Database

Cantiam tutti cantiamo [‘aria’]

Language: 

it

Composer: 

Abbate Pitigliano

Lauda: 

Gloria, lode, et honore
5 (ababA cdcdC...)

Notes: 

note: RostirollaB, 686 (‘Cantiam tutti’), 704 (‘Giunt’ i pastori’). Part of a sequence of Nativity laude sung during a sacra rappresentazione; ‘La venuta de’ pastori per adorare il Messia: da rappresentarsi la notte della natività del Signore al presepio cantando sopra l’aria di diverse laudi, come ne’ luoghi opportuni saranno notate:’, CS1548, pp. 38-52. Lincoln, 748, where incipits include a rubric designating ‘Cantiam tutti’ as a ‘Lauda del Natale’. The music of ‘Giunt’ i pastor’ (the rubric for ‘Gloria, lode, et honore’) is attributed to Francisco Soto.

Music Sources: 
1591/3 1583/4
1600/5
Cantasi Come Sources: 
CS1548

Canti di ghalea quando si vogha

Language: 

it

Lauda: 

Da poi che ‘l mondo rio-a
BaMz (xyZ ABABbcZ)

Notes: 

note: FallowsCat, 506, where he proposes ‘Vaughe le gallee’ or ‘Et vaughe la gallee’ (see BrownM, 217; JeppesenF, iii, 59) as probable source of melody, with melodic & textual links to ‘Trois files estoient’ (see FallowsCat, 391; Japart’s setting in Pix, M107bis, Cas & P16664; related setting in CG [ed. AtlasCG, ii, 69] & Q16--’Vire le galee’), & the German ‘Allegalea’ (FallowsCat, 414; music in Bux, ed. EDM38, 232). See also AtlasCG, i, 210-11 on the texts (w/comparative transcriptions of excerpts from CG & Q16 versions). A related incipit transmitted with different music is ‘Voca la galiera’ (a4 in MC), the original text of which appears to be ‘Vray dieu d’amours confortez l’amoureux’ (see FallowsCat, 409 for widely dispersed, multiple versions based on same melody); music w/text incipit ‘Voca la galiera’ ed. PopeM, 157-8 & LuisiLG, ii, 157-8 (MC); ‘Vray dieu’ ed. in BernsteinN, 312 (Ver757), discussion 310-16. Italianized text ed. in GallicoRM, 207, 210, 217, 221; musical incipit on 141. Alternate cc. = ‘Dapoi che ‘l mio messere’. For a similar cc. text, but different melodic and cantasi come tradition, see ‘La vita della sgalera’ (linked to Belcari’s lauda ‘Tu che puoi’).

Music Sources: 
M107bis
Pix
P16664
Cas
Q16
CG
Cantasi Come Sources: 
Ch266

Bochi mia di lacrimare

Language: 

it

Lauda: 

Cominciam Cristo a laudare-b
BaG4/6:8 (xyyx ababbx)

Notes: 

note: cc. title is probably a misspelling of ‘Occhi miei di lagrimare’, the cc. title for this lauda in M365 and RC395.

Music Sources: 
Cantasi Come Sources: 
A160

Bien viengnant ma tresredoubtee R5:8 (aabba)

Language: 

fr

Lauda: 

Ben venga Jesù l’amor mio-a
5:9 (ababa)

Lauda Poet: 

Feo Belcari

Notes: 

note: FallowsCat, 100-101; WilsonSC, 86; CattinCI, 421. Music ed. CMM77, 22 (EscA); CMM88, no.4 & HanenE, no.7 (EscB). Alternate cc. in most sources = ‘Pover preson’

Music Sources: 
EscA
EscB
SevP
Cantasi Come Sources: 
Cas794
CorsC33
CorsD3
Gall2
Gamb206
Inc34
M690
Pal117
Pal119
Pal120
R193
R196

Bianca et gentil fanciulla

Language: 

it

Lauda: 

Fanciulla bella et gentil-a
2:7/8 (ax bx cx dx...)

Lauda Poet: 

Feo Belcari

Notes: 

note: Rest of cc. title in M690 reads, ‘pensa del tuo dormir’. Alternate cc. = ‘Chi vedesse el carmignuola’

Music Sources: 
Cantasi Come Sources: 
CorsD3
M690

Berricuocoli, donne e confortini-b BaMn:11 (xx aaax bbbx...)

Poet: 

Lorenzo de’ Medici

Language: 

it-carn

Composer: 

Heinrich Isaac?

