Pal120

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

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: lauda re. St. Nicholas of Bari. In Ch266, cc. text repeated on 77v w/rubric: ‘la seguente lada fecie antonio de migliorino ghuidotti intonolla di canto michelino di [lacuna] di forzieri ottimo cantatore: Or che e quel che dentro’. Variant incipit for lauda = ‘Avendo tutti il cor’. See also ‘La vampeggia’ as a cc. for 6 laude; this is probably the same title since the laude for both titles share the same form (BaMz) and closely-related rhyme schemes.

note: ‘Et ha modo proprio molto bello facto da Ser Firenze prete’ (Rs424, with similar rubrics in Gall2, R196). Music & text ed. Mancuso, 721-30. LA424: lauda ‘mandata a Fra Domenico Ricci in Santa Maria Novella’.

Note: music ed. LuisiLG, ii, 26-7 (‘Come dinanzi a Christo fuzirai’); text of cc. ed. i, 302, with incipit ‘Se per dileto tu cercando vay’. Cc. text also in Gall3. Lauda text entered in R2929, which was copied by 1448.

note: the cc. may be identical with the strambotto ‘O partita crudele’ (music in Per431) used as a cc. in the same cc. sources, and with incipit (perhaps inadvertantly) altered to match the lauda title. A more likely version of the text is transmitted in RA2435, p. 91: ‘Questa crudel partita/porrà fine all mia vita’

note: See FallowsCat, 543-4. Music ed. Hernon, 460 (Per431, but textless in ms.); GhisiStr, 65 (excerpt). CattinR, 40 & GhisiStr, 64 note that ‘Partita crudele’ is the title of a ballo mentioned by the 15thc. dancing master Guglielmo Ebreo. Guglielmo corresponded with the Medici, and there is evidence his balli were known to Florentines; see Barbara Sparti, Guglielmo Ebreo of Pesaro: De pratica seu arte tripudii [On the Practice or Art of Dancing], Oxford, Clarendon Press 1993, p. 36 (on ‘Partita crudele’ as a bassadanza), pp. 41-2, 48-9. CattinNR, 231 suggests that a strambotto in the MC with the title ‘Quanto mi dolse sta crudel partita’ may be related to the cc.; ed. PopeM, no. 125. On possible interrrelationships between ‘O partita crudele’ (Per431), ‘Crudele’ (P676; see also ‘O crudel donna’ as a cc. ), and ‘Quanto mi dolse sta crudel partita’ (MC), see PopeM, 652, and GhisiStr, 64-6 (excerpts of all three pieces are transcribed and compared on 65-6). For a different Belcari lauda, O Jesù, sommo bene’, Gall2 gives the cc. title as ‘O partita crudele ed oimè.’

note: P676 transmits a 3-part setting that is textless except for incipit ‘Crudele’; ed. LuisiLG, ii, 261-3, with the text ‘O crudel donna despietata che lassato me hay’, a Giustinian poem, ed. Wiese, 253, that is not formally compatible with the lauda. See also bibliog. under lauda ‘O Jesù dolce’ (for which ‘O crudel’ is also a cc.). Cc. text transmitted in RA2435, 129-31 (‘O crudel donna, poi che lassato m’ ai/per un altro amadore’) with the form BaG (XyyX AbAbBccX) that matches the lauda more closely. As it stands, the music in P676 looks instrumental, but the cantus firmus-like middle voice may transmit a version of the original vocal melody. The ‘Crudele’ in P676 is also ed. and discussed in Prizer, Instrumental Music/Instrumentally Performed Music ca. 1500: The Genres of Paris, Bibliothèque Nationale, Ms. Res. VM.7 676, in «Le Concert des voix et des instruments à la Renaissance», ed. J.M. Vaccaro, Paris, Éditions CNRS 1995, 195-8.

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’.