EscB

note: OsthoffT, i, 35-7. Music probably = FallowsCat, version A (Col & Lab); sung at Urbino, 1474, with both the French and the lauda texts; preserved in wood intarsia in Urbino studiolo. Ed. OsthoffT, i, 34 (chanson text; partial transcription), 35 (lauda text).

note: CattinR, no. 109; CattinCI, 424.

note: see FallowsCat, 195-8 (cc. version probably Fallow’s ‘B’, transmitted in Pix as well as many non-Florentine sources); WilsonSC, 19; BrownM, 234; JeppesenL, xvii-xix; CattinCI, 424; CattinPav, 4. Music ed. in ThibaultM, 34 (Cord); HanenE, no. 121 (EscB), LuisiLG, ii, 24-5, 166ff (versions in BR229, M178, Panc27). Possible reworked versions in M176, M178; see MeconiA, passim. See also the older modo proprio setting of ‘Canti gioiosi [zoisi]’ ed. in LuisiLG, ii, 23 (Pav361); CattinPav, 12 (Pav361); Diederichs, 429 (Pav361). Lauda text attrib. to Jacopone da Todi in some sources. Text of ‘Canti gioiosi’ ed. LuisiLG, i, 293-4, and transmitted in Ch266, 224v, which means it was copied around mid-century.

note: lauda re. Sta. Margherita

note: = Bedyngham’s ‘Fortune elas’, possibly an originally English text. See FallowsCat, 521-2, where he also briefly discusses Giustinian’s doubtful authorship of the cc. text; CarboniE, 451-2; WilsonSC, 18; PirrottaMC, 153-5 (ed. of 1st stanza); PerkinsM, ii, no. 46 (ed. of text). Music ed. ThibaultM, p. 8 (Cord); HanenE, iii, no. 101 & LuisiLG, ii, 234 (EscB); PerkinsM, i, no. 46 (Mel); PopeM, 376 (MC). Listed in index of Q16. See PrizerG re. performance of ‘Fortuna’ on organ in 1460 for Rodrigo Borgia. In LA424, lauda sent to ‘Ser Firenze prete in Orto San Michele [Orsanmichele] cantore’.

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: alternate cc. = ‘Le serviteur hault guerdonné’.

note: FallowsCat, 321-2; CattinR, 30; PlamenacR, 70-1; CattinCI, 421-2. Alternate version of cc. = ‘Pover preson’; alternate cc = ‘Ben vengiant matres’ (‘Bien vegnant ma très redoutée’). Music ed. HanenE, no.32 & RehmB, no.35 (EscB); SchavranP, ii, 52 (Pav362). Quoted by Ockeghem in his ‘La despourveue et la bannye’ (M176 & Pix), and D with new T in SevP with text ‘Passio domini’ (from St. Matthew passion), ed. PlamenacQ, 169.

note: see FallowsCat, 545-50; CarboniE, 447-8. Due to late 15th. date of cc. sources, this cc. (vs. Ch266 for ‘O sacra stella’) may refer to the more famous and widely diffused Bedyngham/Dunstable setting, w/music in several Florentine sources (BerK, Pix, RU1411; see FallowsCat, 545f., for a complete list of sources). However, the fact that this lauda is directly modeled upon an older one, ‘O sacra stella’, in Ch266, with an ‘O rosa bella’ cc. rubric that must refer to Ciconia’s music, suggests that his music continued to serve both laude throughout the 15thc. Bedyngham/Dunstable music ed. in LuisiLG, ii, 248-54 (EscB, Pav362, Per431, where both texts are underlaid; PopeM, 310 (MC); ThibaultM, 13 (Cord), HanenE, no.29a (EscB); facs. in LuisiLG, ii, plates xix-xxix (Pix, EscB, SevP, Cord, Porto, Per431). See also FallowsOR for his argument in favor of Bedyngham as composer of the later musical setting. For bibliographic information on Ciconia’s setting, see the lauda ‘O sacra stella’ (cc. ‘O rosa bella’). The cc. title appears in Simone Prodenzani’s Il Saporecto (ca. 1415), sonnet 35; see CilibertiP, 23-34, and NàdasCR.