Cord

note: FallowsCat, 129-30; CattinCI, 424-5. Gall4 incipit = ‘Di tuo ben pleni’. Music ed. ThibaultM, 38 (Cord); PopeM, 320 (MC); PerkinsM, ii, no. 32 (Mel); HewittO, 263 (Odh, w/added CtA); JeppesenK, 7 (Cop); and others (see FallowsCat). For lists of later pieces based on Hayne’s song, see CMM74, xxxix-xli; ThibaultM, xcix, & MeconiA, 27. For a recent edition of 28 settings of ‘De tous biens’, see CyrusD.

note: FallowsCat, 386-7; CattinCI, 427. Music ed. ThibaultM, 60 (Cord); CMM19, no. 1 (Lab); PerkinsM, ii, no. 35 (Mel); GutiérrezW, 8 (Wolf); RehmB, no. 58 (SevP). T used in s works by Agricola (2), Tinctoris, & Josquin (see FallowsCat,387). LA424 indicates lauda sent to ‘Sano lanternaio’, probably the Sano di Giovanni lanternaio who was an active, free-lance laudesi & tenorista ca. 1468-1518 at the Companies of San Zanobi, San Piero Martire, & Orsanmichele (where he was pensioned in 1518; see WilsonMM,145-6). Cc. rubric in LA424 = ‘Tota per moi’ (‘Tot pur moi’ in Gall).

note: D’AnconaPP, 493 indicates that this lauda is transmitted in the lauda editions of 1510 and 1512 (ie., Gall4 and its Venetian reprint) with this cc. indication, but I have not been able to locate the piece in extant copies of these prints.

note: D’Ancona (1906),435 refers to the version of Dufay’s rondeau transmitted in Pix, where five lines of an Italian poem with a different rhyme scheme and line lengths have been fitted to the five musical phrases of Dufay’s music. The Italian text is ed. in MSD47, no. 92, and appears to be a secular poem, however, and so is anomalous within the cantasi come tradition.

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: it is unclear in either poem if the tercets are intended to function as refrains and be repeated after the quatrains.

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: variant ‘peregrina’ in Gall1. See FallowsCat, 544; CarboniE, 457-8; CattinNR, 230. Ed. ThibaultM (Cord, versions A & B), PopeM & LuisiLG (MC, version A in ballade form; see discussion in PopeM, 566), LuisiLG, ii, 245-6 (Pav362, version B, parody of ‘O rosa bella’), LuisiLG, ii, 247-8 (M176, canonic version C). Though ‘O pellegrina’ is not ascribed to Giustinian anywhere, and is probably not by him, it is transmitted in Venetian mss. and belongs to the broader tradition of giustiniane. It is the only strambotto in the cantasi comes sources traceable to a Venetian orbit.

note: cc. incipit = ‘Ian presamore’. Usual cc. for this lauda is ‘Gentil madonna’.

note: CattinCI, 419. Alternative cc. = ‘Mon seul plaisir’ & modo proprio. See ‘Madre’ as cc. for more extensive bibliography on this song; text entered in R2929, which was copied by 1448.