Anonyme (Italie, XV-XVIè siècle)
Deh, fusse pur qui meco
Visin, visin, visin (Canto degli spazzacamini)
Iamo a la caccia
Iamo a Maria
J’ay pris amours J’ay pris amours (instrumental)
J’ay pris amours, De tous biens plaine (instrumental)
I’ son più mal maritata
Io son più perfida ingrata
Se tuo servo Amor mi fe’
Parce Domine
Nel tuo furore

Johannes Brochus
Alma, svegliate ormai

Antoine Busnois (1430-1492)
Fortuna desperata

Francesco degli Albizzi (1486-1537)
Poi che t’ebi nel core
A Maria fonte d’amore

Firminus Caron (1460–1475)
Accueilly m’a la belle (instrumental)

Feo Belcari (1410-1484)
Gesù, Gesù, Gesù
Di tutto ben se’ fonte, eterno Iddio
L’oration è sempre bona

Josquin des Prés (1440-1521)
In te, Domine, speravi

Bernardo Giambullari (1450-1525)
A te, Virgo, ognor clamavi

Leonardo Giustiniani (1388-1446)
Madre che festi Colui che te fece

Hayne van Ghizeghem (1445-1497)
De tous biens plaine est ma maistresse

Angelo Poliziano (1454-1494)
Ben venga maggio

Castellano Castellani (1461-?)
S’io mori’ in croce per te

Bartolomeo Tromboncino (?1470-1535?)
Se ben hor non scopro el foco

Ensemble Anonima Frottolisti

On this CD the experienced Anonima Frottolisti Ensemble, a group specializing in early music and medieval, faces a very little performed yet very interesting repertoire: the “contrafacta”, compositions in which the lyrics and the melodies are mixed in a diverse blend of sacred and profane. Starting from the twelfth century, these two seemingly opposing worlds have different points of contact in the custom to use secular texts on sacred melodies. Later, however, the trend is the opposite : popular melodies in vogue at the time are filled with liturgical and spiritual texts, thus becoming an effective mean to lead people to faith and to the knowledge of the scriptures.