M690

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

note: Grey transmits a rather contrapuntal a3 setting of the ‘oration Hieremie prophete’ (ed. CattinG, no.38), which resembles an anon. lamention in Petrucci’s 1st book of Lamentations (Venice,1506); it is more likely that the cc. refers to an intonation formula used in Florence, than that Petrucci’s lamentation prints preserve some version of the music once sung in Florence for penitential and lenten lauda texts.

note: FallowsCat, 184; CattinR, 36-7; CattinCI, 418. ‘Il estoit’ = 2nd text; primary text = ‘Mon trestout’ (FallowsCat, 288), w/setting by Petit Jan in Mel. Music ed. PerkinsM, ii, no. 28. Cf. also 4-part setting of ‘Egli è il tuo buon Jesù’ in Panc27, no. 67, by Fr. Dionisius Placentius, ed. JeppesenL, p.168. Later settings of ‘Il estoit’ in P1597, et al. may be related.

note: in M119 cc. incipit is ‘Sempre aro nel chor .’

note: see ‘Cristo ver’ as cc. in later sources. On ‘Cristo ver’, see CummingsP, 143-7 (texts of both ‘Cristo ver’, and its cc. ‘Laudate il sommo dio’ ed. 145, music on 146-7); RostirollaLC, 699-700, 758. Music w/Belcari’s text ed. Mancuso, 416-20. See also ‘Da poi’ as lauda in Gall4 (‘lasciai’) with cc. = ‘Laudate il sommo dio’. Text of cc. transmitted in Ch266 with attribution to Giovanni da Terra Nuova, but without cc.; full title of incipit there is ‘Dappoi ch’io ti lasciai Christo Jesù di quor non mallegrai’. The cc. text is found in earlier sources, like the (probably) pre-15thc. laudario BML, Ashburnham 423. 4-part, frottola-like setting in PetL/i ed. in LiuzziLG, ii, 328-9; this is musically unrelated to the 3-part setting in Rz1564 of ‘Laudate il sommo Dio’.

note: FallowsCat, 563. Music ed. A. Seay, CMM33, 24. This song is found uniquely in the Faenza Codex, in a layer of works copied ca. 1473-4 in Milan; the ms. transmits only text incipits. Lauda shares form and rhyme scheme with two other Belcari lauda, ‘O dolce padre Giovanni Gualberto’, and ‘Abbi pietà beata Verdiana’. The familiarity of Hothby’s work in Florence may be the fruit of connection suggested by Hothby’s correspondence with Lorenzo de’ Medici in 1469, while Hothby (1430-87) was residing in Lucca.

note: the form of this and the other laude paired with this cc. are unusual, and might also be construed as a BaMz3/9:11 (xyy abcabccdd), with a refrain unrelated to the strophe by rhyme.