Rz1563

note: Music & text ed. Mancuso, 461-5. Cc. for ‘Spiriti sian’ = ‘Caritate amore Dei’ (M365). Though Razzi does not here transmit the original music for ‘Caritate amore Dei’, it nevertheless reinforces the impression that this lauda is a paraphrase of a carnival song, or more likely, that it is a sacred carnival song, and that the 3-part, homophonic, & rhythmically buoyant setting transmits the original music of this carnival song. As a kind of ‘Canzona deglie spiriti beati’, it is similar to Machiavelli’s ‘Spirti beati sìano’, which Bruscagli dates to ca. 1523; BruscagliTCC, i, 30-32. Following ‘Spirti sian’ in Rz1563 is ‘Povertà, fatiche’ (also bearing a cc. of ‘Caritate amore Dei’ in M365), and this is a 2-part arrangement of the original music for ‘Caritate amore Dei’.

note: MaceyB, 82. Music of ‘O Maria’ à4 in Rz1563 (music ed. Mancuso, 395-7; MaceyS, 40), and there is a different 2-part setting in BerAT30 (ed. Jaenecke); both versions are ed. in LuisiLG, ii, 94-5, with text ed. i, 259. Varied cantus in Ferr84, ed. in Carboni-ZiinoLM, 327. Text attr. variously to Clemente Pandolfini, Leonardo Giustinian, & Francesco Schambrilli. Razzi describes music as ‘laude antichissima’. MaceyS, 224-5 proposes ‘O Maria Diana’ as a cc. for the compatible ‘Voi toccate la chiavetta’.

note: RostirollaB, 713 (‘Io ti lascio’). Lauda ‘fatta per una fanciulla che va alla Religione’. See ‘Io ti lascio’ as cc. for musical settings of this text.
The musical settings of ‘O Maria’ and ‘Io ti lasso’ appear to be unrelated. The lauda text appears in Anim77 set to the same 3-part music as that used in this same source for Belcari’s ‘Giù per la mala via’.

note: stanzas only; rit. draws on ‘Piango il tempo perduto’.

note: lauda re. St. Bernardino.

note: CattinR, 42. See ‘In nulla’ as cc. & modo proprio.

note: See CattinNF, 202. See ‘I’ vedo ben’ as cc. for ‘Ave del cielo’ & ‘Salve regina di misericordia’ for possible musical settings associated with ‘Ave tempio’ (an Ave Maria acrostic). Settings of Belcari’s text ed. CattinG, no.26 & LuisiLG, ii, 152-3 (Grey, but w/cc text underlaid as well); JeppesenL, 136-7 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletti’in suon’e canto’ (the 1st tercet of which uses the same rhymes as ‘Ave tempio’), 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’), all in the form of CapT:11. Belcari’s ‘Ave Maria acrostic and Salve Regina pair are probably modeled on a very similar pairing by Giustinian; see LuisiLG, i, 356-7.

note: see ‘I’ vedo ben’ and ‘Lodate fanciulletti’ (as cc. for ‘Ave del cielo’ & ‘Salve regina di misericordia’) for musical settings associated with ‘Ave tempio’ (an ‘Ave Maria’ acrostic). Lauda probably = ‘Ave del verbo eterno genitrice’, which is the standard Ave Maria paraphrase paired with the Salve Regina in most Belcari mss. (incl. M690); see CattinR, no.60.