M690

note: GallicoRM, 80, 202; PirrottaMT, 99-101; D’AnconaPP, 485-6. ‘È levomi una bella matina’ survives as a four-part frottola setting in Ve; ed. LuisiAp, NosowB, and excerpt ed. in PirrottaMT, 100-01. This probably is not the Florentine cc. musical source. Cc. incipit may be related to Catalan song ‘M’y levay par ung matin’ (verse, with refrain ‘Dindiridin’; see this title as a cc.). See complex of loosely related melodies in JeppesenF, iii, 27-31, & discussion in BrownM, 261 & LuisiAp, lxxv-lxxix. For two later settings of ‘M’y levay par ung matin’ by Guyard & Janequin, see BrownTC, 157-63. Lacking attribution to Belcari in Gall3.

note: see ‘Cristo ver’ as cc. in later sources. On this cc. link, see CummingsP, 143-7 (both texts ed. 145, music of ‘Cristo ver’ on 146-7). The text and music of ‘Laudate’ are called for in Belcari’s sacra rappresentazione, the Festa di San Felice. Music w/Belcari’s text transmitted in Rz1563, and ed. Mancuso, 416-20.

note: RostirollaB, 749-50 (re. ‘Se tu donassi’). Sources agree on alternate cc. = ‘Se non ti guardi amore’ (music in BR62,& related version in Rz1563 with text ‘Se tu donassi il core’, with slightly varied C & T, and a different CT). See FallowsCat, 560. Rz1563 text & music ed. Mancuso, 739-42, and appears to differ from the music in Anim1570 (see incipit in RostirollaB, 750).

note: see CattinR, 34; CattinS, 269-70; RostirollaB, 705; RostirollaLC, 758. Alternate cc. = ‘La madre tornò dal santo’ (Gall2, R196), though this may refer to the same piece; the first 4 lines of the secular text are: ‘Giù per la villa lunga/la bella se ne va/la ma’ torno dal santo/trovo il figliuol mal.’ Lauda text copied by Savonarola into CB. 1577 Roman version ed. in RostirollaTL, 46 (+facs.). Similar setting, w/slight variants, transmitted in 1589/2.

note: see FallowsCat, 554; PrizerF, 12 (“viniziana”); FallowsLG, 255; HaarCM, 51. Music ed. HaarCM, 175 ; CMM42, no. 4 (Cord); LuisiLG, ii, 266 (Cord); ThibaultM, p. 17 (Cord), & lxxxvi (SevP). Alternate cc. = ‘Guerriera mia’. Text ed.Wiese, 79 (‘Perla mia cara, ay dolce amore’). The text of Cord adapts and alters Giustinian’s text, while P4379 is more faithful to it; ThibaultM, lxxxv-lxxxvi.

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: lauda re. St. Bernard, so probably differs from the ‘Cantiam con dolce canto e voce piena’ sung in the Rappresentazione di un miracolo di S. Maria Maddalena; BecheriniSR, 204-5.