Dulcedo La Morra

• Anonymous:
• 1 Dança amorosa 02:22
• Jacob De Senleches (1378 - 1395):
• 2 En attendant esperance 03:58
• Anonymous:
• 3 Aspre refus 03:59
• 4 Che ti zova nascondere 01:57
• Francesco Landini (1325 - 1397):
• 5 I' priego amor 02:49
• Matteo da Perugia (1400 - 1416):
• 6 Andray soulet 02:19
• Anonymous:
• 7 Chançonetta tedescha (Arr. M. Gondko for Chamber Ensemble) 02:49
• Henricus Hessman de Argentorato:
• 8 Stella pia 03:57
• Johannes Alanus:
• 9 O quam pulchra puella - Min herze 03:06
• Petrus Wilhelmi de Grudencz (1392 - 1480):
• 10 Pax eterna - Iacob scalam - Terribilis (Arr. for Chamber Ensemble) 03:10
• Anonymous:
• 11 Quene note 01:48
• Johannes Bedyngham:
• 12 Myn hertis lust (Arr. for Chamber Ensemble) 02:12
• Anonymous:
• 13 Auxce bonyour delabonestren 01:38
• Gilles Binchois (1400 - 1460):
• 14 Qui veut mesdire 03:41
• Robert Morton (1430 - 1479):
• 15 Il sera pour vous conbatu - L’omme armé (Arr. for Chamber Ensemble) 01:43
• Anonymous:
• 16 Ma dame trop vous m’esprennes 02:55
• 17 Gross senen 05:44
• Domenico da Piacenza (1420 - 1475):
• 18 Lioncello vecchio 03:08
• Guglielmo Ebreo da Pesaro (1420 - 1484):
• 19 Petit vriens 01:55
• Alexander Agricola (1446 - 1506):
• 20 Cecus non iudicat de coloribus 05:35
• Total Runtime 01:00:45

Info for 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.

La Morra:
Corina Marti, clavicimbalum
Michal Gondko, plectrum lute
Marie Nishiyama, medieval harp

La Morra
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.

This album contains no booklet.