BerK

note: FallowsCat, 62-4, under original Eng. title, ‘So ys emprentid in my remembrance’; CarboniE, 454. Music ed. HanenE, no.27 (EscB); PopeM, 146 (MC); CMM19, no.3 and PerkinsM, ii, no.45 (Mel). Eng. title cited by Aaron and Ramos de Pareja, and T used in 1 motet & 2 mass cycles. The poetic form of the lauda appears to be quatrains with an interpolated partial refrain line (‘O Maria, o Maria’).

note: FallowsCat,168. Music ed. ReidemeisterC, no.25 (BerK); cc. text ed. p. 99. 14thc. laudarios transmit an older lauda with the same incipit (‘Jesù Cristo amoroso/ralluminam il core’), but a different poetic form (BaG:8/7 [Xyyx Ababbccx).

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: FallowsCat, 397; WilsonSC, 88; CattinR, no.66; CattinCI, 423. Music ed. CMM1/vi, no.68 (Porto).

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: D’AnconaPP, 493 indicates that this lauda is transmitted in the lauda editions of 1510 and 1512 (ie., Gall4 and its Venetian reprint) with this cc. indication, but I have not been able to locate the piece in extant copies of these prints.

note: D’Ancona (1906),435 refers to the version of Dufay’s rondeau transmitted in Pix, where five lines of an Italian poem with a different rhyme scheme and line lengths have been fitted to the five musical phrases of Dufay’s music. The Italian text is ed. in MSD47, no. 92, and appears to be a secular poem, however, and so is anomalous within the cantasi come tradition.

note: FallowsCat, 251-4; CarboniE, 461-4; WilsonSC, 87; BrownM, 93; CattinCI, 422. See MSD47 & FallowsD for reaffirmation of ascription to Dufay. Music ed. ThibaultM, 52 (Cord); HanenE, no.67 (EscB); PopeM, 333 (MC); CMM1/vi, no. 92 (Porto), BrownF, ii, 240 (different music in BR229). Widely cited and arranged by Isaac, Agricola, Pullois, Busnois, Hanart, et al.; see FallowsCat. See FallowsOR for discussion of Bedyngham’s (?) unrelated musical setting from Tr90. The lauda text is attributed to Ser Firenze in Gall4, but it appears in Belcari’s own collection, M690, and so must be his.

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’.