Ch266

note: re. a later lauda (c.1595) by Razzi with this same incipit, but a different form, see MaceyS, 102, 230.

note: GhisiCC, 99 includes this in his list of carnival songs servings as models for laude. 2nd line of cc. title reads, ‘del buon pescie sanza scoglio’

note: remainder of cc. incipit in Ch266 is ‘del buon pescie senza scoglio’. GhisiCC, 99 includes this in his list of carnival songs servings as models for laude.

note: see CattinSq, 250; WilsonSC, 7; Diederichs, 71, 291-3, where music & both texts are edited. The lauda text is found in 14thc. laudarios, like BML, Ashburnham 423, vol. 132r (where there is an attribution to Maestro Agnolo di Santo Spirito), and in R2929, which was copied by 1448.

note: LuisiLG, i, 232 erroneously indicates ‘Creature la plus belle’ and ‘Cosa crudel’ as cc. for ‘A te ritorna’. Ch266 calls cc. a ballata.

note: ‘Partiti messere e va lo tuo camino’ in R2224, where it is the cc. for ‘O Jesù Cristo padre e salvatore’ (Str:11).

note: incipit similar to the lauda ‘Crocifisso che nel ciel dimori’ (BaMn:11). Text of cc. transmitted in Ch266 without cc. (fols. 221v-222r).

note: FallowsCat, 545-50. Music ed. PMFC24, no.34 (PC); DTO15, 227 & ClercxC, ii, no.15. FallowsLG, 251-4 argues persuasively for Giustinian’s authorship of ‘O rosa bella’, which must have been set by Ciconia prior to the latter’s death in 1412. Though the Ch266 cc. incipit could refer to the Bedyngham [?] setting, the inclusion in Ch266 of his ‘Con lagrime bagnandome’ and ‘Dolce fortuna’ as cc. titles, suggests that Ciconia’s ‘O rosa’ is the intended model. The cc. title appears in Simone Prodenzani’s Il Saporecto (ca. 1415), sonnet 35; see CilibertiP, 23-34, and NàdasCR.

note: cc. is probably a corruption of Giustinian’s widespread ‘Leggiadra damigella’ (see this cc. title for notes), and Ch266 elsewhere transmits the lauda title ‘Assunta in [cielo?] madre di Dio’, with ‘Leggiadra damigella’ as a cc., an indication that ‘O vaga damigella’ & ‘Leggiadra damigella’ probably refer to the same poem, as do both versions of the ‘Assunta’ incipit.