Cantasi come - Wolf

De tous biens plaine R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:38 +0000

Language:

Composer:

Hayne van Ghizeghem

Lauda:

Di tutto ben se’ fonte eterno Iddio
5:7/11 (ABAbX)

Notes:

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.

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Tout a par moy affin qu’on ne me voye R5:10 (aabba)

admin — Wed, 28 Jan 2015 20:56:26 +0000

Language:

Composer:

W. Frye/
Binchois

Lauda:

Tutto per noi se dette il sommo Dio CapQ (AbbA acac CddC cece)

Lauda Poet:

Francesco d’Albizo

Notes:

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).

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J’ay pris amours a ma devise-e R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Vergine bella non mi abbando- nare-b Qr:11 (abba cddc effe)

Lauda Poet:

Feo Belcari

Notes:

note: cc. incipit = ‘Ian presamore’. Usual cc. for this lauda is ‘Gentil madonna’.

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Cantasi Come Sources:

J’ay pris amours a ma devise-d R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Madre che festi colui che ti fece-a
Qr:11 (abba cddc...)

Lauda Poet:

Leonardo Giustinian

Notes:

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.

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J’ay pris amours a ma devise-c R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Laude e grazie in gentil core

Lauda Poet:

Giovanni Santi?

Notes:

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).

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[Pal286]

J’ay pris amours a ma devise-b R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Con gran fervor Jesù ti vo cercando 5:11/7 (AbbAC)

Lauda Poet:

Francesco d’Albizo

Notes:

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

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J’ay pris amours a ma devise-a R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:22 +0000

Language:

Lauda:

Canti gioiosi e dolce melodia-a
BaMn2/4:11 (xx aaax bbbx...)

Notes:

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.

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O rosa bella o dolce anima mia-a BaMn:11 (xx ababbx)

admin — Wed, 28 Jan 2015 20:56:16 +0000

Poet:

Leonardo Giustinian

Language:

Composer:

Ciconia or Bedyngham/Dunstable

Lauda:

O diva stella o vergine Maria
BaMn:11 (xx ababbx)

Notes:

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.

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Mon seul plaisir ma doulce joye-d R4:8 (abba)

admin — Wed, 28 Jan 2015 20:56:10 +0000

Poet:

Charles d’Orléans

Language:

Composer:

Bedyngham

Lauda:

Ogni piacere io amando te-b
Qr:11 (abba acca adda)

Lauda Poet:

Francesco d’Albizo

Notes:

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.

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