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POLYPHONIC LAUDE AND HYMNS IN A FRANCISCAN CODEX FROM THE END OF THE FIFTEENTH CENTURY
Published online by Cambridge University Press: 08 August 2012
Abstract
St Isidore's College in Rome, belonging to the Irish Franciscan Province, preserves a manuscript from the end of the fifteenth century, MS I/88, which in addition to various Latin theological and liturgical texts contains many Italian laude and Latin hymns, nine of which have music. The two laude are Vergene madre pia and O Jesù dolce, o infinit'amore, for two voices; of the seven Latin hymns, three are for three voices, two for two, and one is monodic. All these pieces are also found in other sources except for the two-voice hymn Hic est Christus, which appears to be an unicum. This new source, in conjunction with those already known, not only permits us to understand the history of the manuscript tradition of these texts and their music, but also is very interesting in that it provides a new witness for the diffusion of the lauda in Franciscan circles and the particular ways in which it was transmitted – not in official liturgical books but within miscellaneous volumes of texts and prayers of various kinds, uses, and provenance. Finally, from a musical point of view the Franciscan manuscript confirms the use of so-called ‘simple polyphony’ throughout the fifteenth century side by side with more complex polyphony in the Franco-Flemish tradition.
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1 This archive includes 164 bound codices (marked ‘1/…’) from the fourteenth–sixteenth centuries and 105 folders (marked ‘2/…’) containing unbound pamphlets, loose sheets and entire works, from the first half of the sixteenth to the mid-nineteenth century, mostly concerning the history of the Order of Friars Minor. Unsure as to how to interpret the labels ‘1/…’ and ‘2/…’, we have opted for the bibliographic term ‘Class’ placed before the mark, as will be seen below. A modern binding was provided, for Class 1 only, around the middle of last century, consisting of cardboard covers lined with parchment, glued to the spine of the codices. The result of this modern intervention was disastrous, since whenever a book is opened, there is a risk that the binding will become detached. For the history of St Isidore's College, see P. Conlan, OFM, St. Isidore's College Rome (Rome, 1982); for the abbreviations used in the article and the Inventory, see Appendix II.
2 In fact, it is difficult to determine the exact number and consistency of some of the booklets owing to the glueing of the spine.
3 See the transcriptions of the music in Appendix IV below.
4 On fol. 102r at the end of a Devota lamentatio Virginis Marie, here attributed to St Bernard, can be seen the name ‘Rogerum’, which might indicate another copyist, or even the author of the text. The Imitazione di Cristo is one of the works most read in both male and female monastic circles, and is consequently one of those most printed in the West starting from 1472. The first Italian edition was brought out by the publisher Peter Loslein at Venice in 1483. Here it is attributed to the theologian Jean Charlier de Gerson, born in Gerson in 1363, who died at Lyons in 1429.
5 Some of the ligatures appear to be incorrect and incoherent from a mensural point of view. Moreover, no dotted notes are used, except for one pattern in O Jesù dolce. This piece appears to have been written by a different scribe, who is very careless in writing rests, often putting them in the middle of a space so it is not clear whether they are semibreve or minim rests.
6 The abbreviation ‘necia’ for ‘necessaria’ in the Latin excerpta of St Bonaventura on fol. 154v; see A. Cappelli, Lexicon abbreviaturarum: Dizionario di abbreviature latine ed italiane (6th edn, Milan, 1973), p. 234.
7 It is also found in Rsi 83, fol. 193r and in AqP, fols. 280v–281v.
8 Twelve of the Veneto laudari as compared to four of the Tuscan ones, a result obtained from an examination of the Jacopone manuscripts; see V. Bigazzi, ‘I Proverbia pseudoiacoponici’, Studi di Filologia Italiana, 21 (1963), pp. 74–80.
9 See O Maria diana stella, Vergene madre pia, Dè, va’, cor mio, Anima dolce.
10 The ‘Proverbi morali’ transmitted in Rsi 88 are mutilated or incomplete (at least fols. 28a–d are missing) since they include only the last two stophes of the vulgata, beginning ‘La nostra vita è misera’ and ‘Signore della gloria’ respectively.
