Il fior della Cecilia - Images of women between the Middle A

$21.99
Label
Tactus
Release Date
June 5, 2026
Format
Added to Cart! View cart or continue shopping.


    Featuring ⌄
    • COMPOSER
      Anonymous, Giovanni Ambrosio, Pietro Aretino, Angelo Beolco, Gilles Binchois, Marchetto Cara, Guilla
    • PERFORMER
      Anonima Frottolisti
    Product Details ⌄
    • RELEASE DATE
      June 05, 2026
    • UPC
      8007194108682
    • CATALOG NUMBER
      TC480002
    • LABEL
      Tactus
    • NUMBER OF DISCS
      1
    • GENRE
      Medieval Era
    Works ⌄

    1. Ne pleure pas Janette

      Composer: Traditional

      Performer: Marie Pierre Boriosi

    2. Franchoise nouvelle [Bibliothèque Royale Albert I, MS 9085, f. 22v, Bruxelles]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    3. La Pernette se lève

    4. La belle se siet au pied de la tour

      Composer: Guillaume Dufay

      Ensemble: Anonima Frottolisti

    5. Belreguardo [Libro dell'arte del danzare, MS Capponiani 203]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    6. Missa La belle se siet: Kyrie [Trento Castello del Buon Consiglio, MS 1377, olim Trento 90, f 447v-456r]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    7. A Franceschina

    8. Filles a marier ne vous mariez ja

      Composer: Gilles de Bins dit Binchois

      Ensemble: Anonima Frottolisti

    9. La Quarta parte delle rime alla rustica

    10. La bella Franceschina

      Composer: Luca Marenzio

      Ensemble: Anonima Frottolisti

    11. Poi chel ciel e la fortuna [Frottole Libro VII, Venezia, 1507]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    12. Ruzante

    13. Rosina

      Composer: Giovanni Ambrosio

      Ensemble: Anonima Frottolisti

    14. Quando lo pomo [Apografo Miscellaneo Marciano, Venezia]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    15. Mon mary m'a diffamée

      Composer: Josquin des Prez

      Ensemble: Anonima Frottolisti

    16. La pastorella [Bayerische Staatsbibliothek, MS 1503, Munich]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    17. Non peccando altri che il core

      Composer: Marchetto Cara

      Performer: Luca Piccioni

    18. Vale diva, vale in pace

      Composer: Bartolomeo Tromboncino

      Ensemble: Anonima Frottolisti

    19. Danza [MS 757, Verona]

      Composer: Anonymous

      Ensemble: Anonima Frottolisti

    20. Trista che spera

      Composer: Pietro Oriola

      Ensemble: Anonima Frottolisti

    21. La Cecilia [Umbria, Italy]

      Composer: Anonymous

      Performer: Barbara Bucci


The production by the Anonima Frottolisti ensemble, which needs no introduction thanks to it's specialisation in the interpretation of medieval and Renaissance music, focuses in this work on the theme of the female figure that has been handed down to us since the fifteenth century. Cecilia represents a life story that is entirely feminine: "The lament and pity, the despair, the condition of women and their redemption," jealousy, the renunciation of nobles and knights for the defense of one's love and dignity, the "Comedy," that is, the theatrical representation of reality. The song has ancient roots in Western music, from the first monodic forms of the 15th century in France, where the protagonist is Pernette, also present in Italy in the Aosta Valley tradition at the end of the 19th century, or in the case of Jeannette, still used in children's stories in French-speaking areas, or in the fifteenth-century example La belle se sied by Guillaume Dufay and the three-voice version by Josquin Desprez, or in the narrative song of the oral tradition of the "three sisters/ladies who come from Lyon," as well as in the sacred sphere, influencing the composition of the Missa la Belle se sied in Ms. 1377 from Trento, or the Missa La Belle se sied composed by Mambriano de Orto and printed by Petrucci in 1505. The disruptive force of this tradition, that is, the traces that branched out from it starting from the European Middle Ages, are still evident and inherent in every musical and literary sphere.