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  Anne Azéma soprano Constantinople Kiya Tabassian sétar | setar Guy Rossluth, oud, harpe | lute, 'ud, harp Isabelle Marchand vièle | fiddle Matthew Jennejohn flûtes à bec, cornet muet | recorders, mute cornett Ziya Tabassian def, tombak, dayereh, vase, percussion Recherche, élaboration et adaptation | Research, preparation, and adaptation: Guy Ross, Kiya Tabassian ACD2 2290 |
Although some of the medieval instrumental and vocal repertoire has come down to us notated in manuscripts of that era, it is clear that this music lived and circulated chiefly thanks to oral tradition. Memory was the main vector of transmission in that age. Both music and poetry were then driven by a kind of creative energy that would in later times manifest itself otherwise.
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1. Anonyme [5:04] La Septime Estampie (instrumental), Ms W fol.104 v. 2. Chastelain de Couci [v.1165-1203] [6:50] Li nouviauz tanz et mais et violete (chanson d'amour), Ms M fol. 53 V.-54 r. 3. Anonyme [2:42] La Quinte Estampie (instrumental), Ms W fol.104 v. 4. Guy Ross [4:24] Magdalena (instrumental), (2002) 5. Gontier de Soignies (fl avant 1220] [5:55] Li tans nouveaus et la doucors (rotrouenge), Ms T fol. 113 r-v. 6. Guy Ross [5:26] Hermins (instrumental), (2002) 7. Guiot de Dijon (fl 1215-25) [5:56] Chanterai por mon corage (chanson de croisade) 8. Anonyme [2:54] Danca Amorosa (instrumental), Florence, Archivio Di Stato 9. Peire Vidal (fl v.H75-v.i2io) [6:16] Pois tornatz sui em Proensa (canso), Ms G 42d 10. Anonyme [2:11] Trotto (instrumental), Florence, Archivio Di Stato 11. Peire Vidal [9:37] Anc no mori per amor ni per al (canso), Ms G 41 c 12. Anonyme [7:54] Istanpitta In Pro (instrumental), British Library, Add.29987 fols. 55 v.- 63 v. |
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