Music and Poetry in the Medieval Europe

1. En Mai La Roussee
2. Como Podem Per Sas Culpas
3. Nas Mentes Sempre Teer
4. Como Deus/A Que Avondou
5. C’est La Fin, Quoi Que Nous Die
6. Saltarello
7. Danza Real
8. Saltarello
9. Ich Was Ein Chint So Wolgetan
10. Estampida Real
11. Kalenda Maia
12. Chansoneta Tedesca
13. Ventanas Altas
14. Sic Mea Fata

The work by Arte Factum, joined by Francisco Orozco, once again offers us a panorama of profane music from the late Middle Ages, together with some of the Cantigas de Santa María, compiled by Alfonso X. We have dances, estampidas and saltarellos, troubadour songs, such as the beautiful Kalenda Maia by Rimbaut de Vaqueiras, finishing the trip through time with the famous Sephardi romanza Ventanas altas, ­without forgetting Carmina Burana and the Cantigas de Santa María of King Alfonso the Wise. Thus, we travel down four centuries of European music. A long ­period of time, from the 12th to the 15th century, when purely ­instrumental music arose, a time which saw unprecedented development of musical instruments. At all times under the primacy of the human voice, the only instrument capable of conveying melody and words, we find the first instrumental dances, sadly with no indication of the type of instrument, which would lead to the first ­compositions for keyboards in Italy in the late 14th ­century. This repertoire, which consisted of melodic lines, with no indication of the instrumentation, is one of the greatest challenges facing musicians specialised in medieval music.