omè’ refrain recurs as well at the end of each strophe of Belcari’s lauda text (which is clearly modelled on the carnival song text), and also in the different lauda text preserved with music in Rz1563, ‘O anima accecata tu vai per mala via’, which appears to have been modelled upon Belcari’s text; ed. in Mancuso, 412-14. It is therefore quite likely that Razzi’s setting preserves something of the original music for ‘Siamo stati’. Cc. text ed. SingletonCC, 20-21, and BruscagliTCC, i, 237-8. According to a rubric in M119, this lauda ‘fece la feo balchari e ffu l’u[l[tima’; NosowB, 225 took this to mean that ‘O anima’ was among the last laude Belcari wrote before his death in 1484, but ‘O anima’ belongs to a part of M119 copied by its owner, Bruno di Nicholaio di Matteo Lachi, and bound on Oct. 15, 1481. ‘O anima’, therefore, was probably among Belcari’s most recent poems in 1481. Both carnival song and lauda share the same unusual sequence of line lengths: 6/6 7/7/7/7/7/5/5/6.

note: FallowsCat, 566-7; MaceyB, 44-47 (+CD); MaceyNC, 158-9 (music ed. 166); CattinR, no.120; RostirollaB, 709; RostirollaLC, 693-6; PrizerL, 176-7. Music ed. in MaceyS, 12-14 (Panc.27; both texts), PrizerL, 177 (Rz1563); Jaenecke, 143 (BerAT30, with errors); Mancuso, 447-50 (Rz1563, w/Belcari’s text). Facs. in GhisiCC (Panc27 & BR62). The cc. is the ‘Canzona degli spazzacamini’, the carnival song of the chimney sweeps (see FallowsCat for text sources); text ed. SingletonCC, 90-91. A different musical version is transmitted in Anim1563, and in subsequent non-Florentine sources (where Belcari’s lauda remained very popular); RostirollaLC, 831.

note: ‘Latin lauda’, planctus Mariae; processional music for deposition during Holy Week. See PerkinsMAR, 452-6; MaceyB, 53; CattinR, 39, n.59.; CattinNF, 192-3; PopeM, 646-9; Diederichs, 230-7; CattinCI, 432-3. Musical variant in Razzi: ‘Cum autem venissent’, where he indicates that ‘le parole insieme col canto, sono antichissime’. Music of related versions based on same melody ed. PerkinsMAR, 453-6 (Razzi facs., Quadris, PetL/ii); CattinPav, 14 (Pav361); PopeM, no.120 (MC); JeppesenL, 8-9 (PetL/ii, ‘Quum autem’), Diederichs, 412-22 (Panc27, Grey, MC, PetL/ii), Mancuso, 620-4 (Rz1563). Quadris version (ca. mid-15thc.) publ. in Petrucci Lamentationum Jeremiae prophete liber primus (1506), ed. Cattin in Johannes de Quadris, Opere (Bologna, 1972), 71. In Grey, cc. is explicit by addition of lauda incipit ‘Peccator, pensa al tuo signore’, a link that is in turn confirmed by all the Florentine cc. sources; see CattinNF, 192-3. For complete list of musical sources, see PopeM, 646-7, & CattinNF, 192-3. In LA424, lauda sent to ‘Pierino vinitiano’.

note: CattinR,29; CattinNF,202. Settings of Belcari’s text ed. CattinG,no.26 & LuisiLG, ii, 226-7 (Grey, but w/cc text underlaid as well); JeppesenL, p.136 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletii’in suon’e canto, followed by six other texts (Belcari’s ‘Ave del verbo’ & ‘Salve Regina’, plus four Razzi laude: ‘Ave stella del mar’, ‘Magnifica il Signor’, ‘Svegliati hormai’, & ‘Riposatevi in pace’).

note:lauda re. St. George. See ‘Dir pur’ as a lauda with cc. of ‘L’amor a me venendo’ & modo proprio, with possible musical settings in Pav362, PetL/i, Rz1563, and Ven. Text of cc. transmitted in Ch266 as a lauda without a cc.