BerK

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: Music à4 for ‘Cantar vorrei’ in Q21. Music of EscB (‘Ora gridar’) ed. LuisiLG,ii,276 w/lauda text.

;

note: see FallowsCat, 522-3 (under variant spelling ‘Hora’); SchavranP, 262-8; CarboniE, 446-7; CattinR, no.94; CattinNR, 226-7. Music ed. ThibaultM (Cord); CMM88, no.58/HanenE, no. 78/ LuisiLG, ii, 276 (EscB); PerkinsM, ii, no.52 (Mel, w/facs., also to be found in JeppesenF, ii, pl.62); SchavranP, ii, p. 29 (Pav362; facs. in LuisiLG, ii, pl.10), ReidemeisterC, no.139 (BerK).

note: FallowsCat, 591. Facs. of Pix version in BrownF, i, plate 16. Inscribed the initial ‘O’ in Ch266, fol. 292v is ‘f.b. mi fecie’, most likely an ascription of the lauda text to Feo Belcari.

note: CattinR, 32; CattinCI, 419. LA424: ‘cantasi come mosir placer, mandata alle monache delle murate’. The Murate was a wealthy Benedictine convent, criticized by Savonarola for their cultivation of figural music; see MaceyB, 95-6. The association of this lauda and its secular polyphonic cc. link appears to confirm Savonarola’s appraisal.

note: see also ReidemeisterC, 95. CattinR, 32; CattinCI, 419.

note: CattinCI, 419. Alternate cc. = ‘J’ay pris amours’, modo proprio.

note: see FallowsCat, 285-6; CattinCI, 419. Music ed. in ThibaultM, 65 (Cord); HanenE, no. 23 (EscB); LuisiLG, ii, 165 & SchavranP, ii, 25 (Pav362); EMS28, no. 1 (Pix; w/possibly earlier Eng. text, ‘Mi verry joy’, on which see FallowsW); CMM1/vi, no. 90 (Porto), GutiérrezW, 59 (Wolf). For citations of melody, see FallowsCat, 285.