Cas794

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

note: FallowsCat, 357; WilsonSC, 88; CattinCI, 422-3. Music ed. CMM1/vi, no.85 (R2356); PlamenacU, 83 (Pix; facs. of Pix & BerK). Alternate text of cc. = ‘Benedictus qui venit’. Song for accession of Leonello d’Este as Marquis of Ferrara, c. 1441? (FallowsD, 62-3). Alternate cc. = ‘Pour preson’.

note: CattinR,29; CattinNF,202. Settings of Belcari’s text ed. CattinG,no.26 & LuisiLG, ii, 226-7 (Grey, but w/cc text underlaid as well); JeppesenL, p.136 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletii’in suon’e canto, followed by six other texts (Belcari’s ‘Ave del verbo’ & ‘Salve Regina’, plus four Razzi laude: ‘Ave stella del mar’, ‘Magnifica il Signor’, ‘Svegliati hormai’, & ‘Riposatevi in pace’).

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.