Codex Rohonczi

Tetraktys - O tu cara sciença mie musica - Works from the Squarcialupi Codex (2006) {Olive Music om 007}
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© 2006 Olive Music | om 007
Classical / Medieval / Early Music

The program is taken from the Squarcialupi Codex, a lavish manuscript of 14th-century Italian music, named after a 15th-century organist at the cathedral of Florence who came into possession of it. It is located in a Florence library but is now available in a very expensive facsimile. The music, all secular works originating in Florence, is grouped by composer (a portrait illuminates each group) and arranged in chronological order of their age. The first five composers have only six selections here, with the rest of the disc devoted to Bartolino and Andreas. The disc takes its title from Giovanni’s madrigal in praise of music, the first piece on the disc.

It's been 20 incredible years of psychedelic sound surfing with Shpongle and now we finally arrive at the magical maestros' 6th studio album, a visionary volume entitled Codex VI. Codex VI is a cosmic collection of mystical music from Simon Posford and co pilot Raja Ram in which their elucidation of hallucination reveals once again, a seemingly effortless mastery of inter-dimensional audio. Simon and Raja are known and loved all around the globe for creating the ultimate psychedelic soundtracks to our lives and Codex VI is a fantastic further instalment in the epic audio adventures of the Shpongle story.

Tetraktys - Codex Chantilly, Vol. 3 (2016) {Olive–Et'cetera KTC 1917}
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© 2016 Olive Music / Et'cetera | KTC 1917
Classical / Medieval / Early Music / 14th Century

This recording, the third CD of Tetraktys’ Chantilly codex project, contains the book’s two most famous works. These are the two Baude Cordier “picture songs,” and they are famous more for how they look than for how they sound. Currently bound at the start of the music section of the manuscript, one, “Belle bonne sage,” is notated on staves drawn in the shape of a heart, and the other, “Tout par compas,” is notated on staves drawn in the shape of a circle.

Tetraktys - Codex Chantilly, Vol. 2 (2008) {Olive–Et'cetera KTC 1905}
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© 2011 Olive Music / Et'cetera | KTC 1905
Classical / Medieval / Early Music / 14th Century

The Chantilly codex is the most sumptuous of the manuscripts transmitting the fascinating polyphonic songs of the late fourteenth-century France in a style known as the “ars subtilior”, the “more subtle art.” In the songs of this period,composers exerted themselves to express ever more complex rhythms, inventing new notational symbols to express them. The expression of the musical rhythm through notation was such a hot-button issue that a number of songs in the manuscript actually take it on as a topic, becoming self-referential essays about musical composition. In addition, the composers of this music worked in the great courts of Europe, and politics and political events invariably made their way into the song repertory.

Tetraktys - Codex Chantilly, Vol. 1 (2008) {Olive–Et'cetera KTC 1900}
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© 2008 Olive Music / Et'cetera | KTC 1900
Classical / Medieval / Early Music / 14th Century

The most significant among the so-called Ars Subtilior Mss. is the codex which today lies in the Musée Condé in Chantilly. Recent research suggests that the repertory of this codex originated in South-Western France, insofar as this is not part of the general French repertory of the time. It is clear that both music and texts were intended for, and/or commissioned by the courts of in particular Gaston Fébus, count of Foix and Beam (1343-1391), John I, king of Aragon (1350-1395) and Jean, Duc de Berry (1340-1416). The 112 polyphonic compositions comprise 99 songs and 13 motets, among which the 70 ballades predominate, though there are also 17 rondeaux and 12 virelais.