Panc27

note: for fuller notes, see ‘Jesù, Jesù, Jesù’ as a lauda with the carnival song ‘Visin, visin, visin’ as a cc. MaceyB, 44-47 (+CD); MaceyNC, 158-9 (music ed. 166); CattinR, no.120; RostirollaB, 709; RostirollaLC, 693-6; PrizerL, 176-7. Music ed. in MaceyS, 12-14 (Panc.27; both texts), PrizerL, 177 (Rz1563); Jaenecke, 143 (BerAT30, with errors); Mancuso, 447-50 (Rz1563, w/Belcari’s text). A different musical version is transmitted in Anim1563, and in subsequent non-Florentine sources (where Belcari’s lauda remained very popular); RostirollaLC, 831.

note: Cc. is a carnival song on the subject of peace and fortune; the text is ed. in SingletonCC, 15-16. See ‘Con desiderio’ as a cc. for bibliography on the lauda. Lauda text entered in R2929, which was copied by 1448.

note: cf. ‘Giù per la villa lunga’ as possible original secular model. Lauda copied by Savonarola into CB. 1577 Roman version ed. in RostirollaTL, 46 (with facsimile).

note: incipit ‘Dolce regina’ transmitted in Panc27; same music in Grey w/text ‘Ave dulcis, ave pia’, & PetL/ii w/text ‘Popule meus’ (ed. in JeppesenL, no.32 based on both sources). See CattinNF, 198. Unclear which was the model for the other, though in Grey the Latin texts tend to be the contrafacta, and if the ‘Dolce regina’ is the same as the ‘Dolce regina vergine Maria’ transmitted in Ch266, then this was likely the earlier setting. See this ‘Dolce regina’ as a lauda with several cc. models.

note: see CattinRP, 385; BridgmanM, 208-9; JeppesenF, iii, 176-7 (cc. text ed. 158-9); RubsamenLS, 21. Music ed. w/both texts from P676 (a3) & Panc27 (a4) in LuisiLG, ii, 150-1; JeppesenF, iii, 299-300 (Triv55; a3). Text of ‘Ave di cieli’ (an ‘Ave Maria’ acrostic) ed. LuisiLG, i, 260-1 (as ‘Ave di cieli santa imperatrice’, the more usual form of the title); in P676 w/rubric ‘Pro lauda virginis mariae’ & the lauda incipit above. Text of cc. attr. to Serafino Aquilano in some literary mss. I could not verify the assertion in CattinNR, 308 that the work was also to be found in ModF.9.9, no. 12. JeppesenF, ii, 192 & CattinRP, 385 also report a setting of ‘Contento in foco’ in Pesaro, Biblioteca Oliveriana, MS 1144 (1193), pp. 70-71. There is no conclusive evidence that this lauda and its link were known and sung in Florence, and its inclusion in the database is based solely on Poliziano’s authorship of the cc. text, and the tendency of lauda contrafacta in north Italian sources to have Florentine connections.

note: incipit ‘Dolce regina’ transmitted in Panc27; same music in Grey w/text ‘Ave dulcis, ave pia’, & PetL/ii w/text ‘Popule meus’ (ed. in JeppesenL, no.32, based on both sources). See CattinNF, 198.

note: SeeCattinNF, 205-6; PrizerF, 25-7, including ed. of both texts & music (Panc27) on 32-7, and discussion on 24-7. Prizer also shows that the cc. was one of the pieces ‘Don Acteon’ (in a letter to Francesco Gonzaga) claims to have been taught by Pietrobono. Music from Grey (which carries only the lauda text) ed. CattinG, n. 34. Alternate cc. for ‘A Maria’ = Caron’s ‘Accueilly m’a la belle’. Panc27 reading carries the lauda text, and ‘Vive lieto’ as a superscript (14v-15r); see also JeppesenF, ii, 122-3. On ‘Vivi lieto’ see also C. Gallico, Un libro di poesie per musica dell’epoca d’Isabella d’Este, Mantua, 1961, pp. 105-6.

note: CattinNF, 204-5. The 4-part setting of ‘L’orazione’ in Grey, ed. CattinG, no.31 (‘L’oration’) is a contrafactum of this well-known Tromboncino frottola, which is ed. & discussed in PerkinsMAR, 407-9; JeppesenF, iii, 249-50; text ed. 152 (Triv55). Music also ed. in CesariLF, 16 (text in appendix, p. 8).