CorsD3

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.

note: FallowsCat, 488-9; CattinR, 37; CattinCI, 423. Music ed. LenaertsN, 2-3 (musical supplement). Cc. listed in index of R2356, but folio with this music is missing from the ms.

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: Rest of cc. title in M690 reads, ‘pensa del tuo dormir’. Alternate cc. = ‘Chi vedesse el carmignuola’

note: FallowsCat, 251-4; CarboniE, 461-4; WilsonSC, 87; BrownM, 93; CattinCI, 422. See MSD47 & FallowsD for reaffirmation of ascription to Dufay. Music ed. ThibaultM, 52 (Cord); HanenE, no.67 (EscB); PopeM, 333 (MC); CMM1/vi, no. 92 (Porto), BrownF, ii, 240 (different music in BR229). Widely cited and arranged by Isaac, Agricola, Pullois, Busnois, Hanart, et al.; see FallowsCat. See FallowsOR for discussion of Bedyngham’s (?) unrelated musical setting from Tr90. The lauda text is attributed to Ser Firenze in Gall4, but it appears in Belcari’s own collection, M690, and so must be his.

note: Grey transmits a rather contrapuntal a3 setting of the ‘oration Hieremie prophete’ (ed. CattinG, no.38), which resembles an anon. lamention in Petrucci’s 1st book of Lamentations (Venice,1506); it is more likely that the cc. refers to an intonation formula used in Florence, than that Petrucci’s lamentation prints preserve some version of the music once sung in Florence for penitential and lenten lauda texts.