Anim1563

note: CattinR, 31; RostirollaB, 744.

note: see CattinR, 34; CattinS, 269-70; RostirollaB, 705; RostirollaLC, 758. Alternate cc. = ‘La madre tornò dal santo’ (Gall2, R196), though this may refer to the same piece; the first 4 lines of the secular text are: ‘Giù per la villa lunga/la bella se ne va/la ma’ torno dal santo/trovo il figliuol mal.’ Lauda text copied by Savonarola into CB. 1577 Roman version ed. in RostirollaTL, 46 (+facs.). Similar setting, w/slight variants, transmitted in 1589/2.

note: RostirollaB, 716 (‘Laudate Dio’). Version in the Roman sources is an arrangement by Animuccia of the traditional Carnival song melody and Florentine lauda text; facs. in RostirollaTL, 34.

note: carnival song for May Day. Source for poem relates ‘Canzone d’Angelo Politiano di maggio; la quale s’aveva a chantare per donne nell’entrare de giostranti in campo: e coronandogli per loro amore giostravano’ (ed. MaceyS, 227). MaceyB, 57, 125f; LuisiBV, passim; CattinS, 270-1; CattinRP, 384-5; RostirollaB, 685. On the melodic tradition of ‘Ben venga Maggio’, esp. its relationshi[ to the ‘Tentalora’ melody; see LuisiT and LuisiCB. In Rz1563 w/text ‘Ecco’l Messia’; Pal173 w/’Ecco la stella’, and RC395 w/’Ecco’l signore’. Music ed. GallucciFFM, 1; MaceyS, 61-5 (w/alternate texts, ‘Ecco’l Messia’ & ‘Che fai qui core’); ed. and discussed in PerkinsMAR, 416-18. Osthoff, i, 153 fits Poliziano’s text to a2 music of ‘Ecco’l Messia’ in Rz1563. Cantus transmitted in Savonarola’s biographies (BML, San Marco 429 & BS Lucca 2415). Cf. Savonarolan laude ‘Che fai qui core’ & ‘Ecce quam bonum’, as well as many other lauda texts by Lucrezia Tornabuoni and others that draw on the music of ‘Ben venga Maggio’.

note: Carboni-ZiinoLM, 279; text ed. 304-5.

note: ed. in CattinG, 17; both Grey and Animuccia versions ed. in LuisiLG, ii, 19-23. Animuccia text varies, incl. title: ‘Benedetto sia lo giorno’.

note: CattinS, 269; RostirollaB, 765. Ch266 cc. = ‘Angiola tu mi fai piangendo a te venire’; Rs424 = ‘Anzola tu mi fai’. Text of cc. ed. in D’AnconaPP, 93-4. The line lengths of Cheill’s lauda are: 7/7/7/7/4/4/10, so they match the secular model except at the end, where the lauda conflates the final two 7-syllable lines into a single 10-syllable line.

note: See MaceyB, 99-105; RostirollaB, 710. Settings by Scotus (PetL/ii), in Anim1563, Rz1563, & Verovio (Rome,1586; w/lute & keybd. intab.), all ed. in MaceyS, 53-60, with text ed. & translated on xlii-xliii. Razzi cantus transcr. in Carboni-ZiinoLM, 322 (Ferr84 transmits music with text ‘Ogn’un lodi Maria’). Incipit in printed cc. sources is ‘O Jesu...’, and with textual variants in the first stanza. See also ‘Jesù sommo conforto’ as a cc.