The Codex of Guardiagrele includes several compositions by artists (from Abruzzo and other regions) that worked in Guardiagrele at the Santa Maria Maggiore church. These compositions expose the then-richness of polyphonic music in this region. The Codex includes several early 15th c. manuscripts of liturgic missals conserved until 1979 in Guardiagrele. Directing the De Bon Parole ensemble in this world premiere recording is Marco Giacintucci, who also realized the reconstructions.

The vocal ensemble Blue Heron, winner of the 2018 Gramophone Classical Music Award for Early Music and a 2020 Preis der deutschen Schallplattenkritik, presents A 14th-Century Salmagundi. A salmagundi is a savory dish composed of chopped meats, seafoods, eggs, vegetables, and condiments; a mixture or hodgepodge; an assemblage of miscellaneous components. Blue Herons Salmagundi is a pleasing miscellany of music composed c. 1300-1400, a delightful salad of ingredients gathered from our storehouse of French and Italian songs, including virtuosic music by Guillaume de Machaut, Francesco Landini, and Jacob Senleches. Seven vocal soloists are featured along with medieval fiddle, harp, and lute.

Medieval interest in animals and mythical creatures was not limited to the visual arts and literature. At the same time that bestiaries – manuscripts depicting animals and mythical creatures – were being compiled, composers were producing innumerable pieces that describe these same beasts from a musical point of view. “Song of Beasts” combines medieval iconography with texts and music, immersing a modern audience in this fascinating world of verbal, visual and aural imagery. Ensemble Dragma paints a multifaceted, moving and in depth portrait of the bestiaries, giving a glimpse of a long lost medieval mindset. Various mythical and real animals are introduced, including the panther, the viper, the phoenix and the basilisk. These pieces by both renowned and less well-known composers are musical jewels, combining artful poetry with engaging melodies.

Polyphonic 14th-century Italian secular music seems to emerge out of nowhere in the history of music. Nevertheless, this tradition – which often goes by the name Ars Nova – fits seamlessly into the history of Italian culture. Our knowledge of it has been pieced together from relatively few sources, which nevertheless reveal three distinct phases. In its first phase, Italian Ars Nova spread out from universities, including those of Padua and Bologna, which had strong links with the dominant and contemporaneous French Ars Nova. In the second phase, the centre of 14th-century Italian polyphony seems to shift markedly to Florence. The final phase, which bridged the late 1300s and early 1400s, shows the influence of intense cultural exchange brought about by an international circulation of musicians and poets caused by the political instability of the papacy’s return from Avignon to Rome and the consequent heightened mobility among the various courts and their entourages.
This phase is reflected in such sources as the renowned Squarcialupi Codex. Compiled in Florence around 1415, it contains over 350 compositions (madrigals, ballate and cacce) and is the source of the majority of the tracks on this album. Francesco Landini (c.1325/35–1397) is represented by five of his 141 ballate and the virelai ‘Adiu, adiu dous dame’. Also from the Codex are one ballata by Andrea da Firenze (c.1350–1415) and two ballate and a caccia by Antonio ‘Zacara’ da Teramo (1355–1416). Three instrumental tracks complete the album, two of them from the ‘London’ Manuscript (British Library) compiled in Florence, probably in Medici circles. In addition to mostly polyphonic music by Landini and other Florentine composers, this tome features several anonymous instrumental works including the lively dances ‘Chominciamento di gioia’ and ‘Tre fontane’. The madrigal ‘Aquila altera’ has a different background entirely: the version presented here is the instrumental arrangement found in the Codex Faenza, a unique volume assembled in the early 15th century containing around 50 Italian and French polyphonic compositions for organ.

"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.