The tireless pilgrimage of Llull to spread their Ars seems to nurture with new energy as are major the obstacles that cross the road. Llull wants to be present in all places and moments in the turbulent events of the 13th to 14th siecles transition. The news that the Mongols, allied with the Armenian Christians had attacked Muslim positions in Syria leads him directly to Cyprus, Armenia and the Holy Land. The last stages of his long life journey, protagonists of this album, set up one of the most representative combination of Llull and his ideas: an amalgam of music that joins sounds from Mediterranean coasts, the privileged space of Ramon Llull’s actions.
The first album of the trilogy devoted to Ramon Llull includes a selection of pieces that represents some of the most important genres of the time of Ramon Llull, as well as some of the most representative authors. It offers a musical journey that accompanies the first development stages of Lull’s life, since the moment that begins his radical change to the intellectual illumination, which is attributed to a divine origin-, and that will lead him to Ars. “Conversion, study and contemplation“ illustrates Ramon Llull ‘s youth devoted to sensual pleasures, love and the cultivation of troubadour lyric poetry, from the perspective of a person who left world vanities.
The music contained on this recording ranges from the earliest known - regrettably unflattering - mention of Danes in music in the 9th century to Danish songs from the 15th century. It includes 13th century Parisian polyphony found in a remarkable Danish source and Danish versions of songs from the international repertory and thus illustrates both a Danish contribution to European music and the musical contacts that Denmark enjoyed with the rest of Europe in the Middle Ages.
The selection of the title "The Sound of Medieval Flute" is not fortuitous and aims to intrigue those listeners who know that no medieval transverse flute finds have been reported so far. What kind of transverse flutes were played in medieval Europe and what they sounded like can only be intuited by piecing together a kaleidoscope of information preserved in the graphic arts, in literary and poetic works touching on the performance practice of medieval instrumental music , in folk music traditions using similar instruments and there is no hiding that anyway adding a certain measure of personal imagination to the mix.
I admit it was the cover that got my attention–first, the title, referring to an 1120-page manuscript collection containing the only existing original copies of pre-Reformation liturgical music from Nuremburg; second, the illustration, an illumination from the collection that depicts a wolf directing a choir of geese singing from a large music book, a hungry-looking fox sitting on hind-quarters just behind the choir. Upon listening to the music, I was reassured that there was more to appreciate here than the intriguing, colorful illustration and charming title.