R1502

note: cc. title in R1502 is ‘Sposa diletta’, but must be the popular lauda ‘Questa sposa diletta’, which is formally compatible with Giustinian’s lauda. Both versions found throughout Ch266, where a much earlier musical setting than those above was intended.

note: alternate cc. = ‘O rosa mia gentile’

note: according to BecheriniSR, 201, a lauda with the incipit ‘Vergine santa immacolata e pia’ concludes the Rappresentazione dell’Annunciazione.

note: cc. indication crossed out in R1502, ‘Anima ingrata’ & ‘Leggiadra diva’ = alternate cc.

note: alternate cc. in R1502 = ‘Leggiadra diva’, ‘Leggiadra damigella’

note: Gall2 = ‘Donna sti mie’ lamenti’. Ed. with both texts, and music from Pav361 (which transmits the text of only ‘L’amor’) in LuisiLG, ii, 225; text of ‘L’amor’ ed. i, 291. See also link to lauda ‘Anima benedetta’ (w/extant musical settings). On the connection between these two texts of the Giustiniana trad., see GhisiUL, 61-4. Both laude serve as cc. for Belcari’s ‘Dolce madre Maria’. Lauda text entered in R2929, which was copied by 1448.

note: Vittore Branca has shown that this cc., often attributed to Lorenzo de’ Medici, is a canzone a ballo that refers to a novella in the Decameron, and that it was already circulating in the late trecento; BrancaP, 403-8. The cc. text is also transmitted in RA2435, pp. 138-40.

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: this link cited in D’AnconaPP, 476, but omitted from other secondary literature. Text of ‘Questa sposa’ ed. LuisiLG, i, 398-9, and is found in 14thc. laudarios like BML, Ashburnham 423, vol. 129r.