Wolf

note: FallowsCat, 129-30; CattinCI, 424-5. Gall4 incipit = ‘Di tuo ben pleni’. Music ed. ThibaultM, 38 (Cord); PopeM, 320 (MC); PerkinsM, ii, no. 32 (Mel); HewittO, 263 (Odh, w/added CtA); JeppesenK, 7 (Cop); and others (see FallowsCat). For lists of later pieces based on Hayne’s song, see CMM74, xxxix-xli; ThibaultM, xcix, & MeconiA, 27. For a recent edition of 28 settings of ‘De tous biens’, see CyrusD.

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: 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: 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: 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.