11 See C. Giunta, ‘Chi era il Fi’ Aldobrandino’, Nuova Rivista di Letteratura Italiana, 2 (1999), pp. 34–6, 65. We wish to thank Professor Claudio Giunta for his kindness and collaboration.
12 See Bigazzi, ‘I Proverbia pseudoiacoponici’, p. 56. Note that the parts of the two codices that can be collated with other manuscripts, i.e. the last two strophes of the vulgata, also have a common lectio singularis as compared to the oldest version (Aq and BU 2650=C and B by Bigazzi) and as compared to other thirteenth-century sources (PM by Bigazzi): ‘el nostro re ane ad regere’ (Mad, v. 251), vs. ‘lu nostro rege è ’nnovele’ (Aq and BU 2650, v. 251) and ‘l'anima nostra è facta’ (PM, v. 259). Different is the case where Rsi 88 agrees with Aq, BU 2650 and Mad on the first hemistich as compared to PM, whereas it agrees with Mad and PM as compared to Aq and BU 2650 in the second hemistich: ‘Per la tua dolce gratia – in quel regno me mena’ (Rsi 88); ‘Per la toa dolce gratia – en quel regno me mena’ (Mad, v. 255); ‘Per la toa dolce gratia – ’n quillu locu me mena’ (Aq and BU 2650, v. 255) and ‘Per amor della toa madre – al to regno ne mena’ (PM, v. 263).
13 See Giunta, ‘Chi era il Fi’ Aldobrandino’, p. 41, no. 46. Since Rsi 88 is, as stated, the only other source of the twenty added strophes, the exceptional nature of this discovery would suggest a further, more thorough examination of this material.
14 See Dè, va’, cor mio; Leva la mente in alto and Quanto fu dura; Iesù, dolce Signore; O povertà gloriosa.
15 It should also be emphasised that the life and miracles of St Jerome are recounted in the epistle attributed to St Cyril and addressed to St Augustine, which is read a few pages after the ottave (fols. 243–5); both the epistle and the ottave have been copied by the same hand.
16 Perhaps by Luke Wadding OFM (1588–1657), when he was staying at St Isidore's College, founded by him in 1625, where there was also a bookbinder's shop. The illustrious historian, at the bidding of the Ministro Generale Benigno da Genova, ordered Franciscan convents all over the world to send the most varied material, including loose files, as well as entire codices, albeit miscellaneous, to set up the College library. Of this material, much has been dispersed, as is shown by the Numerus librorum qui desunt in Bibliotheca of the Inventario di tutte le cose che si trovano nel Collegio di S. Isidoro, drafted on 23 Oct. 1691; cf. G. Cleary, OFM, Father Luke Wadding & St. Isidore's College in Rome: Biographical and Historical Notes and Documents (Rome, 1925), p. 254. On Wadding, see also F. Casolini, Luke Wadding, l'annalista dei Francescani (Milano, 1936) and G. Melani, OFM, ‘Wadding, Luke’, Enciclopedia Cattolica (Vatican City, 1954), xii, p. 1639. That some Class I manuscripts are the result of assembling as best as possible the material deposited in capsae is also proven, for example, by the fact that an Ars memorativa by ‘Magister Petrus de Urbe Veteri’ is found in part at the end of Codex Rsi 79 and part at the beginning of Rsi 68. Other codices, on the other hand, such as Rsi 23, Rsi 29, Rsi 39, Rsi 47, Rsi 88 and Rsi 141, were already in bound volumes, since on the first page, or outer end-paper, former numerical pressmarks are found, preceded by the letter ‘N’ (i.e. ‘Number’), also probably in Wadding's hand.
17 They are also badly manufactured, come from different paper mills and lack any watermark, so that the paper must have been produced by local fullers.
18 The first salvaged parchment sheet, bearing the old pressmark ‘·N·139’, comprises the verso side of a fourteenth-century bifolio, placed crosswise and drastically trimmed on both pages. It retains only the two initial booklets: the first from fol. 1 to fol. 11, in turn bound by a parchment strip, and the second, devoted exclusively to pieces with musical notation, from fol. 12 to fol. 15. The outer end-paper, conjugated with the first, has, however, been almost completely trimmed and is only just visible between fol. 15v and fol. 16r, as though it had been eliminated when the remaining pamphlets were inserted.
