Codex Faenza: Instrumental Music of the Early 15th Century
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Music CD Cover
Composer: AnonymousComposer: Codex Faenza Anonymous
Composer: Italian Anonymous
Composer: Gregorian Chant
Composer: Jacopo da Bologna
Composer: Francesco Landini
Composer: Guillaume de Machaut
Conductor: Michael Posch
Performer: Ensemble Unicorn
Edition: Music CD
CD Release Date: 1998-07-28
Music Label: Naxos
Soundtracks:
- Biance Flour (Codex Faenza)
- Untitled (Codex Faenza)
- Non Avra Ma Pieta Questa Mia Donna
- Non Ara May Pieta Questa Mia Dona (Codex Faenza)
- Hont, Paour, Doubtance
- Hont Paur (Codex Faenza)
- Le Ior (Codex Faenza)
- Bel Fiore Danca (Codex Faenza)
- Aquil' Altera, Ferma/Creatura Gentil/Uccel' Di Dio
- Aquila Altera (Codex Faenza)
- Untitled (Codex Faenza)
- Aspire Refus (Codex Faenza)
- Elas Mon Cuer (Codex Faenza)
- J'Ay Grant Desespoir De Ma Vie
- Jay Grant Espoir (Codex Faenza)
- Kyrie: Cunctipotens Genitor Deus
- Ave Maris Stella
Free Music Notes for Codex Faenza: Instrumental Music of the Early 15th Century
Free Music Review: An academic exercise well worth studying
Hit: 4 Stars
Upon first listen, you might think that "Codex Faenza: Instrumental Music of the Early 15th Century" is wrongly named. These works were composed by 14th Century composers, such as Machaut and Landini, and several songs appear as vocal arrangements without instrumentation.
That's where the "Codex Faenza" comes in. This tome was an early 15th century book of instrumental arrangements of 14th century music. The Unicorn Ensemble performs several works from the Codex Faenza, sometimes preceding the instrumental version with the original vocal arrangement for comparison. The last two tracks, the anonymous compositions "Kyrie" and "Ave maris stella," feature alternating sections of plainchant and organ music.
In many cases, the busy melodies gain something in the translation. The top lines have an improvisatory quality that can seem odd when sung, but sound more natural when played instrumentally. The Unicorn Ensemble has mastered late medieval/early Renaissance instrumentation, and their performances effectively evoke the spirit of past times.
I was somewhat critical of The Unicorn Ensemble's version of Dufay's "Chansons" for making Guillaume Dufay's music sound more conservative than it really was. Here, the group does the opposite: they update the sound of Ars Nova composers and demonstrate how their achievements foreshadowed the continued musical advances of the early Renaissance. It's an academic exercise in many ways, but one well worth studying.
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