Abballati, abbalati! - Sicilian Medieval Music - Al Qantarah, Fabio Tricomi

Ensemble: Al Qantarah - Fabio Tricomi
Album: Abballati, abbalati!
Video: Frédéric II, traité de fauconnerie (XII/XIIIth cent.)
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Since ancient times, Sicilian culture has been shaped by the influence of foreign powers which often co-existed: those of the Hellenic world, the Italic civilisation, the Arabic presence and the Norman conquest. These intertwining influences led up to mediaeval times, the historical pivot’ around which the project for this disc rotates. Thus Sicily appears as a crossroads of races, traditions, varied and often exotic ethnic roots giving it a multi-layered and cosmopolitan quality which has become ever richer over the centuries and has made of the island a sort of bridge (in fact "AI Qantarah" is a river in eastern Sicily whose name in Arabic means' the bridge) and a unique contact point for the various foreign civilisations which have become an essential part of the Sicilian territory. Sicily has adopted as its own the musical traditions and styles of Arab, Byzantine, Provencal and Norman cultures, conserving their intrinsic qualities and forms along with elements springing from the origins of Sicily itself. When one considers Mediaeval Sicily, it is natural to turn to the age of Frederick II and the great stimulus his reign gave to the sciences and arts. The Sicily of Frederick's times was an admirable example of both tolerance and intellectual fervour: the lively and progressive scientific and philosophical climate left by the Arab community after the Norman conquest, the refined and invaluable literary works written by the residents of the Court, found an ideal meeting point in the personality of Frederick. These facts further motivate the choice to record this disc in the Ursino Castle which Frederick himself had built at Catania by the architect Riccardo da Lentini, 13th century. The pieces from this disc comes from two collections: the 12th century "Troparium de Catania" and the "Corpus of Sicilian Folk Music". The use of these sources guarantees a good assortment of contexts, ranging from the religious to the lay, from the cultured to the popular tradition. The instruments used are chosen to reflect the variety of the repertoire, so that alongside cultivated mediaeval instruments copied from the iconography that has reached us, we find those of Sicilian and Middle Eastern tradition. It should be pointed out that the variety of instruments used and the rather daring use of middle eastern instruments are sustained by the frescos of the 13th century Palatine Chapel in Palermo, second only in importance in musical iconography to the contemporary miniature of the "Cantigas de Santa Maria”. Frederick II is directly alluded to in the piece Dolce lo mio drudo. While the Sicilian quality of the "Corpus Favara" is unquestionable, the Catanese quality of the "Tropari" is derived from the fact that the pieces, stylistically similar to sacred music commonly played all over Europe in those times, were copied in Sicily for use in liturgical services in the Catania cathedral. The three Tropari conserved in Madrid, usually defined 'SicilianNorman', contain liturgical sequences, conductus and dramas, genres which had only just appeared in the 12th century. The inclusion in the repertoire of a contrafactum of a text by Giacomo da Lentini "Ben m'è venuto" with a melody by the Provencal troubadour Peire Cardinal, documents a musicological hypothesis according to which the Sicilian poets of the 13th century set their own verse to music.

I wish you happy listening!
Mirko Virginio Volpe
MUSICA MEDIEVALE
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1 Surat Mariam - 1 pt.
2 Trad. Salemi, F. 744: Canto di Carnevale/Trad. Messina: Tammuriddara/Trad. Castellammare del Golfo, F. 605:Assummata di lu corpu di la tunnara/Trad. Persia: Navaii
3 Anon. XII sec.: Congaudentes jubilemus
4 Peire Cardinal/Giacomo da Lentini: Ben m'è venuto
5 Trad. Catania: Assolo di marranzanu
6 Trad. Palermo, F. 141: A la viddanisca
7 Anon. XII sec: Natali regis glorie
8 Anon. XV sec: Dolce lo mio drudo
9 Trad. Trapani, F. 224: Vicariota
10 Anon. XII sec: Exultantes et letantes/Trad. Maletto: Ballettu
11 Trad. Resuttano: Sugnu vinutu di luntana via
12 Anon. XII sec: In hoc anni ciruclo
13 Anon. XII sec: Benedicamus Domino
14 Trad. Montedoro, F. 364: Montedoro
15 Trad. Partanna, F. 763: Richiami
16 Anon. XII sec: Resonet intonet
17 Trad. Persia/Palermo, F. 740: Parandoush/Chiovu 'Abballati
18 Anon. XII sec: Eia fratres
19 Surat mariam - 2 pt.
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Fabio Accurso: 'ud, voice, daf
Roberto Bolelli: voice, scattagnetti
Farzaneh Joorabchi: voice, setar
Nico Staiti: tammureddu, riqq, daf
Donato Sansone: friscalettu, symphonia, daf, voice
Faisal Taher: voice
Fabio Tricomi: vielle, lyre, tar, 'ud, friscalettu, pipe & tabor, zarb, tammureddu, daf, marranzanu, voice
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