CorsD3

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: 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: lauda re. Sta. Margherita

note: see FallowsCat, 504 (where he suggests, based presumably upon the bipartite musical form in Per431, that the poetic fragment in Per431 is a ballata, but its rhyme scheme and form, as well as the form of the lauda model, suggest otherwise); CattinR, no.100. Music ed. Hernon, 347-51.

note: FallowsCat, 515. Music ed. CMM1, vi, no. 8 & ThibaultM (Cord); PerkinsM, ii, no.33 (Mel); SchavranP, ii, 133 (Pav362). Alternate cc. = ‘Madre che festi’, & ‘Se vo’ sape’ matre’ (‘Se vous scaviés ma tres douce maistresse’). Cc. also cited in quodlibet on ‘Mon seul plaisir’, and as incipit for Isaac’s ‘La morra’ in CG. On the hybrid form of ‘Dona gentile’, and its literary traces of Giustinian’s style, see FallowsLG, 255-7.

note: FallowsCat, 370; CattinCI, 419-20 (with a comparison of edited texts). Music ed. G. Reaney, CMM11/i, 26. Ch266: ‘canzona franzese’. In most sources the incipit is ‘Se vo’ sape (savé) matre’.

note: FallowsCat, 560. BR62 & Rz1563 versions closely related but not identical (w/text ‘Se tu donassi’ in Rz). Rz1563 text & music ed. Mancuso, 739-42.

note: FallowsCat, 560. BR62 & Rz1563 (w/text ‘Se tu donassi il core’) versions closely related but not identical. Rz1563 text & music ed. Mancuso, 739-42.

note: according to BecheriniSR, 226, Belcari’s lauda was sung by a chorus of Hebrews after their subjection by Holofernes in the Rappresentazione di Juditha Hebrea.

note: alternate cc. = ‘Madre che festi’