Gall2

note: CattinR, 43, n.70 and (re. the cc.), 33, n.40; RostirollaB, 680 (re. ‘Anima benedetta’). There is a monodic setting of the lauda in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & a 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-7, with text ed. i, 259-10. Gall3 = ‘Donna esto mio lamento, vinitiana’. The lauda also enjoyed an extended life in early 17thc. lauda prints (Nap1608); see LuisiLG,ii,147-9. In 1589/2, ‘Anima benedetta’ sung to a3 setting of ‘Jesù nostro riscatto’. Cc. text ed. Wiese, 159 (‘Donna, sto mio lamento/piazzate aldire in pace’). Other variants: ‘Donna sti mie’ lamenti’, ‘Donna questi mie’ lamenti’ (see D’AnconaPP, 481). RA2435, pp.102-5 transmits a ‘Donna questi lamenti/piacciati udire in pace’ with the unusual form Ba3+3/7 (xyZ xyZ abababZ). Lauda text entered in R2929, which was copied by 1448.

note: FallowsCat, 503-4 (‘Aymè’); CarboniE, 456; PrizerF, 12 (‘viniziano’); RubsamenJ, passim; HaarPJ, passim. Music ed. HanenE, no.75 (EscB); E. Southern, CMM88, no.56 (EscB); LuisiLG, ii, 270 (EscB; w/lauda text). Florid version in PetF/vi, ed. LuisiLG, ii, 268-9. Both versions ed. in FerandDI, no.9; RubsamenJ, 180; & HaarPJ, 28-33.

note: see CattinCC, 42. The lauda consists of strophic additions to ‘Vidi virgo Maria che si stava’, which is transmitted with cc. indications for both ‘Eran pastori’ and ‘Vidila in un giardin’.

note: lauda in Gall2, Pal117, etc. w/out cc. R196 & R674 incipit = ‘Viddi Virgo Maria’. 3-part setting of ‘Viddi una verginella che si stava’ in 1589/2 may preserve older music associated with the above texts.

note: alternate cc. = rispetti

note: alternate cc. = rispetti. Lauda re. St. Matthew. See ‘Se mai lo vice Re vien ista terra’ as cc. for ‘Se mai la tua virtù’. The poetic form of the cc. is technically that of a rispetto. According to BecheriniSR, 226, Belcari’s lauda was sung by a chorus of Hebrews after their subjection by Holofernes in the Rappresentazione di Juditha Hebrea.

note: Ch266 version = ‘Sappiatevi guardare, giovani’ (perhaps a different lauda); most readings transmit ‘Deh, sappiatevi guardare, o garzon, di non tor moglie’ (these 2 octosyllabic lines suggest the cc. text is also a BaG:8). On relation to ‘Ora mai’ complex of Florentine youth confraternity laude, see WilsonHM. Piero was a guardian of the boy’s Company of the Purification at the convent of San Marco around mid-century, for which this lauda and other’s relating to juvenile obedience were probably destined. He was also the author of the sacra rappresentazione, the Festa del vitel sagginato, which was performed within the Purification during carnival of 1449-50, and 1462. The cc. incipit is also transmitted (and attr. to D. Arnolfi) in Benedetto Dei’s Croniche, 91v, where he lists the titles of 30 ‘canzone a ballo’; see LuisiMF, 89-90.