19 The fact that the piece was added later on is also shown by the musical ruling (sixteen lines not distinguished as staves), drawn free-hand in a rather summary fashion, as is the musical notation, albeit fairly similar to that of the other texts, penned on the whole in a more elegant and regular manner, except for the breve, which is drawn with two downward-pointing tails (‘caudae’). A further difference is the fact that the Tenor part is placed immediately after the Cantus, in the same stave, separated only by a triple bar, rather than being, as in the previous cases, below it, i.e. in partitura. The text seems to have been transcribed by the same hand as the others, albeit with some peculiarities, such as the rendering of the consonantal group ‘ch’.
20 It should also be noted that the caption for Rsi 88 is very similar to that of the Mad codex: ‘Lauda d'un fra minore. Della passione in contemplatione’.
21 See F. Carboni, Incipitario della lirica italiana dei secoli xv–xx, vols. i–iii*: Biblioteca Apostolica Vaticana. Fondo Vaticano latino (Vatican City, 1982–8), vol. iii, p. 818, no. 15370 (Quanto fu dura Signore).
22 This lauda is transmitted as an independent text, and also with all the six strophes 31–6 in the Umbrian laudario Pal 170, fol. 95v.
23 The capitolo ternario is also found in two reprints: Tesauro spirituale, compiled by Fra Bernardino de’ Busti (Milan: Rigo Scinzenzeler, 1492) and Tesauro spirituale (Milan, Ulderico Scinzenzeler, 1494); see Laudario giustinianeo, ed. F. Luisi, 2 vols (Venice, 1983), i, pp. 211, 213.
24 As stated, we are dealing with strophes 31, 33, and 36 of Amor di caritate.
25 See Jacopone da Todi, Laude, ed. F. Mancini (Rome and Bari, 1974), pp. 280–9, no. 89 and pp. 102–6, no. 37 respectively.
26 For the former, see G. Cattin, ‘Il manoscritto Venet. Marc. Ital. IX 145’, Quadrivium, 4 (1960), pp. 1–57: 52, no. 84 and Ugo Panziera, Le Laudi, ed. V. Di Benedetto (Rome, 1962), pp. 128–45, no. 29; for the latter see A. Tenneroni, Inizii di antiche poesie italiane religiose e morali (Florence, 1909), p. 242.
27 See L. Frati, ‘Giunte agli “Inizii di antiche poesie italiane religiose e morali” di Annibale Tenneroni’, Archivum Romanicum, 2 (1918), p. 329.
28 See Laudario giustinianeo, ed. Luisi, i, p. 159. In fact, however, it is possible to read ‘per’ as ‘in onore di’ (in honour of), rather than ‘da’ (by).
29 See G. Ferraro, Poesie popolari e religiose del secolo XIV (Scelta di curiosità letterarie inedite o rare dal secolo xiv al xix, 152; Bologna 1877), p. 7; Tenneroni, Inizii di antiche poesie, p. 110.
30 In Ter, fols. 163v–164v, as in most of the codices, this last lauda is anonymous, albeit included in a ‘Jacoponian’ context. (On Ter see C. Mazzoli, ‘Due laudi iacoponiche dal manoscritto 231 della Biblioteca Comunale di Terni’, in Mazzoli, ‘I codici della Biblioteca Comunale di Terni: Materiali per lo studio del contesto culturale ternano tardomedievale’, Bollettino della Deputazione di Storia Patria per l'Umbria, 92 (1995), pp. 227–64; and F. Mastroianni, ‘Su alcuni testi inediti in quattro “Laudari” della Biblioteca Comunale di Terni’, in P. Pellegrini (ed.), Storia, archeologia e arte nell'Umbria meridionale: Studi in memoria di Cinzia Perissinotto (Perugia, 2009), pp. 155–77.)
