Marco Cara (?1465-?1525)
Forsi che si forsi che no
Cantai mentre nel core
Non è tempo d'aspectare
Dulces exuviae

Johannes Martini (?1440-?1498)
Flos virginium
Les biens/Des biens d'amours -Tan que Dieu voldra

Josquin des Prés (1440-1521)
Fortunata desperata
Una mosque de Biscayo

Francesco Spinacino (1485-?1507)
Adiu mes amours

Bartolomeo Tromboncino (1470-1535)
Lassa donna i dolci sguardi
Se gran festa me mostrasti

Pietrequin Bonnel (1(e siècle)
Mais que ce fust secretement

Antoine Brumel (?1460-?1515)
Esmu suy que plus ne porroie

anonyme (15e siècle, Italie)
Morte! Che voy?
Non te smarir cor mio

Anonima Frottolisti

In the circles of early music lovers, documented information about performance practice is so important as to be obsessively searched for by musicians and musicologists. While iconography sometimes cannot be relied on as evidence because of its symbolic meaning, a piece of information on the aesthetics of a performance, the making of an instrument, the composition of a group of instruments, or the repertoire performed is all the more valuable if it comes from a document, be it official or private, such as a letter. Considering that Isabella d’Este was a passionate lover of music and also a musician herself, it is easy to understand that the massive corpus of letters written and received by her can be an extraordinary mine of this type of information. Here the Anonima Frottolisti ensemble (tc 490001, tc 250001, tc 400007) continues its research in a deep introspection into the meanders of the music of Humanism, focusing on a repertoire drawn from the letters of the Marquise of Mantua Isabella d'Este, whose strong cultural and artistic sensibility deeply marked her time.