Per431

note: Gall4 lauda title reads ‘drento’. 4part setting of ‘Maria dentro’ by I. Dammonis in PetL/i, ed. LuisiLG, ii, 338-40.

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: no cc. indication in the sources, but identity of form, opening lines and ryhme scheme indicate that the secular song ‘Fin che vivo et poi la morte tamera el tristo core’ was the model for Giambullari’s lauda, and the source of its cc. music. Settings of cc. survive a3 (P676, P1597) & a4 (ModF.9.9 & Per431). Music ed. Hernon, 380-3 (Per431); La Face/BianconiGS, 309-12, and text ed. 207-8 (ModF.9.9; ‘Fin che vivo...’). Cc. text ed. A. Saviotti, Rime inedite del secolo XV (Bologna, 1893), 30.

note: FallowsCat, 518-20; CattinNF, 206 (esp. n.50 for bib.); CattinR, no.108; RostirollaB, 740. 36 versions of ‘Fortuna’ are ed. in MeconiF. Settings a4 of lauda text transmitted in Grey & Panc27 (different music in Anim1563); ed. CattinG, no.35; CG version (w/Felice’s substitute bass) ed. AtlasCG, ii, 38. Panc27 reinforces the cc. link: the music (the original 3-voice song with an added si placet altus part) is underlaid with d’Albizo’s lauda text, but transmits the incipit ‘Fortuna disperata’ as well; ed. in MeconiF, no. 4. Lauda also transmitted in LA424 without cc., but indication that it was ‘sent to Ser Firenze, prete’. See also the Florentine quodlibet built on the ‘Fortuna’ melody in M164-7, ed. BecheriniT; MeconiF, no. 13; quodlibet strands ed. JeppesenF, iii, 56ff.

note: CattinR, no.141. Similar incipts in ModF.9.9 (‘Vedendo gli ochi mei la sepultura’, 98v-99r) and Per431 (‘Vederà l’occhi mei la sepultura’), and idential rhyme schemes and poetic form point to the versions in these sources as the correct cc. models for this lauda. The cc. sources agree on ‘Vedranno’. Music ed. Hernon, 406 (Per431, a4); La Face/BianconiGS, 361-2, & text ed. 218-19 (ModF.9.9); in her discussion of this strambotto on 114-17, she identifies the work as originating in Neapolitan circles, and cites variants among Neapolitan, Roman-Tuscan, and Paduan sources that demonstrate the works wide diffusion and its roots in oral tradition.

note: FallowsCat, 503; PopeMC, 575-6. Music ed. PopeM, [111], 168 (MC, a4; 4-part version also transmitted in Pix); a3 in Per431 (=MC/Pix minus the CT).

note: FallowsCat, 589; CattinR, no.86; CattinNF, 209-10, no.59; CattinCI, 433-4 (both texts ed., compared; the two texts are not entirely compatible); BridgmanM, 208-9. Music ed. in DTO15, 219 (Tr91); facs. in BrownF, i, pl. 17 (Pix).

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.