Music at the courts of Italian humanism

Incipit.
Ut queant laxis, Anonimo [Montecassino, Ms. 871N]
La Fortuna:
Poi chel ciel e la fortuna, Anonimo. [Petrucci Libro VIII, Frottole]
Falla con misura, Guglielmo Ebreo da Pesaro, [Perugia, Biblioteca Augusta Ms. 431]
Fortuna desperata, Antoine Busnoys (?) [London, Ms. add. 35087]
Poi che t’ebi nel core / Fortuna desperata, Anonimo. [Ms. Grey, Capetown \ Firenze Ms Panciatichi 27 \ Lauda di Francesco degli Albizzi]
Fortuna Desperata, J. Desprez. [Segovia Ms., Archivo Capitular]
Amore sacro e amor profano:
Io vorria esser colù, Michele Pesenti [Petrucci, Libro VIII, Frottole]
J’ay pris amour, Anonimo [Urbino, Tarsia lignea; Laborde Chansonnier]
Madre che festi Colui che te fece / J’ay pris amour, Anonimo  [Firenze, Ms. Panciatichi 27]
Una mosque de Biscayo, Josquin Desprez [Biblioteca Casanatense, Roma, Ms 2856 ]
De tous bien pleine. Hayne Van Ghizeghem. [Biblioteca Casanatense, Roma, Ms 2856] 
Rostiboli Gioioso, Domenico da Piacenza [De Arte Saltandi. Parigi, BNF, MS 476] 
Señora de hormonsura, Juan del Encina [Cancionero de Palacio]
L’Attesa e il viaggio:
Il bon Nocchier. Anonimo [Bossinensis, Petrucci, Libro II]
La Spagna, Francisco della Torre [Cancioniero de Palacio, XV sec.]
De la de l’acqua sta la mia morosa, Anonimo [Apografo Miscellaneo Marciano, Venezia]

Ensemble Anonima frottolisti
Jacopo Facchini – voice
Luca Piccioni, lute – voice
Emiliano Finucci, viola da braccio – voice
Simone Marcelli, portative organ- clavicytherium-voice
Massimiliano Dragoni, dulcimer-psalter-historical percussions
Kateřina Ghannudi, harp -voice

Tickets: Full price € 18 / reduced € 12
Because of the Covid19 restrictions, the capacity of the venues will be reduced therefore booking of seats is mandatory for all events.
We inform our public that, as of 6 August, according to the provisions of the D.L. 23 July 2021 n. 105 relating to “urgent measures to deal with the epidemiological emergency from COVID19 and for the safe exercise of social and economic activities”, access to spaces open to the public managed by L’Homme Armé, will be allowed only to people equipped with a Green Pass. The Covid-19 Green Pass certification attests one of the following conditions:
– being vaccinated for Covid-19
– being negative on the rapid molecular or antigen test within the last 48 hours
– being healed of Covid-19 in the past six months
The verification of the Green Pass will be carried out at the entrance of the various venues by the festival staff and will take place by showing the QR code of the green certification and a valid identity document. Those who are not in possession of even one of these two documents will not be able to access the event. We also remind you that the use of the mask will remain mandatory throughout the duration of the concerts/conversations and interpersonal distancing of at least one meter must be observed (with the exception of family members or cohabitants).

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The splendor and cultural heritage of the historical period known as Humanism, capable of spanning the entire fifteenth century up to the early sixteenth century, contains a complex network of intuitions and “revolutions”, – often regional or developed in geographically and politically well delimited, of “culture” and its representation in society, a theatricalization of reality without limits, where every gesture, symbol, behavior, fully embraced the greatness and beauty of the Courts and their main “actors”.
The Anonima Frottolisti ensemble proposes an ideal musical representation of an imaginary court of Italian Humanism. Music from printed works of the very early sixteenth century and from late fifteenth century manuscripts; compositions characterized by the splendid development of writing for lute and by the “speculative” aesthetics of the polyphonic and contrapuntal compositions of the time. The concert includes five main moments: Incipit, Fortuna, Sacred Love and Profane Love, the Journey, the Return, typical conditions of the theatrical, literal culture and of the oral tradition of representation in European Humanism, the very foundations of the birth of the Commedia dell’Arte and of the first forms of “Opera”. The program develops through the compositional forms characteristic of Humanism: the frottola, the dances, the chansons, the villotte, and the typical forms of devotional contrafacta composed on secular music. A musical journey that tells about the pleasure and the pursuit of court taste and entertainment, at the turn of the fifteenth and sixteenth centuries.