Tr90

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: 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.