Dulcedo La Morra
- 1Dança amorosa02:22
- Jacob De Senleches (1378 - 1395):
- 2En attendant esperance03:58
- 3Aspre refus03:59
- 4Che ti zova nascondere01:57
- Francesco Landini (1325 - 1397):
- 5I' priego amor02:49
- Matteo da Perugia (1400 - 1416):
- 6Andray soulet02:19
- 7Chançonetta tedescha (Arr. M. Gondko for Chamber Ensemble)02:49
- Henricus Hessman de Argentorato:
- 8Stella pia03:57
- Johannes Alanus:
- 9O quam pulchra puella - Min herze03:06
- Petrus Wilhelmi de Grudencz (1392 - 1480):
- 10Pax eterna - Iacob scalam - Terribilis (Arr. for Chamber Ensemble)03:10
- 11Quene note01:48
- Johannes Bedyngham:
- 12Myn hertis lust (Arr. for Chamber Ensemble)02:12
- 13Auxce bonyour delabonestren01:38
- Gilles Binchois (1400 - 1460):
- 14Qui veut mesdire03:41
- Robert Morton (1430 - 1479):
- 15Il sera pour vous conbatu - L’omme armé (Arr. for Chamber Ensemble)01:43
- 16Ma dame trop vous m’esprennes02:55
- 17Gross senen05:44
- Domenico da Piacenza (1420 - 1475):
- 18Lioncello vecchio03:08
- Guglielmo Ebreo da Pesaro (1420 - 1484):
- 19Petit vriens01:55
- Alexander Agricola (1446 - 1506):
- 20Cecus non iudicat de coloribus05:35
Info zu Dulcedo
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.
Corina Marti, clavicimbalum
Michal Gondko, plectrum lute
Marie Nishiyama, medieval harp
formed in 2000 and named after Heinrich Isaac's famous instrumental piece, is among the leading formations specializing in the performance of European music traditionally referred to as 'late Medieval' and / or 'early Renaissance' (roughly c1300-c1500).
A melting pot of national temperaments, the ensemble makes its home in Basle, the cultural capital of Switzerland, where research into the 'early music' and its performance has been practiced for many decades. Under the artistic leadership of Corina Marti and Michal Gondko, La Morra re-defines itself according to the requirements of the projects it undertakes.
La Morra has performed at some of the most prestigious European and North-American Early Music events, including Festival van Vlaanderen (Belgium), Rencontres de Musique Médiévale du Thoronet and Voix et Route Romane (France), Tage alter Musik in Regensburg (Germany), Kilkenny Arts Festival (Ireland), Festival Oude Muziek Utrecht (The Netherlands), Oslo Internasjonale Kirkemusikkfestival (Norway), Misteria Paschalia and Muzyka w Raju (Poland), Festival Internacional de Música da Póvoa de Varzim (Portugal), Freunde alter Musik Basel and Forum Alte Musik Zürich (Switzerland), Houston Early Music, The Da Camera Society of Mount St. Mary's College, The Chamber Music Society of Saint Cloud and the Early Music Guild of Seattle (USA). Concert tours have also taken the ensemble to Cyprus, Estonia, Finland, Italy, Spain and the United Kingdom.
La Morra’s CD releases are enthusiastically received. Among the proofs of this are such distinctions as the Gramophone Award Nomination, Classical Music Awards Nomination, Diapason d’Or, Preis and Jahrespreis der Deutschen Schallplattenkritik and the constantly high ratings in the international music press.
Dieses Album enthält kein Booklet