Lauda: 

Madre de’ peccatori Vergine pura
7:11/7 (ABABCcX)

Notes: 

note: See MaceyB, 47-8, MaceyS, 222 & MaceyNC, 156-8 on proposed link to Lorenzo’s carnival song. Music & both texts ed. MaceyS, 15-19; lauda text and music ed. Mancuso, no. 12. Lauda text also in M365, but without cc. link.

Music Sources: 
Rz1563
Pal173
Cantasi Come Sources: 
[MaceyNC
156-8]]

Berricuocoli, donne e confortini-a BaMn:11 (xx aaax bbbx...)

Poet: 

Lorenzo de’ Medici

Language: 

it-carn

Composer: 

Heinrich Isaac?

Lauda: 

Chi vuol Jesù fruir con tutto-a
BaMn:11 (xx aaax bbbx...)

Notes: 

note: carnival song (mascherata)--Canzona de’ Confortini (c.1474-8?). Carnival song text ed. BruscagliTCC, i, 3; OrvietoCC, 59-61. MaceyB, 34-8, 47-8, w/music adopted from Razzi1563, ‘Madre de’ peccatori’ (ed. Mancuso, no. 12) and recorded on enclosed CD; see MaceyNC, 154-9 for fuller discussion of this proposed musical setting. Music ed. MaceyS, 15-19 & MaceyNC, 164-5, with texts of both carnival song and ‘Madre de’ peccatori’. The attribution of a 3-part musical setting of ‘Berricuocoli’ to Isaac was made by Anton Francesco Grazzini (‘il Lasca’) in his Tutti i trionfi, carri, mascherate o canti carnascialeschi....Florence, [Tolentino] 1559, fols. aiir-aiiir.

Music Sources: 
Rz1563?
Cantasi Come Sources: 
Cas794
Gall4
Pal120
R196

Benotto cantore, modo di

Language: 

it

Lauda: 

Ave mari stella canta-a
BaG:8 (xyyx ababbccx)

Notes: 

note: ‘Benotto’, frequently misread in secondary literature as ‘Benolio’, is surely a reference to the northern singer and composer Benoctus de Francia (Benoit, Benottus, Benedictus Sirede), who was a singing master for the laudesi company of Orsanmichele beginning in 1436, and after 1439 the first chapel master at the Florentine cathedral until he left Florence in 1448; WilsonMM, 84-5; Pamela Starr, NGD, ‘Benoit’.

Music Sources: 
Cantasi Come Sources: 
Ch266

Benedetto ne sia lo giorno-c 6:8/7/11+ (abababX)

Poet: 

Leonardo Giustinian?

Language: 

it

Lauda: 

Su correte pecorelle
8:8/6 ([A]BABABxx)

Notes: 

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

Music Sources: 
Grey
Anim1563
Cantasi Come Sources: 
Ferr84

Benedetto ne sia lo giorno-b 6:8/7/11+ (abababX)

Poet: 

Leonardo Giustinian?

Language: 

it

Lauda: 

Jesù diletto a te ritorno
Str:8

Notes: 

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’.

Music Sources: 
Grey
Anim1563
Cantasi Come Sources: 
Ch266

Benedetto ne sia lo giorno-a 6:8/7/11+ (abababX)

Poet: 

Leonardo Giustinian?

Language: 

it

Lauda: 

Benedetta sia quell’ora che no’ fume illuminate-a BaG:8 (xyyx ababbccx)

Notes: 

note: RostirollaB, 684-5. Music ed. in CattinG, 17 (Grey) and LuisiLG, ii, 19-23 (Grey, Anim1563); Giustinian text ed. LuisiLG, i, 300-01 (‘Benedecto ne sia el zorno’); 303-4 (‘Benedeto sia lo zorno’). Animuccia text varies. Probably modeled on Petrarch’s ‘Benedetto sia l’giorno e ‘l mese e l’anno’ (who was overturning Cecco Angiolieri’s ‘Maladecta sie l’ore ‘l punto; c.1260-1313). The ‘Benedetta sia l’ora’ attr. to Bianco da Siena in Gall3 (‘Benedetta sia l’ora/l’anno, el dì, el mese/che tu fusti annunziata’) does not match the rhyme scheme of Giustinian’s lauda. On the ‘Sia benedetto’ complex of poems, see also D’AnconaPP, 238. Rome, Biblioteca Angelica Ms. 2435, p. 6 transmits a ‘Benedetto sia quel giorno/ch’io vidi gli occhi belli’ that corresponds to the BaG:8 form of the lauda. Cc. text (‘Benedetto ne sia lo g[i]orno’) entered in R2929, which was copied by 1448.

