In the process, I suggest that SL originally contained a section devoted to compositions by Nicolò del Preposto. In preparation for situating Donato within a group of composers involved in the production of compositions commissioned by Florentines, I undertake a hypothetical reconstruction of the missing leaves of the now-incomplete Donato section in SL. My central thesis challenges the notion of the often described – but never unequivocally proven – chronological arrangement of composer sections within manuscripts and I argue that additional considerations obtained. In this chapter, to better contextualize Donato, I will explore the different works of his selected by the compilers of five manuscripts. Beyond what we may glean from his surviving songs, we know very little about Donato and the musical circles to which he belonged. Two late Trecento manuscripts – the Squarcialupi Codex (Sq) and the San Lorenzo Palimpsest (SL) – serve as witnesses to the fact that Donato da Firenze was a composer whose music was considered worthy of collecting in the first decades of the fifteenth century, a time long after the compositions’ creation. ![]() In the second and central case study, Piero Mazzuoli’s three-voice ballata "A Febo", I offer a detailed examination of this song’s form and content, arguing that the metapoetic motif of transformation/mutation creates multiple echoes across this song’s amorous content (via Ovid’s Metamorphoses) poetic structure (which, I argue,might be viewed as metamorphic) and musical setting (via mutatio in its hexachordal structure and extensive use of musica ficta). ![]() The first case study, Giovanni Mazzuoli’s madrigal "A piè del monte", aims at illustrating in a straightforward fashion the basic tenets of the proposed methodology. In particular, I focus on the semantic field established by some potentially metapoetic concepts, two of which are explored in the two case studies presented in this article (and drawn from the recent edition of the San Lorenzo palimpsest): “return” and “metamorphosis”. This essay forms part of a larger project on music and metapoesis in Trecento song, in which I examine the use of the poetic lexicon that might be understood as referring to the mechanics of the text or its musical setting, if there is any, and acknowledging its formal poetic and musical constitution. D’Agostino, Music, Texts and Musical Images at the Court of Angevin Naples, Before and During the Schism. Stone, Lombard Patronage at the End of the Ars Nova: A Preliminary Panorama – G. Epifani, Remarks on Some Realistic virelais of the Reina Codex – A. Cuthbert, Melodic Searching and the Anonymous Unica of San Lorenzo 2211 – D. Janke, On the Transmission of Donato da Firenze’s Madrigals – M. Calvia, Some Notes on the Two-voice Ballatas by Francesco Landini in the San Lorenzo Palimpsest – A. Lopatin, Musico-metapoetic Relationships in Trecento Song: Two Case Studies from the San Lorenzo Palimpsest (SL 2211) – A. ![]() ![]() Bent, The Motet Collection of San Lorenzo 2211 (SL) and the Composer Composer hubertus de Salinis – M. Nádas, New Biographical Documentation of Paolo da Firenze’s Early Career – M. Abramov-van Rijk, A Musical Sonnet by Franco Sacchetti and the Soundscape of Florence – J. Edited by Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti, John Nádas ➡ E.
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