Cantasi come - Q21

modo proprio

admin — Wed, 28 Jan 2015 20:56:46 +0000

Language:

it-mad

Composer:

Razzi?

Lauda:

Vergine bella che di sol vestita
Cz (ABCBACCddCEffe)

Lauda Poet:

Petrarch

Notes:

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.

Music Sources:

Cantasi Come Sources:

Rz1563 [M365

R2988]

O passi sparsi, o pensier vaghi et pronti-a Son

admin — Wed, 28 Jan 2015 20:56:46 +0000

Poet:

Petrarch

Language:

it-mad

Composer:

S. Festa/
F. de Layolle

Lauda:

O fresca rosa, o martir Caterina
Son?:11 (abba cdecde)

Lauda Poet:

suor Caterina Mar[telli?]

Notes:

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.

Music Sources:

Cantasi Come Sources:

R2988

Da colei ch’è sol mio bene

admin — Wed, 28 Jan 2015 20:56:46 +0000

Language:

it-mad

Lauda:

A Jesù ch’è’ sol’ mio Dio
Ba2/4:8 (xx aaax bbbx...)

Lauda Poet:

suor Tomasa Martelli

Notes:

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

Music Sources:

Q21

Yale179

Cantasi Come Sources:

R2988

Se mai provasti donna qual sia amore-b Mad (ABbAaCC)

admin — Wed, 28 Jan 2015 20:56:45 +0000

Language:

it-mad

Composer:

Philippe Verdelot

Lauda:

Se mai pietà timosse ad mio Signore 7 (ABbAaCC)

Notes:

note: Fenlon/Haar, 140 (concordant sources); JeppesenF, ii; Lincoln, 693 (incipits).

Music Sources:

Cantasi Come Sources:

LA766

Se mai provasti donna qual sia amore-a Mad (ABbAaCC)

admin — Wed, 28 Jan 2015 20:56:45 +0000

Language:

it-mad

Composer:

Philippe Verdelot

Lauda:

Fammi languire Jesù del tuo amore 7 (ABbAaCC)

Notes:

note: Fenlon/Haar, 140 (concordant sources); JeppesenF, ii; Lincoln, 693 (incipits). Music ed. OwensSM, xxx, 87-89.

Music Sources:

Cantasi Come Sources:

LA766

modo proprio

admin — Wed, 28 Jan 2015 20:56:45 +0000

Language:

Composer:

Dufay/Razzi

Lauda:

Vergine bella che di sol vestita
Cz (ABCBACCddCEffe)

Lauda Poet:

Petrarch

Notes:

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.

Music Sources:

Cantasi Come Sources:

Rz1563

Son io donna qual mostri ogni tuo bene-a BaMz (XyY ABABBcY)

admin — Wed, 28 Jan 2015 20:56:45 +0000

Poet:

Lorenzo Strozzi

Language:

it-mad

Composer:

Bernardo Pisano

Lauda:

Chi ti condusse Jesù a tanto strazio BaMz (XyY ABABBcY)

Notes:

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.

Music Sources:

Cantasi Come Sources:

M365