Music Sources: 
Grey
Anim1563 Ferr84
Cantasi Come Sources: 
RC395

Benedetta sia quell’ora-d BaG:8 (xyyx ababbccx)

Language: 

it

Lauda: 

Quanto è degno d’ogni onore
Ba4/6:8

Notes: 

note: lauda re. St. John evangelist

Music Sources: 
Ferr84
Cantasi Come Sources: 
M365

Benedetta sia quell’ora-c BaG:8 (xyyx ababbccx)

Language: 

it

Lauda: 

O Maria Diana stella-a
Qr:8 (abba cddc...)

Lauda Poet: 

Giustinian/
Pandolfini

Notes: 

note: cc. cancelled in Ferr84, probably because modo proprio music for ‘O Maria Diana stella’ transmitted in Ferr84 (as well as for ‘Benedetta’!). Music of ‘O Maria’ à4 in Razzi + different 2-part setting in BerAT30 (ed. Jaenecke)--both versions ed. in LuisiLG, ii, 94-5, with text ed. i, 259. Rz1563 version ed. in MaceyS, 40 & Mancuso, 395-7. Varied cantus of ‘O Maria’ in Ferr84, ed. in Carboni-ZiinoLM, 327 (ed. cantus of ‘Benedetta’ on 319). Alternate cc. = ‘Uscirò di tanti affanni’ (R196, w/music in M121, PetF/viii). In Ferr84,‘Benedetto sia quell’ora’ is cc. for Lorenzo’s ‘O maligno e duro core’ (cf. ‘Siam galanti di Valenza’) & ‘Cominciamo Cristo a laudare’; ‘Occhi miei di lagrimare’ (w/music in Ferr84 & BL.Eg3051) is cc. for ‘Benedetto sia quell’ora’. Text of ‘O Maria’ in Gall3 and related sources without cc.

Music Sources: 
Ferr84
Rz1563
BerAT30
West84
Cantasi Come Sources: 
Ferr84 [Gall3]

Benedetta sia quell’ora-b BaG:8 (xyyx ababbccx)

Language: 

it

Lauda: 

O maligno e duro core-a
BaG:8 (xyyx ababbccx)

Lauda Poet: 

Lorenzo de’ Medici

Notes: 

note: Carboni-ZiinoLM, 281. Music in Ferr84 w/text of ‘Benedetto’ (ed. Carboni-ZiinoLM, 319), and in Rz1563 w/text of ‘O maligno’ (ed. MaceyS, 6-8; Mancuso, 470-77. See ‘Siam galanti’ as alternate cc. for ‘O maligno’. Lorenzo’s lauda is ed. in ToscaniL, 88-9 (on 48 he suggests that it was composed for Good Friday of 1491), and in DucciniL, 180-3, with extensive commentary.

Music Sources: 
Ferr84
Rz1563
Cantasi Come Sources: 
Ferr84

Benedetta sia quell’ora-a BaG:8 (xyyx ababbccx)

Language: 

it

Lauda: 

Cominciam Cristo a laudare-a
BaG4/6:8 (xyyx ababbx)

Notes: 

note: Carboni-ZiinoLM, 282, melody edited 319. Alternate cc. (cancelled in Ferr84) is ‘Oimè, lasso, oimè, oimè’ (linked also to ‘Occhi miei di lagrimare’), w/different musical settings. In Ferr84,‘Benedetto sia quell’ora’ is cc. for Lorenzo’s ‘O maligno e duro core’ (cf. ‘Siam galanti di Valenza’) & ‘Cominciamo Cristo a laudare’; ‘Occhi miei di lagrimare’ (w/music in Ferr84 & BL.Eg3051) is cc. for ‘Benedetto sia quell’ora’. See Giustinian’s ‘Benedetto ne sia lo giorno’ (& its extant musical settings) as cc. for ‘Benedetto sia quell’ora’. The ‘Benedetta sia l’ora’ in Gall3, 165 (without cc.) is probably a different lauda, given its 7-syllable lines; the extant laude to which ‘Benedetta sia quell’ora’ is linked are all octosyllabic (like the ‘Benedetta sia quell’hore/che noi fummo illuminati’ in M365). All of these incipits, along with Poliziano’s canzona a ballo ‘Benedetto sie ‘l giorno, l’ora e ‘l punto’, are ultimately indebted to Petrarch’s sonnet, ‘Benedetto sia ‘l giorno e ‘l mese et l’anno/e la stagione e ‘l tempo et l’ora e ‘l punto’.

Music Sources: 
Ferr84
Cantasi Come Sources: 
Ferr84

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