Pal119

note: CattinR, no.90

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: ‘Latin lauda’, planctus Mariae; processional music for deposition during Holy Week. See PerkinsMAR, 452-6; MaceyB, 53; CattinR, 39, n.59.; CattinNF, 192-3; PopeM, 646-9; Diederichs, 230-7; CattinCI, 432-3. Musical variant in Razzi: ‘Cum autem venissent’, where he indicates that ‘le parole insieme col canto, sono antichissime’. Music of related versions based on same melody ed. PerkinsMAR, 453-6 (Razzi facs., Quadris, PetL/ii); CattinPav, 14 (Pav361); PopeM, no.120 (MC); JeppesenL, 8-9 (PetL/ii, ‘Quum autem’), Diederichs, 412-22 (Panc27, Grey, MC, PetL/ii), Mancuso, 620-4 (Rz1563). Quadris version (ca. mid-15thc.) publ. in Petrucci Lamentationum Jeremiae prophete liber primus (1506), ed. Cattin in Johannes de Quadris, Opere (Bologna, 1972), 71. In Grey, cc. is explicit by addition of lauda incipit ‘Peccator, pensa al tuo signore’, a link that is in turn confirmed by all the Florentine cc. sources; see CattinNF, 192-3. For complete list of musical sources, see PopeM, 646-7, & CattinNF, 192-3. In LA424, lauda sent to ‘Pierino vinitiano’.

note: FallowsCat, 357; WilsonSC, 88; CattinCI, 422-3. Music ed. CMM1/vi, no.85 (R2356); PlamenacU, 83 (Pix; facs. of Pix & BerK). Alternate text of cc. = ‘Benedictus qui venit’. Song for accession of Leonello d’Este as Marquis of Ferrara, c. 1441? (FallowsD, 62-3). Alternate cc. = ‘Pour preson’.

note: CattinR,29; CattinNF,202. Settings of Belcari’s text ed. CattinG,no.26 & LuisiLG, ii, 226-7 (Grey, but w/cc text underlaid as well); JeppesenL, p.136 (PetL/i). Different music in each source. Razzi transmits music with text ‘Lodate fanciulletii’in suon’e canto, followed by six other texts (Belcari’s ‘Ave del verbo’ & ‘Salve Regina’, plus four Razzi laude: ‘Ave stella del mar’, ‘Magnifica il Signor’, ‘Svegliati hormai’, & ‘Riposatevi in pace’).

note: FallowsCat, 332; PopeM, 644-6; WilsonSC, 88; CattinR, no.106. Music ed. CMM88, 30 & NanenE, no.31 (EscB), PopeM, 474 (MC), PerkinsM, ii, no.53 (Mel). Form and rhyme scheme of lauda closely modeled on the French rondeau; see CattinCI, 428-9, who suggests (along with PopeM, 646) that the lauda was conceived as a rondeau quatrain. Incipit of Fr. text in lauda sources frequently appears as ‘Plus que...’

note: FallowsCat, 278-9; WilsonSC, 87; CattinCI, 425; CattinR, 34. Music ed. AtlasM, no. 5 ;CattinCI, 426-7 (both texts compared); CMM1/vi, no.71; EMS23, no.2. Original French text of cc. unclear; Cattin/ Fallows favor d’Alebret’s ‘Mon bien m’amour et ma maistresse’ in Dufay’s setting, but Fallows (FallowsCat, 278) suggests that the original text of Morton’s ‘Mon bien ma joyeux’ may be ‘Mon bien m’amour ma joye et mon desir’ (closer to Belcari’s lauda title), with a musical setting by Morton in Pix. The Florentine provenance of the source of Morton’s setting (Pix), and the greater formal compatibility between lauda and Morton’s text (R5:10 vs. Dufay’s R4:8) support this link.