Pal117

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: ‘Et ha modo proprio molto bello facto da Ser Firenze prete’ (Rs424, with similar rubrics in Gall2, R196). Music & text ed. Mancuso, 721-30. LA424: lauda ‘mandata a Fra Domenico Ricci in Santa Maria Novella’.

note: CattinR, 43, n.70 . There is a monodic setting of ‘Anima benedetta’ in Ven145, a different 2-part version in Pal472 (ed. Diederichs, 408), & 4-part setting in Anim1563. All 3 are ed. in LuisiLG, ii, 6-7. Of the two laude in the Galletti prints with the incipit ‘O vergine Maria’, the ‘O vergine Maria/chiunche ti vuole amare’ in Gall4 matches the BaG:7 form of ‘Anima benedetta’.

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: 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 CattinR, no. 80. Ed. w/both texts in LuisiLG, ii, 228 (Panc27).

note: see FallowsCat, 533; GallicoRM, 103. Melodic fragment of cc. transmitted in a 4-voice quodlibet on ‘Fortuna desperata’ in M164-7; ed. PopeM, 571; BeccheriniT, 89; JeppesenF, iii, 59. Melody probably not related to ‘Vaughe le gallee’, or ’Voca la galiera’ (PopeM, 571-2, with notes re. pieces with similar text incipits in Pix & CG; see ‘Canti di ghalea’). Lauda re. San Lorenzo. Alternate cc. in M690 & R2896 for ‘Tu che puoi’ = ‘Con desiderio vo cercando’. LuisiLG, ii, 157-8 unconvincingly sets text of ‘Con desiderio’ to music of ‘Voca la galiera’ (MC).

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