Dulcedo  /  La Morra

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Oasis Music Factory  KCD-2072


1. Dança amorosa  [2:22]  Anonymous

2. En attendant esperance  [3:58]  Jacob de Senleches (1378–1395)

3. Aspre refus  [3:59]  Anonymous

4. Che ti zova nascondere  [1:57]  Anonymous

5. I' priego amor  [2:49]  Francesco Landini (1325–1397)

6. Andray soulet  [2:19]  Matteo da Perugia (1400–1416)

7. Chançonetta tedescha  [2:49]  Anonymous
Arr. M. Gondko for Chamber Ensemble

8. Stella pia  [3:57]  Henricus Hessman de Argentorato

9. O quam pulchra puella–Min herze  [3:06]  Johannes Alanus

10. Pax eterna — Iacob scalam — Terribilis  [3:10]  Petrus Wilhelmi de Grudencz (1392–1480)
Arr. for Chamber Ensemble

11. Quene note  [1:48]  Anonymous

12. Myn hertis lust  [2:12]  Johannes Bedyngham
Arr. for Chamber Ensemble

13. Auxce bonyour delabonestren  [1:38]  Anonymous

14. Qui veut mesdire  [3:41]  Gilles Binchois (1400–1460)

15. Il sera pour vous conbatu — L’omme armé  [1:43]  Robert Morton (1430–1479)
Arr. for Chamber Ensemble

16. Ma dame trop vous m’esprennes  [2:55]  Anonymous

17. Gross senen  [5:44]  Anonymous

18. Lioncello vecchio  [3:08]  Domenico da Piacenza (1420–1475)

19. Petit vriens  [1:55]  Guglielmo Ebreo da Pesaro (1420–1484)

20. Cecus non iudicat de coloribus  [5:35]  Alexander Agricola (1446–1506)

La Morra
Corina Marti — clavicimbalum
Michał Gondko — plectrum lute
Marie Nishiyama — medieval harp

Medieval Europeans often used various forms of the word ‘sweetness’ (Lat. dulcedo) to describe the beauty of a musical sound. ‘Sweet’ could apply to the sound of the human voice, but also to that of a musical instrument. When the ancestor of the ‘pianoforte’ was invented in the fifteenth century – some 250 years before Cristofori! –, it was baptized ‘sweet melody’ (Lat. dulce melos). Indeed, if there was a sound that medieval people were particularly fond of, it was that of plucked stringed instruments.
This recording explores the combined sound of the harp, the lute and the harpsichord, three of the most popular plucked stringed instruments in late medieval Europe. Corina Marti, Michal Gondko and Marie Nishiyama cast their net wide in the pool of the surviving fourteenth- and fifteenth-century European music, both monophonic and polyphonic.

This recording was made with the Japanese market in mind and is primarily available there.