SevP

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.

note: OsthoffT, i, 35-7. Music probably = FallowsCat, version A (Col & Lab); sung at Urbino, 1474, with both the French and the lauda texts; preserved in wood intarsia in Urbino studiolo. Ed. OsthoffT, i, 34 (chanson text; partial transcription), 35 (lauda text).

note: CattinR, no. 109; CattinCI, 424.

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: lauda re. Sta. Margherita

note: = Bedyngham’s ‘Fortune elas’, possibly an originally English text. See FallowsCat, 521-2, where he also briefly discusses Giustinian’s doubtful authorship of the cc. text; CarboniE, 451-2; WilsonSC, 18; PirrottaMC, 153-5 (ed. of 1st stanza); PerkinsM, ii, no. 46 (ed. of text). Music ed. ThibaultM, p. 8 (Cord); HanenE, iii, no. 101 & LuisiLG, ii, 234 (EscB); PerkinsM, i, no. 46 (Mel); PopeM, 376 (MC). Listed in index of Q16. See PrizerG re. performance of ‘Fortuna’ on organ in 1460 for Rodrigo Borgia. In LA424, lauda sent to ‘Ser Firenze prete in Orto San Michele [Orsanmichele] cantore’.

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: see FallowsCat, 545-50; CarboniE, 447-8. Due to late 15th. date of cc. sources, this cc. (vs. Ch266 for ‘O sacra stella’) may refer to the more famous and widely diffused Bedyngham/Dunstable setting, w/music in several Florentine sources (BerK, Pix, RU1411; see FallowsCat, 545f., for a complete list of sources). However, the fact that this lauda is directly modeled upon an older one, ‘O sacra stella’, in Ch266, with an ‘O rosa bella’ cc. rubric that must refer to Ciconia’s music, suggests that his music continued to serve both laude throughout the 15thc. Bedyngham/Dunstable music ed. in LuisiLG, ii, 248-54 (EscB, Pav362, Per431, where both texts are underlaid; PopeM, 310 (MC); ThibaultM, 13 (Cord), HanenE, no.29a (EscB); facs. in LuisiLG, ii, plates xix-xxix (Pix, EscB, SevP, Cord, Porto, Per431). See also FallowsOR for his argument in favor of Bedyngham as composer of the later musical setting. For bibliographic information on Ciconia’s setting, see the lauda ‘O sacra stella’ (cc. ‘O rosa bella’). The cc. title appears in Simone Prodenzani’s Il Saporecto (ca. 1415), sonnet 35; see CilibertiP, 23-34, and NàdasCR.

note: hunting song set in Rome, ca. 1485. See FallowsCat, 528; OsthoffT, i, 52-69, passim; PirrottaMT, 58-64; GallicoRM, 91; D’AnconaPP, 482. Music ed. OsthoffT, ii, 45-54 [2 stanzas] (SevP, Panc27, BR337); PirrottaMT, 60 (P676); EDM34, 366 (Leip1494); JeppesenF, iii, 75 (melodic incipits). Text of cc. ed. CarducciCR, 86-90, and PirrottoMT, 59. In the Rappresentazione di Santa Margherita (c.1500) hunters sing ‘Iamo alla caccia’ (OsthoffT, i, 39-43); in the Rappresentazione di Santa Uliva hunters sing ‘Su alla caccia’ (PirrottaMT, 59; OsthoffT, i, 42; BecheriniSR, 215). Transmitted in P676 w/incipit ‘A la cazza, a la cazza’ (a4), & with 2nda part incipit ‘Te qui balzan ‘; see GallicoRM, 49. Music differs from the a4 ‘Alla caccia, su su su a cacciare’ in Pix, and the a4 ‘Alla cazza, te te te, sona sona...’ in Q16.