Pal120

note: FallowsCat, 501; PopeM, 657-8; CattinR, no.104 (where he suggests an origin of cc. as a carnival song for locksmiths). Music ed. PopeM, 503 (‘Chiave, chiave’--incipit only). Gall2 & CS1545 textual incipits = ‘Alle schiave, alle schiavone’.

note: FallowsCat, 397; WilsonSC, 88; CattinR, no.66; CattinCI, 423. Music ed. CMM1/vi, no.68 (Porto).

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...’

note: see CattinR,no.95. Alternate cc. = ‘Non son più innamorato’, ‘La pueril bellezza’ (all 3 in M690 & R196). Lauda differs from ‘O peccatore ingrato contempla’ (R2896) & ‘O peccatore ingrato or perché’ (Ch266)

note: see CattinR, no. 95. Alternate cc. = ‘Non son più innamorato’, ‘Più bel viso che’l sole’ (all 3 in M690 & R196). Lauda differs from ‘O peccatore ingrato contempla’ (R2896) & ‘O peccatore ingrato or perché’ (Ch266).

note: FallowsCat, 278-9; WilsonSC, 87; CattinCI, 425; CattinR, 34. Music ed. AtlasM, no. 5 ;CattinCI, 426-7 (both texts compared); CMM1/vi, no.71; EMS23, no.2. Original French text of cc. unclear; Cattin/ Fallows favor d’Alebret’s ‘Mon bien m’amour et ma maistresse’ in Dufay’s setting, but Fallows (FallowsCat, 278) suggests that the original text of Morton’s ‘Mon bien ma joyeux’ may be ‘Mon bien m’amour ma joye et mon desir’ (closer to Belcari’s lauda title), with a musical setting by Morton in Pix. The Florentine provenance of the source of Morton’s setting (Pix), and the greater formal compatibility between lauda and Morton’s text (R5:10 vs. Dufay’s R4:8) support this link.

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.

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.