Mala Punica

Motets of Johannes Ciconia (1370-1405)

Anon. Kyrie (Fa117, 79r-v)

O Padua sidus preclarum (Q15, 257v-258r)

O felix templum jubila (Q15, 223v-224r)

Albane misse celitus (Q15, 271v-272r)

Anon., Con lagreme bagnandomi il viso (Bux, 38)

Petrum Marcello Venetum (Q15, 248v-249r)

Merçé o morte (Pz, 18v-19r; BU, 51r)

O beatum incendium (Q15, 266v-167r)

Anon., Graduale: Universi qui te expectant (GT, 16)

Anon., Alleluia (Gua, 194v)

Anon., motet intabulation (Fa117, 93r-94r)

Anon., Antiphon: Hec est regina (SM572, fol. 141r)

Anon., Ave Regina Celorum (SM574, fols. 109v-110r)

Ut te per omnes (Q15 260v-261r; Ox213, 119v-120r)

Anon., basse dance intabulation (Fa117, 94v)

Anon., Benedicamus Domino (Ox229, 53v)

Anon., Deo gratias (Fa117, 79r-v)

Any self-respecting music festival ought to devote substantial space to ancient music, preferably featuring enticing pieces played by historically informed ensembles. This evening it is the turn of Mala Punica, a mixed-voice choir founded by Pedro Memelsdorff in 1987, which has come to specialise mostly in the late-medieval Ars subtilior style. The group has won numerous international prizes for the quality of its performances, underpinned by passionate musicological research into ancient sources. This concert focuses on the Flemish motets of Johannes Ciconia, which blend lush northern European polyphony with Venetian singability.