31 See Tenneroni, Inizii di antiche poesie, p. 248 and Frati, ‘Giunte’, 3 (1919), p. 80.
32 See F. Carboni, ‘Laude cortonesi in un “libroçolo” faentino’, in Laude cortonesi dal secolo xiiial xv, ed. G. Varanini, L. Banfi and A. Ceruti Burgio, 4 vols (Florence, 1981–5), iv (1985), p. 123.
33 See, most recently, the edition by F. Mancini: Garzo, Opere firmate (Rome 1999), pp. 141–2 and the footnote on pp. 210–11.
34 See Laude cortonesi, ed. Varanini, Banfi and Ceruti Burgio, i*: Il codice 91 della Biblioteca Comunale di Cortona, ed. G. Varanini, Prima parte (Florence, 1981), p. 121.
35 BR 19, in which the final stanza – the tenth – becomes the seventh, gives the reading ‘Garço doctore di te donna canta’, whereas in Ricc 1294 and 2760 we read ‘Ogni dottore’ and in Sep ‘Gran doctore de te donna canta’.
36 See F. Brugnolo, Il canzoniere di Nicolò de’ Rossi, 2 vols (Padua, 1974–7), i , p. 176, no. 307, and Nicolò de’ Rossi, Canzoniere sivigliano, ed. M. Salem Elsheikh (Milan and Naples, 1973), p. 190, no. 293. The problem concerning ‘Garzo/Garzone’ has been widely debated, starting with Guido Mazzoni. In this connection, see, among others, E. Bettazzi, Notizia di un laudario del sec. XIII (Arezzo, 1890), pp. 21–2; F. Liuzzi, La lauda e i primordi della melodia italiana, 2 vols (Rome, 1935), i, pp. 127–38; N. Pirrotta, ‘Due sonetti musicali del secolo xiv’, in N. Pirrotta, Musica tra Medioevo e Rinascimento (Turin, 1984), p. 54 and n. 8 (earlier published in Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), ii, pp. 651–62); L. Banfi, ‘Garzo laudese’, Giornale Italiano di Filologia, ns 7 (1976), pp. 137–53; Salem Elsheikh, ‘Una nuova lauda di Garzo’, in Testi e interpretazioni (Milan and Naples, 1978), pp. 337–55; Varanini, Banfi and Ceruti Burgio (eds.), Laude cortonesi, i*: Il codice 91 della Biblioteca Comunale di Cortona, pp. 42–50.
37 The title ‘doctore’ attributed to ‘ser Garço’, thus a notary, could at this point appear pleonastic and, for this reason, due to an erroneous reading of the lectio difficilior ‘dectore’ (for ‘dictore’), i.e. the Augustinian ‘he who says’, or ‘he who deals with utriusque’ and thus, in a wider sense, who writes a poem (see the Dits and Decti/Detti in neo-Latin and Romance literature). This new interpretation can be coupled with the earlier assumption ‘doctor cantorum’ found in the Legenda antiqua and Speculum perfectionis in connection with fra Pacifico; cf. U. Cosmo, ‘Il re dei versi’, in Cosmo, Con Madonna povertà – studi francescani (Bari, 1940), pp. 59–81, at 66.
38 At fols. 241v–242v strophes 1–7 and at fols. 149r–150v strophes 11–30. Most of the versions transmitted, however, give the reading Troppo perde il tempo chi ben non t'ama. We also note that the version in Rsi 88 gives only seven strophes like Aret, whereas the more typical codices (Cort, Ars and Sen) transmit thirty. In Fn II VI 63, fol. 194r too, the incipit is identical (see Incipitario unificato della poesia italiana, ed. M. Santagata, 2 vols (Modena, 1988), p. 1752), although the text differs starting from the second verse. It is also transmitted by Marc 182, fol. 205r, but only with a similar incipit: Troppo ben perde il tempo / chi non ama iesu amore and a completely different caption: ‘Della nostra ingratitudine contra a ddio. Lalda 3’ (see G. Scardin, ‘Il codice laudario Marciano it. 182’, La Bibliofilia, 45 (1943), pp. 109–37, at 121).
