Inc34

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 cc. may be identical with the strambotto ‘O partita crudele’ (music in Per431) used as a cc. in the same cc. sources, and with incipit (perhaps inadvertantly) altered to match the lauda title. A more likely version of the text is transmitted in RA2435, p. 91: ‘Questa crudel partita/porrà fine all mia vita’

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: See FallowsCat, 543-4. Music ed. Hernon, 460 (Per431, but textless in ms.); GhisiStr, 65 (excerpt). CattinR, 40 & GhisiStr, 64 note that ‘Partita crudele’ is the title of a ballo mentioned by the 15thc. dancing master Guglielmo Ebreo. Guglielmo corresponded with the Medici, and there is evidence his balli were known to Florentines; see Barbara Sparti, Guglielmo Ebreo of Pesaro: De pratica seu arte tripudii [On the Practice or Art of Dancing], Oxford, Clarendon Press 1993, p. 36 (on ‘Partita crudele’ as a bassadanza), pp. 41-2, 48-9. CattinNR, 231 suggests that a strambotto in the MC with the title ‘Quanto mi dolse sta crudel partita’ may be related to the cc.; ed. PopeM, no. 125. On possible interrrelationships between ‘O partita crudele’ (Per431), ‘Crudele’ (P676; see also ‘O crudel donna’ as a cc. ), and ‘Quanto mi dolse sta crudel partita’ (MC), see PopeM, 652, and GhisiStr, 64-6 (excerpts of all three pieces are transcribed and compared on 65-6). For a different Belcari lauda, O Jesù, sommo bene’, Gall2 gives the cc. title as ‘O partita crudele ed oimè.’

note: see FallowsCat, 195-8 (cc. version probably Fallow’s ‘B’, transmitted in Pix as well as many non-Florentine sources); WilsonSC, 19; BrownM, 234; JeppesenL, xvii-xix; CattinCI, 424; CattinPav, 4. Music ed. in ThibaultM, 34 (Cord); HanenE, no. 121 (EscB), LuisiLG, ii, 24-5, 166ff (versions in BR229, M178, Panc27). Possible reworked versions in M176, M178; see MeconiA, passim. See also the older modo proprio setting of ‘Canti gioiosi [zoisi]’ ed. in LuisiLG, ii, 23 (Pav361); CattinPav, 12 (Pav361); Diederichs, 429 (Pav361). Lauda text attrib. to Jacopone da Todi in some sources. Text of ‘Canti gioiosi’ ed. LuisiLG, i, 293-4, and transmitted in Ch266, 224v, which means it was copied around mid-century.

note: Gall3 = ‘Donna esto mio lamento, vinitiana’.

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, 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: Vittore Branca has shown that this cc., often attributed to Lorenzo de’ Medici, is a canzone a ballo that refers to a novella in the Decameron, and that it was already circulating in the late trecento; BrancaP, 403-8. The cc. text is also transmitted in RA2435, pp. 138-40.