Anonyme (Italie, 14e siècle)
Dal bel chastel
Quando i oselli canta
Pescando in aqua dolce
Su la rivera, dove'l sol agiaca
Non posso far buchato che non piova
Avendo me falcon
En biancha vesta
Per tropo fede talor se perigola
Lamento di Tristano e La Rotta
Bella Granata
Amor me fa cantar a la Francescha
Saltarello IV

Andrea Stefani (1358-1420)
I' senti matutino

Francesco Landini (?1325-1397)
Echo la Primavera
La bionda treçça
Angelica biltà venut'è in terra

Bartolino da Padova (1365-1405)
Per un verde boschetto

Gherardello da Firenze (?1320-?1362)
De' poni amor a me, Madonna in fé
I' vo bene a chi vol bene a me

Lorenzo da Firenze (?-?1372)
Sento d'amor la fiamma

Egidius de Francia (14e siécle)
Mille Merçede amore

I Trobadores

Nicola di Filippo, voix
Nicholas Iles, voix
Luigi Vestuto, voix, luth médiéval, harpe gothique
Matilde Becherini, vielle, rebec
Roxana Elena Brunori, psaltérion, percussions anciennes
Francesca Austeri, percussions anciennes
Asia Martoccia, flûte à bec, flûte traversière médiévale
Riccardo Bernardini, flûte à bec, chalumeau, piva
Giordano Farina, luth, voix
Sabrina Alunni, voix
Jennie Sabati, voix

«One of the most unexpected meteors in the history of music». With these words, while referring to the music of the Trecento, Nino Pirrotta comments on one of the most intricate enigmas of medieval musicology: how does the Ars Nova come into being in Italy? In the almost total absence of previous written records, it historically imposes itself as a sudden bloom of colours and influences; its origins appear unfathomable, and its traces, after a short while, are seemingly lost amid the innovations of a new trend from the Flanders that will revolutionize the history of European music shortly after the turn of the century.. The art of Francesco, Gherardello, Piero, Jacopo, and of all the other authors that breathed life in the Trecento is preserved in few but immensely relevant manuscripts: their discovery has revealed to the world a priceless musical heritage.