CorsD3

note: FallowsCat, 184; CattinR, 36-7; CattinCI, 418. ‘Il estoit’ = 2nd text; primary text = ‘Mon trestout’ (FallowsCat, 288), w/setting by Petit Jan in Mel. Music ed. PerkinsM, ii, no. 28. Cf. also 4-part setting of ‘Egli è il tuo buon Jesù’ in Panc27, no. 67, by Fr. Dionisius Placentius, ed. JeppesenL, p.168. Later settings of ‘Il estoit’ in P1597, et al. may be related.

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: in M119 cc. incipit is ‘Sempre aro nel chor .’

note: see ‘Cristo ver’ as cc. in later sources. On ‘Cristo ver’, see CummingsP, 143-7 (texts of both ‘Cristo ver’, and its cc. ‘Laudate il sommo dio’ ed. 145, music on 146-7); RostirollaLC, 699-700, 758. Music w/Belcari’s text ed. Mancuso, 416-20. See also ‘Da poi’ as lauda in Gall4 (‘lasciai’) with cc. = ‘Laudate il sommo dio’. Text of cc. transmitted in Ch266 with attribution to Giovanni da Terra Nuova, but without cc.; full title of incipit there is ‘Dappoi ch’io ti lasciai Christo Jesù di quor non mallegrai’. The cc. text is found in earlier sources, like the (probably) pre-15thc. laudario BML, Ashburnham 423. 4-part, frottola-like setting in PetL/i ed. in LiuzziLG, ii, 328-9; this is musically unrelated to the 3-part setting in Rz1564 of ‘Laudate il sommo Dio’.

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: 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.