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I dilettosi fiori I dilettosi fiori

Late fourteenth-century instrumental music that forms the core of the present release comes from the two most important surviving sources of this repertoire: the London and the Faenza codices. While the performance medium repeatedly employed in recordings of both monophonic and polyphonic instrumental music of the Late Middle Ages has been a band of various instruments, the present recital demonstrates, that all it takes to bring this exquisite music back to life is a single, persuasive performer. Corina Marti sets out “in search of the delightful flowers” (Jacopo da Bologna) hidden in those two distinct universes of Late Medieval music, the monophonic and the polyphonic. In this, her solo debut, she achieves a remarkable variety by juxtaposing the sound of recorders (including the double recorder so frequently seen in the fourteenth-century Italian iconography) and of a clavisimbalum – a reconstruction of the earliest form of a harpsichord.



Corina Marti  After graduating in Baroque music performance on the recorder and harpsichord from the Lucerne Academy of Music, CORINA MARTI focused on early flutes and late medieval / early Renaissance repertoire, in which she gained a degree from the Schola Cantorum Basiliensis in Basel (Switzerland) under the guidance of Pierre Hamon and Kathrin Bopp. Corina Marti has extensively performed, recorded and taught late medieval and early Renaissance repertoires throughout Europe and the Middle East. In 2003, she was invited to join the faculty of the Schola Cantorum Basiliensis as a tutor for early flutes and keyboard instruments. Her performances on these instruments and research into their history and construction have contributed significantly to their revival among performers. She also enjoys later repertoires, appearing both as soloist and together with chamber music formations and orchestras (including Jordi Savall's Hesperion XXI and La Capella Reial de Cataluña) performing Renaissance, Baroque and contemporary repertoire. With ensemble La Morra, of which she is co-director, Corina Marti has recorded several CDs of fifteenth- and early sixteenth-century music which have been enthusiastically received (including the complete works of Johannes Ciconia, awarded Diapason d'Or). Her continuing interest in the earliest of instrumental music has resulted in a CD release devoted to German repertoire of the late fifteenth- and early sixteenth-century (Von edler Art, Ramée, 2008, together with lutenist Michal Gondko). Her discography of post-1500 music includes recordings devoted to early Baroque instrumental repertoire from Lombardy, music by the Italian-Jewish composer Salomone Rossi (1570 – c. 1630), flute sonatas by Johann Sebastian Bach and – most recently – flute concertos by Francesco Mancini.


1. Don Paolo da Firenze Era Venus
2. Anonymous Aquila altera
(after Jacopo da Bologna, Aquila altera/ Creatura gentil/ Uccel di Dio)    
3. Anonymous Indescort
(after Anonymous, En discort)    
4. Gherardello da Firenze Per non far lietto
5. Anonymous [untitled piece]
     
6. Anonymous Ghaetta
7. Anonymous Non na elso amante
(after Jacopo da Bologna, Non al suo amante)    
     
8. Anonymous Saltarello
9. Anonymous La dolçe sere  
(after Bartolino da Padova, La douce cere)    
10. Anonymous [Un fior gentil]  
(after Antonio Zachara da Teramo, Un fior gentil)    
     
11. Anonymous Chominciamento di gioia  
     
12. Anonymous [Rosetta]  
(after Antonio Zachara da Teramo, Rosetta che non canbi may colore)    
13. Anonymous [Ave maris stella]  
(after Gregorian hymn)    
14. Anonymous [untitled piece]  
     
15. Guillaume de Machaut Quant je suis mis au retour
16. Anonymous In perial sedendo
(after Bartolino da Padova, Imperiale sedendo)    
17. Guillaume de Machaut Puis que ma dolour  
18. Anonymous Che pena questa  
(after Francesco Landini, Che pena é quest' al cor)    
     
19. Anonymous Saltarello