M119

note: cc = ‘passione come lamento’

note: FallowsCat, 134-5; CattinR, 37; BrownM, 261. Music ed. PopeM, no.127 (MC); commentary 653-6, and monophonic melody from P12744 ed. 538-9. For editions of CMP version, see FallowsCat, 134. Dindiridin = refrain; verse incipit = ‘Me levay un domatin’ (CMP: ‘Ju me levè un bel maitin’); Paris12744 refrain = ‘ladinderlindine’ and verse incipit = ‘M’y levay par ung matin’. Latter appears as incipit in altus and tenor parts of quodlibet ‘Fortuna disperata’ in M164-7 (ed. BeccheriniT, 89-91), and may be related to ‘ [E] Levami un bel mattino’ (GallicoRM, 71, 191), or ‘E levomi d’una bella matina’ (Ve); see ‘E levomi’ as cc. for Belcari’s ‘Andiamo a Jesù Christo’. M119 lauda incipit = ‘Laldato sia di Dio’; cc. incipit in Gall2 = La Dingherlindina’. Cc. referred to as ‘canzona’ in margin of Pal117. Later songs w/similar incipit are textually & musically unrelated (cf. list in BrownM, 261). See complex of melodies ed. JeppesenF, iii, 27-31; LuisiAp, lxxv-lxxix.

note: both texts entered in R2929, which was copied by 1448.

note: alternate cc = ‘L’erba buona è sempre buona’. ‘Ferrivecchi’ also cc. for ‘Chi vuol pace’, with music in PetL/i (ed. JeppesenL, 145), possibly the original music for this carnival song (‘Canzona de’ Ferrivecchi’). See also ‘L’orazione’ as a lauda with a cc. = ‘Se ben hor non scopro el foco’, a popular frottola by Tromboncino that is transmitted in Grey with Belcari’s lauda text.

note: FallowsCat, 589; CattinR, no.86; CattinNF, 209-10, no.59; CattinCI, 433-4 (both texts ed., compared; the two texts are not entirely compatible); BridgmanM, 208-9. Music ed. in DTO15, 219 (Tr91); facs. in BrownF, i, pl. 17 (Pix).

note: Rs424 = ‘Anzola tu mi fai’. Text of cc. ed. in D’AnconaPP, 93-4. Alternate version in some sources is ‘Angela che mi fai’. RA2435, pp. 112-13, transmits a version of what is probably the original secular text to which the cc. incipit refers: ‘Angiola tu mi fai/cantando, a te, venire/et bellezze ch’ai/non te le posso dire’.

note: FallowsCat, 503-4 (‘Aymè’); CarboniE, 456; PrizerF, 12 (‘viniziano’); RubsamenJ, passim; HaarPJ, passim. Music ed. HanenE, no.75 (EscB); E. Southern, CMM88, no.56 (EscB); LuisiLG, ii, 270 (EscB; w/lauda text). Florid version in PetF/vi, ed. LuisiLG, ii, 268-9. Both versions ed. in FerandDI, no.9; RubsamenJ, 180; & HaarPJ, 28-33.

note: see FallowsCat, 545-50; CarboniE, 447-8. Due to late 15th. date of cc. sources, this cc. (vs. Ch266 for ‘O sacra stella’) may refer to the more famous and widely diffused Bedyngham/Dunstable setting, w/music in several Florentine sources (BerK, Pix, RU1411; see FallowsCat, 545f., for a complete list of sources). However, the fact that this lauda is directly modeled upon an older one, ‘O sacra stella’, in Ch266, with an ‘O rosa bella’ cc. rubric that must refer to Ciconia’s music, suggests that his music continued to serve both laude throughout the 15thc. Bedyngham/Dunstable music ed. in LuisiLG, ii, 248-54 (EscB, Pav362, Per431, where both texts are underlaid; PopeM, 310 (MC); ThibaultM, 13 (Cord), HanenE, no.29a (EscB); facs. in LuisiLG, ii, plates xix-xxix (Pix, EscB, SevP, Cord, Porto, Per431). See also FallowsOR for his argument in favor of Bedyngham as composer of the later musical setting. For bibliographic information on Ciconia’s setting, see the lauda ‘O sacra stella’ (cc. ‘O rosa bella’). The cc. title appears in Simone Prodenzani’s Il Saporecto (ca. 1415), sonnet 35; see CilibertiP, 23-34, and NàdasCR.

note: Music à4 for ‘Cantar vorrei’ in Q21. Music of EscB (‘Ora gridar’) ed. LuisiLG,ii,276 w/lauda text.