℗ 2020 ATMA Classique
| Released | December 4, 2020 |
| Duration | 56m 28s |
| Record Label | ATMA Classique |
| Genre | Classical |
Adiu, adiu dous dame
Ensemble La Rota
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
1.1
|
Vergine Donzella (Lauda)
Unknown; Ensemble La Rota |
5:01 | |||
|
1.2
|
Come in Sul Fonte (Madrigal)
Lorenzo da Firenze; Ensemble La Rota |
4:36 | |||
|
1.3
|
a) Orsun, Gentili Spirti (Ballata)
Francesco Landini; Tobie Miller; Ensemble La Rota |
5:50 | |||
|
1.4
|
Saltarello
Unknown; Ensemble La Rota |
5:19 | |||
|
1.5
|
I’ Vivo Amando (Ballata)
Gherardello da Firenze; Ensemble La Rota |
3:22 | |||
|
1.6
|
Isabella (Istanpitta)
Unknown; Ensemble La Rota |
7:17 | |||
|
1.7
|
I’vo bene (Ballata)
Gherardello da Firenze; Ensemble La Rota |
2:31 | |||
|
1.8
|
Trotto
Unknown; Ensemble La Rota |
1:27 | |||
|
1.9
|
Or Piangiamo (Lauda)
Unknown; Ensemble La Rota |
5:47 | |||
|
1.10
|
Che Pena e Quest’ al Cor (Ballata)
Francesco Landini; Ensemble La Rota |
3:43 | |||
|
1.11
|
Che Pena Questa
Unknown; Ensemble La Rota |
2:16 | |||
|
1.12
|
Allegro Canto (Lauda) Saltarello del Grande San Domenico
Tobie Miller; Ensemble La Rota |
4:06 | |||
|
1.13
|
Faccia Chi De’ Se’l Po’ (Caccia-Madrigal)
Donato da Firenze; Ensemble La Rota |
2:49 | |||
|
1.14
|
Adiu, Adiu, Dous Dame (Virelai)
Francesco Landini; Ensemble La Rota |
2:24 | |||
|
Digital Booklet
|
Adiu, Adiu Dous Dame, a new digital-only recording by period ensemble La Rota, brings 14th-century Italian songs to life.
Fourteenth-century Florence, the landscape of Boccaccio’s most celebrated oeuvre, Il Decamerone, was one of the most important centres of music and culture in medieval Europe. Despite such setbacks as war, political strife and the black death - which itself set the scene of the Decamerone - art and music flourished, giving rise to such composers as Francesco Landini, Lorenzo da Firenze (Lorenzo Masini), Donato da Firenze and Gherardello da Firenze. Alongside the continued tradition of the vernacular lauda (sung by professional singers), the development of polyphonic compositions such as ballate and madrigals was privileged, as well as a handful of virtuosic instrumental pieces including Istanpitte and Saltarelli, which survive in a sole manuscript of Florentine origin. Throughout the tales which Boccaccio’s characters recount in an effort to entertain themselves during their escape from plague-ridden Florence, are numerous descriptions of singing, dancing and playing of instruments, painting a vivid picture of trecento Florentine musical life.
96 kHz / 24-bit PCM – ATMA Classique Studio Masters
Tracks 1-14 – 44.1 kHz / 24-bit PCM
Tracks 1-14 – 44.1 kHz / 24-bit PCM
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.88 -8.01 to -0.51 | -25.27 -28.05 to -23.42 | -22.04 -25.00 to -20.40 | 13 11 to 15 | |
| 1 | Vergine Donzella (Lauda) | -2.85 | -25.55 | -21.6 | 15 |
| 2 | Come in Sul Fonte (Madrigal) | -8.01 | -26.02 | -22.9 | 11 |
| 3 | a) Orsun, Gentili Spirti (Ballata) | -5.42 | -26.14 | -23.0 | 13 |
| 4 | Saltarello | -5.19 | -23.80 | -20.9 | 12 |
| 5 | I’ Vivo Amando (Ballata) | -2.71 | -24.30 | -21.2 | 12 |
| 6 | Isabella (Istanpitta) | -4.94 | -25.08 | -21.8 | 12 |
| 7 | I’vo bene (Ballata) | -5.63 | -25.10 | -22.0 | 12 |
| 8 | Trotto | -6.22 | -23.42 | -20.4 | 12 |
| 9 | Or Piangiamo (Lauda) | -4.49 | -28.05 | -25.0 | 15 |
| 10 | Che Pena e Quest’ al Cor (Ballata) | -3.93 | -24.22 | -21.0 | 13 |
| 11 | Che Pena Questa | -7.88 | -27.11 | -23.7 | 11 |
| 12 | Allegro Canto (Lauda) Saltarello del Grande San Domenico | -0.51 | -24.26 | -20.5 | 15 |
| 13 | Faccia Chi De’ Se’l Po’ (Caccia-Madrigal) | -6.80 | -24.63 | -21.6 | 12 |
| 14 | Adiu, Adiu, Dous Dame (Virelai) | -3.68 | -26.17 | -23.0 | 12 |