Q21

note: The Razzi settings (Rz1563, Pal173) preserve the cantus melody of the madrigal setting found in Q21, Yale179, and Mgl.111. That this text in its madrigalesque setting was sung in early 16thc. Florentine convents is indicated by its arrangement in Rz1563, but the transmission of the text (without music or cc. rubric) in M365 and R2988.

note: HaarCM, 69-70, 96, 110. Festa a4 version in 1526/6, ed. PrizerLP, no.4; HaarCM, 229-34 (see also 245-6 for link to anon. setting of ‘Dite di non’). Setting a5 by F. de Layolle, Venticinque canzoni (Moderne,1540), ed. D’AcconeMFR, iii, 16-18. Cf. lauda in R196 ‘O alma, che diverse cose e tante’ w/ same rhyme scheme. There is also a strambotto by Serafino d’Aquila with the same incipit as the cc. (preserved in BML, Antinori 158, but with no extant music), but the Petrarchan settings remain the likely source for the cc. link. There are later settings of this text by Portinaro (1560), and A. Gabrieli (1587). For evidence of another possible setting of a strambotto with this incipit, see PrizerWC, 409-10; the text is preserved in BML, Antinori 158, and was reportedly brought from Rome to Florence by a Maria, ‘woman of Bianchino da Pisa’ by ca. 1505-8.

note: see Haar/FenlonIM, 141, 182. Besides Q21, the other source for this madrigal is New Haven, Yale University, John Herrick Jackson Music Library Misc. MS 179

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: FallowsCat, 565-6; Mancuso, 125-7; RostirollaLC, 783-4, 847. Dufay setting ed. CMM1/vi(r), no. 5; DuffinD, 62; facs. in PlanchartW (Q15, Ox). Rz1563 setting a2 & Razzi melody from Pal173 ed. in LuisiLG, ii, 137-9; Mancuso, 270-76. Text ed. in LG, i, 269 (attr. to Giustinian in many sources). See ‘Vergene bella gratiosa et pura’ in Ven145, w/melodic similarities. Later settings of text by Tromboncino (1510), & Rz1563, w/some melodic similarities (JeppesenF, ii, 105). In Pal173, Razzi presents a cantus melody for the first two lines, and this differs completely from either Dufay’s chanson or Rz1563.

note: there are three settings (all 4-part) by Pisano, ed. D’AcconeMFR, i, nos. 15 (M164-7, PetG), 16 (M164-7,Bas2440, Q21, PetG), and 29 (Bas2440); text (a dialogue in ballata form) ed. xvi. There are also anonymous settings in Paris, Bibliothèque Nationale, Res. Mus. Vmd 32, and for 3 parts in Bas2440. See Fenlon/HaarIM, 139, 158, 175, 185.

note: rubric for lauda reads ‘composta da S. Ginevra Partini’, so differs from and probably postdates Belcari’s ‘Salve regina di misericordia’.