La Historia del Beato San Martino  /  C. M. di San Giacomo Maggiore


Cappella Musicale di San Giacomo Maggiore in BolognaRoberto Cascio
Tactus 520003 |
Release Date: 1st Feb 2019

1. La historia del Beato San Martino (Anonyme) [17:48]
2. O croce sancta (Petrus Hedus) [1:55]
3. Borombetta (Roberto Cascio ) [0:51]
4. L'amor a me venendo (Innocentius Dammonis) [1:42]
5. O Vergene gentile (Petrus Hedus) [2:30]
6. O derata (Anonyme) [3:40]
7. O bella rosa, o perla angelichata [Codice Bologna] [2:32]
8. Salve sacrato legno (Marchetto Cara) [1:49]
9. Ave Maria, verzene coronata (Petrus Hedus) [1:39]
10. Qui tollis peccata mundi (Vincenzo Capirola) [2:56]
11. Verbum caro factus est à 3 (Anonyme) [4:06]
12. Jay pryse amours [Henry VIII's MS, No. 37] [2:55]
13. Padoana (Vincenzo Capirola) [4:49]
14. Jay pryse amours (Anonyme) [2:08]
15. Fortune d'estrange plummaige - Pauper sum ego (Josquin des Prés) [1:36]
16. O crux, fructus salvificus (Anonyme) [3:06]
17. Calata No. 3 "A la spagnola" (Joan Ambrosio Dalza) [4:06]
18. O crux, fructus salvificus (Anonyme) [1:28]

Capirola, Vincenzo (1474-c.1548)
Cara, Marchetto (c.1465-1525)
Dalza, Joan Ambrosio (fl.c.1508)
Dammonis, Innocentius (fl.c.1508)
Despres, Josquin (c.1440-1521)
Hedus, Petrus (1427-1504)

Within this recording the reading of the 'Historia del Beato San Martino', a devotional text from the beginning of the sixteenth century is brought to light for the first time on CD. The music narrates in a fresh and popular language the events of San Martino of Tours, through a colourful account of his life, which plunges us into the typical mixed atmosphere of divine and profane of the end of Humanism and beginning of the Renaissance. The reciting voice of Roberto Cascio is flanked by the instrumental ensemble of the Cappella Musicale di San Giacomo Maggiore in Bologna. The choice of music was based on the particular period of Italian music prevalent at the end of the 1400s and the beginning of the 1500s, and, in particular, on the widespread devotional-laud genre and the use of spiritual camouflaging (in fact, the melodies derived from the secular repertoire, which, in turn and very often, came from the many French composers who, at that time, frequented the most important Italian courts).


The Web SonusAntiqva
inicio home