39 See Giunta, ‘Chi era il Fi’ Aldobrandino’, p. 41, no. 45.
40 Rsi 88 gives the first seven strophes, as does Aret, whereas Triv (from Cortona) gives only the first ten strophes. The reading ‘dello tuo singniore’ is also found in Aq, Rome, Bibl. Corsiniana, MS 43. D. 9 (15th c.) and Florence, BNC, Conventi Soppr., MS C. 8. 957 (15th c.).
41 See M. Eynard, ‘Laude polifoniche in un codice quattrocentesco della Biblioteca Civica’, Bergomum, 87/3 (1992), pp. 67–91, at 84–7.
42 See Florence, BNC, Panciatichi 27. Text and Context, ed. G. Filocamo (Monumenta Musica Europea, 2/1; Turnhout, 2010), pp. 332–4, no. 48.
43 See L. Feininger, ‘Eine neue Quelle zur Polyphonie des 15. Jahrhunderts’, in E. Fässler (ed.), Festschrift Walter Senn zum 70. Geburtstag (Munich, 1975), pp. 53–63, at 56 and 60, no. 2.
44 A good analysis of Marc 145 and Aldini can be found in E. Diederichs, Die Anfänge der mehrstimmingen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts (Tutzing, 1986), pp. 170–4 and 358–61.
45 Scardin, ‘Il codice laudario Marciano it. 182’, p. 131, n. 7 had already rejected its attribution to Giustinian; G. Cattin too, ‘Contributi alla storia della lauda spirituale’, Quadrivium, 2 (1958), pp. 45–75, at 74 n. 11, is of the opinion that such an attribution is not ‘trustworthy’. He maintains, on the other hand, that ‘an internal examination makes one think rather of a fifteenth-century remake of earlier material’, observing that the first three lines of the stanza (‘Matre de Cristo, vergine beata, / Inmaculata stella matutina, / Tu si sopra l'angeli esaltata’) are exactly the same as the first three of Madre de Cristo vergene beata. Furthermore, the first and third lines of the second stanza substantially match the respective lines of the poem in terza rima Ave tempio di Dio sacrato e santo (also in the variant ‘sacrato tanto’), attributed even to Dante. For our part, we feel that, on structural and musical grounds, Madre di Cristo could even in some way be derived from Vergine madre et pia (see below).
46 Tenneroni, Inizii di antiche poesie, p. 260 states that ‘the first 3 strophes [are present] in MS. I, 5 of the Benedictine Library at Catania’: research in the old collection at the Biblioteca Ursino-Recupero notwithstanding, we have been unable to find this codex. Our greatest thanks to Professor Antonino Marcellino for his help.
47 See Scardin, ‘Il codice laudario Marciano it. 182’, p. 130.
48 A fine photographic reproduction of this lauda taken from Ud, can be found in Laudario giustinianeo, ed. Luisi, ii, Table III.
49 The text can also be read in G. Fabris, Il più antico laudario veneto, con la bibliografia delle laude (Vicenza, 1907), p. 20.
50 See above, n. 45.
51 In fact, in Rsi 88 the stem on the second note (a minim) has been crossed out.
52 We note, however, that the music section that closes both piedi, both consisting of ligatures with long values, is not linked to any particularly significant text.
53 An excellent photographic reproduction is provided in Laudario giustinianeo, ed. Luisi, ii, Table I (musical transcription: ii, p. 88, no. 58).
54 A good photographic reproduction is given ibid., Table XI (musical transcription: ii, p. 90, no. 60).
55 Transcription of the music ibid., ii, p. 93, no. 62.
56 A photographic reproduction is given ibid., ii, Table XV (musical transcription: ii, pp. 88–9, no. 59); see also Florence, BNC, Panciatichi 27, ed. Filocamo, no. 76, pp. 451–5, with a complete list of the literary and musical sources.
57 A good photographic reproduction is provided in Laudario giustinianeo, ed. Luisi, ii, Table XIII (musical transcription: ii, pp. 91–2, no. 61).
58 O Jesù dolce was set to music also by Palestrina in a set of eight madrigals in the Primo libro de madrigali a cinque voci (Venice: Angelo Gardano 1581); see A. Ziino, ‘Testi laudistici musicati da Palestrina’, in F. Luisi (ed.), Atti del Convegno di studi Palestriniani, Palestrina, 28 settembre – 2 ottobre 1975 (Palestrina, 1977), pp. 383–408.
