R196

note: variant ‘peregrina’ in Gall1. See FallowsCat, 544; CarboniE, 457-8; CattinNR, 230. Ed. ThibaultM (Cord, versions A & B), PopeM & LuisiLG (MC, version A in ballade form; see discussion in PopeM, 566), LuisiLG, ii, 245-6 (Pav362, version B, parody of ‘O rosa bella’), LuisiLG, ii, 247-8 (M176, canonic version C). Though ‘O pellegrina’ is not ascribed to Giustinian anywhere, and is probably not by him, it is transmitted in Venetian mss. and belongs to the broader tradition of giustiniane. It is the only strambotto in the cantasi comes sources traceable to a Venetian orbit.

note: see CattinR, no.117. The text of the lauda as transmitted in Gall2 appears to be corrupt. Gall2 here gives the cc. title as ‘O partita crudele ed oimè.’

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: See CattinR, no. 80. Ed. w/both texts in LuisiLG, ii, 228 (Panc27).

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: see FallowsCat, 533; GallicoRM, 103. Melodic fragment of cc. transmitted in a 4-voice quodlibet on ‘Fortuna desperata’ in M164-7; ed. PopeM, 571; BeccheriniT, 89; JeppesenF, iii, 59. Melody probably not related to ‘Vaughe le gallee’, or ’Voca la galiera’ (PopeM, 571-2, with notes re. pieces with similar text incipits in Pix & CG; see ‘Canti di ghalea’). Lauda re. San Lorenzo. Alternate cc. in M690 & R2896 for ‘Tu che puoi’ = ‘Con desiderio vo cercando’. LuisiLG, ii, 157-8 unconvincingly sets text of ‘Con desiderio’ to music of ‘Voca la galiera’ (MC).

note: cc. incipit = ‘Ian presamore’. Usual cc. for this lauda is ‘Gentil madonna’.

note: CattinCI, 419. Alternative cc. = ‘Mon seul plaisir’ & modo proprio. See ‘Madre’ as cc. for more extensive bibliography on this song; text entered in R2929, which was copied by 1448.

note: CattinR, no. 109; CattinCI, 424.