CorsC33

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.

note: see CattinR, no.95. Alternate cc. = ‘La pueril bellezza’, ‘Più bel viso che’l sole’ (all 3 in M690 & R196). Lauda differs from ‘O peccatore ingrato contempla’ (R2896), & three laude with a similar incipit in Ch266.

note: sources agree on alternate cc. = ‘Se non ti guardi amore’ (music in BR62,& related version in Rz1563 w/text ‘Se tu donassi il core’, and a slightly varied C & T, different CT). See FallowsCat, 560.

note: CattinR, 31; RostirollaB, 744.

note: 2nd line of cc. reads ‘...cavalcar per lo Bresciano’ [‘brescian’, M690]; ‘Chi vede’l carmignuola cavalcare’ (LA480). D’AnconaPP, 479; see also p. 56, where D’Ancona gives the first two lines as: ‘Che vedesse il Conte Carmignola/Cavalcar per lo bresciano’. D’AnconaPP, 56 suggests that the cc. circulated in Florence around 1426, when Florentines were at war in Lombardy.

note: alternate cc. = ‘Leggiadra diva’

note: alternate cc. = ‘Purità Dio ti mantenga’ (Gall2, Rs424). Song reconstructed from T of Cornago Mass of same name in GerberC, further reconstructed by AtlasAV, 109-20 (w/full discussion and fuller recovery of the cc. text). Melody also ed. in JeppesenF, iii, 128. The original poem and its melody were known at the Neapolitan court by ca. 1453.

note: CattinR, 31. 4-voice setting of lauda text in PetL/i. See ‘Jesù fammi morire’ as a frequently cited cc.

note: RostirollaB, 741. Alternate cc. is ‘Aggio visto ‘l mappamondo’ [lappamondo], with musical setting. Text of ‘Purità’ found in Gall3 without a cc. (suggesting it was already associated with its own modo proprio setting), in R2929 (‘Povertà di Dio’), which was copied by 1448, and BML, Ashburnham 423, which probably predates the 15thc.