59 In Western 84 the ripresa only is with music; the text of the first two stanzas follows. It is interesting to note that the ripresa ends with an ‘Amen’ (with music), as if a liturgical chant.
60 The text of Wash is integrated with the print Incomenciano le devotissime et sanctissime laude le quale compose el nobele et magnifico messere Leonardo Iustiniano (Venice: [Bartolomeo da Cremona and/or Bartolomeo di Carlo Vercellese], [ante 1 Dec.] 1474). See also Florence, BNC, Panciatichi 27, ed. Filocamo, pp. 452–4.
61 To obtain a metrically correct verse, the two ‘mio’ should be considered monosyllabic, ‘merito’ bisyllabic, dropping the intervocalic ‘i’ and, lastly, ‘o signor’ in synaloepha with the latter (‘per qual mio mer-to o si-gnor mio be-ni-gno’).
62 In Western 84 there are no word repetitions.
63 See A. Ziino, ‘Ripetizioni di sillabe e parole nella musica profana italiana del Trecento e del primo Quattrocento: Proposte di classificazione e prime riflessioni’, in Ursula Günther and Ludwig Finscher (eds.), Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts (Kassel, 1984), pp. 93–119.
64 On this genre, see M. Gozzi and F. Luisi (eds.), Il canto fratto: L'altro gregoriano, Atti del convegno internazionale di studi Parma–Arezzo, 3–6 dicembre 2003 (Rome, 2005), and Cantus fractus italiano: Un'antologia, ed. M. Gozzi (Hildesheim, 2012).
65 On this genre, see C. Corsi and P. Petrobelli (eds.), Le polifonie primitive in Friuli e in Europa (Rome, 1989); G. Cattin and F. A. Gallo (eds.), Un millenio di polifonia liturgica tra oralità e scrittura (Quaderni di Musica e storia, 3; Venice, 2002); and F. Facchin (ed.), Polifonie semplici, Atti del convegno internazionale di studi: Arezzo, 28–30 dicembre 2001 (Arezzo, 2003); A. Rusconi, ‘La polifonia semplice: Alcune osservazioni’, Musica e Storia, 11 (2003), pp. 7–50; and Canto liturgico monodico e polifonie semplici, ed. M. Gozzi and G. Milanese (Arezzo, 2004).
66 See Florence, BNC, Panciatichi 27, ed. Filocamo, pp. 332–4, with a complete list of sources.
67 See A. Ziino, ‘La tradizione musicale dello Stabat Mater fino a Palestrina’, in G. Rostirolla (ed.), Atti del II Convegno internazionale di studi palestriniani (Palestrina, 1991), pp. 29–61; and C. Ruini, ‘Un'antica versione dello Stabat Mater in un Graduale delle domenicane bolognesi’, in E. S. Mainoldi and St. Vitale (eds.), ‘Deo e lo scrivano ch'el canto à ensegnato’: Segni e simboli nella musica al tempo di Iacopone, Atti del Convegno Internazionale di Collazzone, 7-8 luglio 2006, in Philomusica on-line. Rivista di Musicologia del Dipartimento di Scienze musicologiche e paleografico-filologiche dell'Università degli Studi di Pavia, 9/3 (2010).
68 See AH 42, no. 73, p. 82.
69 On Gaude virgo see E. H. Cambon, ‘The Italian and Latin Lauda of the Fifteenth Century’ (Ph.D. diss., Tulane University, 1975), pp. 276–8; Diederichs, Die Anfänge der mehrstimmigen Lauda, pp. 110–18; R. Nosow, ‘Du Fay and the Cultures of Renaissance Florence’, in D. Pesce (ed.), Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance (New York and Oxford, 1997), pp. 104–21; A. E. Planchart, ‘The Polyphonic Proses of Guillaume Du Fay’, in M. J. Bloxam, G. Filocamo, and L. Holford-Strevens (eds.), Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn (Turnhout, 2011), pp. 87–99.
