Paolo da Firenze - Amor, tu solo’l sai (Ballate e Madrigali)
£13.25
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Label: Musica Ficta
Cat No: MF8017
Format: CD
Number of Discs: 1
Release Date: 30th March 2015
Contents
Works
Altro che sospirar non so ne voglioAmor, tu solo'l sai
Amor mi stringe assai piu che non sole
Girando un bel falcon gentil e bianco
Lasso, grev' e 'l partir anima mia
Lena, virtu e speranza, ogni cor duro
Ma' ri' aver di me pieta non veggio
Non piu infelice alle suo membra nacque
Perch' i' non seppi passar caut' al varco
Perche vendetta far or non si po'
Po' c'anno di mirar gli occhi mie stanchi
Sofrir m'estuet et plus non puys durer
Uom c'osa di veder tutta beleza
Ventilla con tumulto la gran fama
Artists
ClubMedievalConductor
Thomas BaeteWorks
Altro che sospirar non so ne voglioAmor, tu solo'l sai
Amor mi stringe assai piu che non sole
Girando un bel falcon gentil e bianco
Lasso, grev' e 'l partir anima mia
Lena, virtu e speranza, ogni cor duro
Ma' ri' aver di me pieta non veggio
Non piu infelice alle suo membra nacque
Perch' i' non seppi passar caut' al varco
Perche vendetta far or non si po'
Po' c'anno di mirar gli occhi mie stanchi
Sofrir m'estuet et plus non puys durer
Uom c'osa di veder tutta beleza
Ventilla con tumulto la gran fama
Artists
ClubMedievalConductor
Thomas BaeteAbout
A large corpus of Paolo da Firenze’s music has survived for us through a manuscript in the Bibliothèque Nationale in Paris. Except for a Benedicamus and a Gaudeamus, all of his surviving works are polyphonic secular songs - madrigals and ballate - a corpus of around 60 pieces. Paolo is therefore among the Italian trecento composers who have left the largest surviving body of work - only Landini has left us more.
But apart from the quantity, it is above all the exquisite quality of his music that we appreciate today. Paolo’s musical language is in tension between two poles: the eccentrically abstract and hypersensitive mannerism of late Gothic art, against the simple beauty and straightforward nature of the upcoming humanism of the Renaissance. For us as contemporary performers Paolo’s lyricism plays subtly with the balance between impression and expression, between serving and being served by the music.
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