Finis Terrae / Capella Burgundiae


1. Finis Terrae  [7:46]
Kyrie - O welt, pesser hie zu got dein leben

2. Nas mentes  [2:06]   CSM  29
3. Maldito seja quen non loará  [3:26]   CSM  290
aus „Cantigas de santa Maria“, Spanien 13. Jahrhundert

04. Istampita „Chominciamento di gioia“  [5:33]
Italien, 14. Jahrhundert

5. Mors vitae propitia  [2:20]
Conductus, Frankreich um 1200

6. Ich will preisen mein leip  [1:12]
aus dem Erlauer Magdalenenspiel, um 1400

7. O nos peregrinae sumus  [2:57]
Hildegard von BINGEN, 1098-1179

8. Wer hie das elend bawen will  [3:38]
Pilgerlied, 13. Jahrhundert

9. Kyrie Cunctipotens genitor  [2:58]   cc  111
Santiago de Compostella, 11. Jahrhundert, Codex Calixtinus

10. La seconde estampie real  [1:26]
Frankreich 13. Jahrhundert

11. Robin m'aime  [1:39]
Adam de la HALLE, um 1237-1286

12. Lamento de tristanola Rotta  [3:17]
anon. 14. Jahrhundert

13. Edi beo thu hevene quene  [2:09]
England, 14. Jahrhundert

14. Chanterai pour mon couraige  [2:45]
Guiot de DIJON, 12. Jahrhundert

15. A chantar m·er de so q'ieu no volria  [4:43]
Beatriz de DIA, um 1160

16. Polorum regina  [1:58]   LV  7
spanisches Pilgerlied, 14. Jahrhundert, Llibre Vermell

17. Maria unser frowe  [3:37]
anon. 1349

about Capella Burgundiae:

Ensemble for Music of the Middle Ages and Early Renaissance

In this early part of the 21st century, the world of symbols is gradually regaining a place in human consciousness and music of the Middle Ages is achieving new popularity. The entire culture of the Middle Ages is rooted in symbolism. This is the key to the arts of that era in all its richness, because the sources available today provide us only with hints of the full picture. Early musical notation of that period merely suggests melody and rhythm, though it became more definite over time. This vagueness in the notation, however, offers many possibilities of interpretation. Capella Burgundiae has settled on experimental and improvisational interpretation. Based on the study of medieval musicianship of the Middle Ages and reaching for an empathetic understanding of the music, Capella Burgundiaeís approach to medieval sounds takes the symbolic and intellectual context into consideration. It does so through the use of a wide range of period instruments and arrives at a transparent, lively sound, which conveys to the listener the atmosphere of those ancient times.

Virginie Gerwig — vocal, harp, portable organ
Andreas Haas— transverse flutes of the Middle Ages
Kristian Gerwig — fiddle, psalterium

as well as other musicians, depending on the program.