70 See Diederichs, Die Anfänge der mehrstimmigen Lauda, p. 317; Laudario Giustinianeo, ed. Luisi, ii, no. II.A. 3, p. 292.
71 Florence, BNC, Panciatichi 27, ed. Filocamo, no. 48, pp. 332–4; Diederichs, Die Anfänge der mehrstimmigen Lauda, p. 319.
72 Feininger, ‘Eine neue Quelle’, no. 2, p. 60.
73 Diederichs, Die Anfänge der mehrstimmigen Lauda, p. 316; M. Bent, Bologna Q 15: The Making and Remaking of a Musical Manuscript, 2 vols. (Lucca, 2008), i, no. 285, p. 231.
74 Laudario Giustinianeo, ed. Luisi, ii, no. 34, p. 48.
75 Diederichs, Die Anfänge der mehrstimmigen Lauda, p. 318.
76 Bent, Bologna Q 15, no. 193, p. 208.
77 Laudario Giustinianeo, ed. Luisi, ii, no. II. C. 8, p. 333.
78 Ibid. p. 332.
79 Ibid., ii, no. 35, pp. 49–50.
80 Ibid., no. 36, pp. 51–2.
81 This problem has been tackled by Dionisotti, De Robertis and Pasquini: see recently Simone de’ Prodenzani, Rime, ed. F. Carboni, 2 vols (Manziana [Rome], 2003), p. cxxi and nos. 134 and 135, also for the related bibliography.
82 Other sources are listed in Florence, BNC, Panciatichi 27, ed. Filocamo, no. 31, pp. 262–6, at 262.
83 Cf. Feininger, ‘Eine neue Quelle’, pp. 5 and 61, no. 5.
84 Cf. RISM B IV5, p. 217, no. 2
85 See the text and music of Panc in Florence, BNC, Panciatichi 27, ed. Filocamo, no. 31, pp. 262–6.
86 See the photographic reproduction in I più antichi monumenti sacri italiani, ed. F. A. Gallo and G. Vecchi (Bologna, 1968), Table xviii; see also RISM BIV5, p. 88, no. 1.
87 See the musical transcription in Florence, BNC, Panciatichi 27, ed. Filocamo, no. 31, p. 266.
88 Among the published versions, see Florence, BNC, Panciatichi 27, ed. Filocamo, no. 86 [=no. 142], pp. 484–6; no. 136, pp. 705–6; no. 144, pp. 726–9. A new source not included in this list is Western 84, fols. 65v–66, 68v–69 and 72v–73.
89 See the clear photographic reproduction in F. Leonardelli and C. Ruini, ‘1. Codici liturgico-musicali’, in D. Curti and F. Leonardelli (eds.), La biblioteca musicale K. J. Laurence Feininger (Trento, 1985), p. 113.
90 See the photographic reproduction in Laudario giustinianeo, ed. Luisi, ii, Table xvi.
91 See F. Zimei, ‘Music in Small Italian Villages: A New Source of Fifteenth-Century Polyphony from Rocca di Botte’, Studi Musicali, 26 (2007), pp. 27–9 and 45–6, with related photographic reproductions.
92 See G. Cattin, ‘Le composizioni musicali del MS Pavia Aldini 361’, in F. A. Gallo (ed.), L'Ars nova italiana del Trecento, 3 (Certaldo, 1968), pp. 1–21, at 8, 19.
93 See Liber Usualis, p. 452.
94 The version transmitted by Panc, different from Rsi 88, is published in Florence, BNC, Panciatichi 27, ed. Filocamo, no. 107, pp. 569–72.
95 The reader is advised that, due to the previously mentioned difficulty in checking the separate fascicles of the codex owing to the spine having been very solidly glued in the 1950s using some kind of vinyl product, our proposals may in some cases be inaccurate, as also – consequently – the pagination (which is as given by the manuscript).
96 On this source, which comes from S. Angelo in Vado, Marches, Central Italy and dates from the end of the fifteenth century, see Fabio Carboni, Fañch Thoraval and Agostino Ziino, ‘Le laude polifoniche del manoscritto New York, Columbia University, Rare Book and Manuscript Library, Western 84’, Studi Musicali (2012), in preparation.