Da Firenze Amor, tu solo I sai - Ballate e Madrigali ClubMediéval & Thomas Baeté

• 1 Amor, tu solo'l sai (Ballata) 03:58
• 2 Lena virtù (Ballata) 06:42
• 3 Un c'osa di veder (Ballata) 02:42
• 4 Girand'un bel falcon (Madrigale) 03:16
• 5 Altro che sospirar (Ballata) 05:16
• 6 Poc'anno di mirar (Ballata) 03:20
• 7 Sofrir m'estuet (Ballata) 03:37
• 8 Ventilla con tumulto (Madrigale) 04:44
• 9 Non più infelice (Madrigale) 03:16
• 10 Perch'i' non seppi passar (Ballata) 05:11
• 11 Perché vendetta (Ballata) 03:30
• 12 Ma', ria, ver di me pietà (Ballata) 04:05
• 13 Amor mi stringe (Ballata) 02:24
• 14 Lasso, grev'è'l partir (Ballata) 03:41
• Total Runtime 55:42

Info zu Da Firenze Amor, tu solo I sai - Ballate e Madrigali

A large corpus of Paoloʼs music has survived for us through the ms. fonds italien 568 held 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.

Paoloʼs 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 Paoloʼs lyricism plays subtly with the balance between impression and expression, between serving and being served by the music.

Olalla Alemán, voice
Francesca Cassinari, voice
Markéta Cukrová, voice
Raffaele Giordani, voice et souffleur d'orgue
Daan Verlaan, voice and gothic harp
Elisabeth Seitz, psalterion
Guillermo Pérez, organetto and gothic organ
Thomas Baeté, fiddle, gothic organ and artitic direction

ClubMediéval
The musicians of ClubMediéval were drawn together by a shared passion for late Middle Ages music. Under the direction of Thomas Baeté, they weave a delicate web from polyphonic lines, and draw the listener into it.

They believe that the search for authentic performance is as much a scientific undertaking as a poetic one, and that 'truth' in performance is found in joining both aspects to the personal authenticity of the performer.

They find that the Late Middle Ages repertoire has a relevant place in our time, and they hope to help the listener feel this also. Their concert programmes have been well received, and indeed the group's début earned them a nomination for Klara Radio's promising newcomers in 2010. ClubMediéval is based in Brussels, but brings together singers and instrumentalists from seven European countries.

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