R196

note: Carboni-ZiinoLM, 279, where setting of lauda text in PetL/i is noted. Music ed. LuisiLG, ii, 325-7. Cc. text is probably that entered in R2929, no. 191 (‘O Signore dammi la morte’), which was copied by 1448.

note: FallowsCat, 100-101; WilsonSC, 86; CattinCI, 421. Music ed. CMM77, 22 (EscA); CMM88, no.4 & HanenE, no.7 (EscB). Alternate cc. in most sources = ‘Pover preson’

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: it is unclear in either poem if the tercets are intended to function as refrains and be repeated after the quatrains.

note: FallowsCat, 538-9; CattinR, 36; PopeM, 579-80. Music ed. GerberC, 43, 63 (EscB,Cord), Hanen, no.81 (EscB), CMM42, nos. 5,7 (Cord), ThibaultM, 18 (Cord), PopeM, 185 (MC). Text ed. PirrottaA, 149 (EscB). Cord = version A, EscB/MC = version B. For musically related piece, see Binchois’ ‘Mort en merchy’ (FallowsCat, 288; ed. KayeB, no.26 & RehmB, no. 32). Pirrotta describes the form of Cornago’s text as a ‘piccola canzone’; the sequence of 11 & 7 syllable lines in the first 7 lines of both cc. and lauda are identical.

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.

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: CattinCC, 194-5. Cc in M310 is ‘Sommo diletto e vero amore’, probably a garbled version of Belcari’s title

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: CattinR, 43, n.70 . There is a monodic setting of ‘Anima benedetta’ in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-7. Of the two laude in the Galletti prints with the incipit ‘O vergine Maria’, the ‘O vergine Maria/chiunche ti vuole amare’ in Gall4 matches the BaG:7 form of ‘Anima benedetta’.