BR230

note: CattinR, 20 (where excerpts of both texts are edited). Music ed. D’AcconeMFR, ii, no.25 (text ed. xxi). Cc. in R196 reads ‘Grato signore’.

note: cc = carnival song, the ‘Canzona de’ giostranti’, or ‘Canto d’uomini vecchi allegri e goditori’. CattinR, 19 (where excerpts of both texts are edited); GhisiCC, 191. R196 lists ‘Far buon tempo’ as cc. but this turns out to be the 7th line of the 3rd strophe of the ‘Canzona de’ giostranti’, ‘Poichè visto’l tempo’. Music ed. GallucciFFM, no.38; text ed. SingletonCC, 151-2.

note: CattinR, 18-19 (with excerpts of both texts); CattinNR, 257. Cc = ‘Trionfo de’ Diavoli’. Lauda listed in R196 as modo proprio, but CattinR, 18-19 compares the two texts and identifies the model as a carnival song, the ‘Trionfo de’ diavoli’. Music ed. D’AcconeMFR, ii, no.5, & GallucciFFM, no.18; text ed. SingletonCC, 290. See the Canzona de’ diavoli ‘Già fummo’, as the cc. source for a different lauda.

note: lauda listed as modo proprio in R196, but CattinR,17 identifies the cc. model of this lauda as the carnival song, the ‘Trionfo delle tre Parche’, ‘Quel primo eterno amor, somma iustizia Fiorenza’. Text ed. SingletonCC, 198-9. Music ed. GallucciFFM, no.36.

note: CattinR, 17 identifies the cc. model of this lauda as the ‘Trionfo delle tre Parche’, ‘Quel primo eterno amor, somma iustizia Fiorenza’.

note: Carnival song (mascherata). CattinR, 15; CattinNR, 257. R196 gives ‘verso de’ calicioni’ as cc., but Cattin argues convincingly that this must be the Carnival song, the ‘Canzona de’ Giudei’, which matches the poetic and rhyme scheme of the lauda, and mentions ‘calicioni’ in the first strophe. Music ed. D’AcconeMFR, ii, no. 7, and GallucciFFM, no. 24; text ed. SingletonCC, 293-4. Lauda incipit very similar to ‘Vergine santa immaculata e pia’ w/cc ‘Madre che festi’ (R1502). Alternate cc. incipit = ‘La ciptà bella’.

note: cc = carnival song, the ‘Canzona de’ Giudei battezzati’. CattinR, 14; CattinNR, 259. Music of cc. ed. D’AcconeMFR, ii, no.26; text ed. SingletonCC, 294. Cattin proposes G.B. Ottonaio as author of both texts; he was the last herald of the Signoria, and son of Cristofano Ottonaio.

note: Carnival song (mascherata)--Canzona del vaglio, datable to Feb. 3, 1506. CattinCC, 209; OsthoffT, i, 117; CattinNR, 261; PrizerM, 33; S. Carrai, Momenti e problemi del canto carnascialesco fiorentino, in GargiuloLM, 119-29 (the cc. text is edited and discussed on 125-9). Facs. & transcription of music in GhisiCC, 61f.; music ed. in GallucciFFM, no.7. Text in SingletonCC, 221, 478. Maestro ‘Fruosino’ was a Florentine physician and student of Poliziano.

note: CattinCC, 208; CattinNR, 260. Lauda transmitted as modo proprio in R196, but form and rhyme correspond perfectly to Guglielmo’s ‘Canzona di donne che vendono agresto’, ‘Donne galanti’, which is preserved in BR230 w/A & B parts, and text beginning at v. 1 of 4th stanza: ‘Chi usa con duo man’. Text ed. SingletonCC, 272-3.

note: CattinCC, 208. See ‘Anime sante’ with a cc. of ‘Donne galanti sempre state siàno’ (Canzona de donne che vendono agresto), with alto & bass parts in BR230.