Cantasi come - EscB

Accueilly m’a la belle au gent R5:10 (aabba)

admin — Wed, 28 Jan 2015 20:56:35 +0000

Language:

Composer:

Caron

Lauda:

A Maria, fonte d’amore-a
5:8 (ababx)

Lauda Poet:

Francesco d’Albizo

Notes:

note: FallowsCat, 68-9; CattinCI, 420-1. Text ed./trans. in PerkinsM, ii, 193-8; music ed. PerkinsM, i, 43 (Pix facs. on p. 11). Alternate version of chanson (with added low CT) transmitted in Tr91 & Tr1947. Same lauda text with later setting in Grey (ed. CattinG, no.34) & Panc27, both bearing title ‘Vive lieto’ (ed. in PrizerF, 34-7). Incipit in Pal117 = ‘Achollie malabelle’.

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Pour une suis desconforté B4:7/8 (abab cdcd) = So ys emprentid

admin — Wed, 28 Jan 2015 20:56:26 +0000

Language:

Composer:

Bedyngham
or Frye

Lauda:

Con umil core e riverente exordia
Ba:7/11 (Xxx1 ABBA x1 CDCD x1 EFEF)

Notes:

note: FallowsCat, 62-4, under original Eng. title, ‘So ys emprentid in my remembrance’; CarboniE, 454. Music ed. HanenE, no.27 (EscB); PopeM, 146 (MC); CMM19, no.3 and PerkinsM, ii, no.45 (Mel). Eng. title cited by Aaron and Ramos de Pareja, and T used in 1 motet & 2 mass cycles. The poetic form of the lauda appears to be quatrains with an interpolated partial refrain line (‘O Maria, o Maria’).

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R2896

Grant temps ay eu et disiree B4:7/8 (abab baba) = Myn hertis lust

admin — Wed, 28 Jan 2015 20:56:26 +0000

Language:

Composer:

Johannes Bedyngham

Lauda:

Gran tempo sono stato nel peccato 6/4:11 (abbaba cdcd efef ghgh)

Notes:

note: FallowsCat, 59, under ‘Myn hertis lust and sterre of my comfort’ (original Eng. title). Music ed. HanenE,no.28 (EscB); CMM19,no.4 & PerkinsM,ii,no.47 (Mel)

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R2896

Puis que je vis le regard gracieux R4:10 (abba)

admin — Wed, 28 Jan 2015 20:56:25 +0000

Language:

Lauda:

Poi che ‘l tuo cor Maria è graziosa
CapQ?:11 (abba ab abba)

Lauda Poet:

Feo Belcari

Notes:

note: FallowsCat, 332; PopeM, 644-6; WilsonSC, 88; CattinR, no.106. Music ed. CMM88, 30 & NanenE, no.31 (EscB), PopeM, 474 (MC), PerkinsM, ii, no.53 (Mel). Form and rhyme scheme of lauda closely modeled on the French rondeau; see CattinCI, 428-9, who suggests (along with PopeM, 646) that the lauda was conceived as a rondeau quatrain. Incipit of Fr. text in lauda sources frequently appears as ‘Plus que...’

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Le serviteur hault guerdonné-a R5:8 (aabba)

admin — Wed, 28 Jan 2015 20:56:25 +0000

Language:

Composer:

Dufay

Lauda:

E’ servi tuoi Maria vengono a
te-a 5:11 (ababa)

Lauda Poet:

Belcari

Notes:

note: FallowsCat, 251-4; CarboniE, 461-4; WilsonSC, 87; BrownM, 93; CattinCI, 422. See MSD47 & FallowsD for reaffirmation of ascription to Dufay. Music ed. ThibaultM, 52 (Cord); HanenE, no.67 (EscB); PopeM, 333 (MC); CMM1/vi, no. 92 (Porto), BrownF, ii, 240 (different music in BR229). Widely cited and arranged by Isaac, Agricola, Pullois, Busnois, Hanart, et al.; see FallowsCat. See FallowsOR for discussion of Bedyngham’s (?) unrelated musical setting from Tr90. The lauda text is attributed to Ser Firenze in Gall4, but it appears in Belcari’s own collection, M690, and so must be his.

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Bien viengnant ma tresredoubtee R5:8 (aabba)

admin — Wed, 28 Jan 2015 20:56:25 +0000

Language:

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:

Morte o mercé gentil aquila altera-b 7:11/7 (ABCCDdE)

admin — Wed, 28 Jan 2015 20:56:25 +0000

Language:

Composer:

Johannes Cornago

Lauda:

Maria mercé umile aquila altera
3/4:11/7 (XYX XAbX XAbX)

Notes:

note: it is unclear in either poem if the tercets are intended to function as refrains and be repeated after the quatrains.

Music Sources:

Cord

EscB

Cantasi Come Sources:

Morte o mercé gentil aquila altera-a 7:11/7 (ABCCDdE)

admin — Wed, 28 Jan 2015 20:56:25 +0000

Language:

Composer:

Johannes Cornago

Lauda:

Anima mia contempla el mio patire BaMz3/4:11/7 (XYX ABbX CDdX...)

Lauda Poet:

Feo Belcari

Notes:

note: FallowsCat, 538-9; CattinR, 36; PopeM, 579-80. Music ed. GerberC, 43, 63 (EscB,Cord), Hanen, no.81 (EscB), CMM42, nos. 5,7 (Cord), ThibaultM, 18 (Cord), PopeM, 185 (MC). Text ed. PirrottaA, 149 (EscB). Cord = version A, EscB/MC = version B. For musically related piece, see Binchois’ ‘Mort en merchy’ (FallowsCat, 288; ed. KayeB, no.26 & RehmB, no. 32). Pirrotta describes the form of Cornago’s text as a ‘piccola canzone’; the sequence of 11 & 7 syllable lines in the first 7 lines of both cc. and lauda are identical.

Music Sources:

Cord

EscB

Cantasi Come Sources:

J’ay pris amours a ma devise-e R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Vergine bella non mi abbando- nare-b Qr:11 (abba cddc effe)

Lauda Poet:

Feo Belcari

Notes:

note: cc. incipit = ‘Ian presamore’. Usual cc. for this lauda is ‘Gentil madonna’.

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J’ay pris amours a ma devise-d R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Madre che festi colui che ti fece-a
Qr:11 (abba cddc...)

Lauda Poet:

Leonardo Giustinian

Notes:

note: CattinCI, 419. Alternative cc. = ‘Mon seul plaisir’ & modo proprio. See ‘Madre’ as cc. for more extensive bibliography on this song; text entered in R2929, which was copied by 1448.

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