Gall2

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: alternate cc. = ballo. Lauda re. St. Francis. Alternate cc. = Belcari’s ‘Chi serve a Dio’, w/music a3 in Panc27. Both texts entered in R2929, which was copied by 1448.

note: alternate cc. = ‘O vaghe montanine’ (w/music), rispetti, and ‘S’io t’ò fallito’. Some lauda incipits omit ‘sacro’. Lauda text entered in R2929, which was copied by 1448.

note: in LA424, ‘mandata a Cristofano ottonaio’; this is the lauda poet and singer Cristofano da Miniato, a brassworker who whose first recorded activity is as a singer for the Company of San Zanobi in 1456. He wrote two extant laude with cc. links: ‘Vergine alta Regina’ and ‘Vergine santa immaculata e pura’; see WilsonMM, 176; WilsonHM, 291.

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

note: See CattinR, no.127, where he links the cc. to a ballo, ‘Ligiadra’. Incipit in Gall2 = ‘Anima ingrata, da che vuoi seguire’.