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The Lady of the song is not properly a princess. She is asked to "pour her wine and let her dew fall". It was probably dedicated to a real person. John is celebrated on the 24th so we are one week after. Branduardi is the speaking voice as in the first song , and the poetry is another story of painful love. On this song Francesca Torelli shows an excellent voice other than being an excellent guitarist and the orchestra director.

How can some people be so talented? However that's not the last song. The album is closed by a "Tarantella". Despite the most known tarantella, this one has a slow tempo and is an excellent instrumental featuring spinet and flute, two instruments very often used during the Renaissance in Rome and Naples. It's only after about 3 minutes that the percussion and the tambourines make it recognizable as a standard tarantella. A complex song made of at least three different sections.

So what to say of this album? As all the "Futuro Antico" collection it hasn't anything prog. It's ancient popular or classical music rediscovered and reinterpreted with the same ancient instruments. Who likes prog-folk with its roots in the past, like the mentioned Blackmore's Night, or even Pentangle, early Clannad or Malicorne will probably like also this.

A very interesting collection from a "cultural" point of view. A non-essential album for the prog world. An average rating. More than a Branduardi album, this should be considered as a collaboration between him and the orchestra "Ensemble Scintille di Musica" directed by Francesca Torelli. The tracks are grouped by "arguments", so there are 4 distinct "movements" but this is not so evident in the music so let's ignore it.

His music is conformantg to the actual standards in terms of melody and rhythms. A typical product of his times. Going one century back with a song by Michele Pesenti about is a natural place where Branduardi can put his voice. Also the fact that the song was composed by a lutist creates a strong connection with Angelo's natural musical environment.

Another song of the 15th Century from Farncesco Varoter death for lute and classical guitar. It's a song about the vanity of life from the point of view of a corpse Think to Pentangle or Stephen Grossman. Bartolomeo Tromboncino about is an interesting character. He was a criminal who also murdered his wife and had problems wherever he went but was very able in getting the favors of the powerful men so he finished at the court of Lucrezia Borgia.

Musically his genre was the predecessor of madrigals and he later became a madrigalist. Tromboncino is not his real name. He got this nick because he was a trombonist. Who is familiar with the early Branduardi could think that this is an original Branduardi's modern composition if it wasn't for the archaic Italian lyrics.

Benedetto Ferrari is deeply in Renaissance. He was famous as theorbo player. This is one of the less "easy" songs of this collection and respect to the previous songs it seems to be less suitable for Angelo's voice. Apparently it's between the 15th and 16th centuries. It's an excellent instrumental for who likes the genre. I don't know if Angelo plays anything on this track. Pietro Andrea ZIani - was organist and priests and is mostly known for his contribution in exporting the opera to Austria.

This composition is just a minuet very "standard" for Venice in that century. Not very impressive. A short anonymous with lyrics in Venician preceeds a very nice classical guitar piece. I was quite sure that it's played by Angelo who is mainly a violinist but also an excellent guitarist, but Branduardi is credited only for the vocals, so it's likely Francesca Torelly who plays.

The author was a lutist born in Milan in the middle of 15th Century. This is almost all that we know about him. This very good instrumental was probably a dance.

Baldassarre Donato is the author of this which is one of the best compositions of this collection. Next there's a madrigal of Vincenzo Bellaver , not the best album's thing in my opinion. A big classical guitar played like a harp? Johann Hieronymus Kapsberger born from German parents in Venice has been a very prolific composer, especially for "Chitarrone", a sort of big guitar with 14 unpaired strings. Francesco Varoter was probably "Francesco D'Ana", organist also known as Franciscus Venetus who lived between 15th and 16th century.

Claudio Monteverdi - is probably the most well known madrigals composer. His "Laudate Dominum" is of course a madrigal which combines the polyphony typical of the Renaissance music with the "continuous bass" of the baroque. Later he became one of the first opera composers.

The use of trumpet on part of this track is an unusual element. Alessandro Grandi - was Monteverdi's assistant and his music is early baroque. This is a good love song just a bit too bass for Angelo's vocal pitch.

He was a victim of the plague. Another Monteverdi's madrigal. As madrigals have always been the principal source of inspiration for Angelo Branduardi, this song is not too distant from the early Branduardi's "modern" works, specially in his early albums. A cymbal-based short instrumental from Varoter follows. It's only because of my proggy ears, but listening to this track I'm expecting to see Ian Anderson coming out suddenly.

Vincenzo Calestani - about is another madrigalist. This track is slow and sad. Very atmospheric. Cipriano De Rore - was a Fleming composer.

This madrigal is sung by a soprano and the French-Fleming school influence is clear. This song has I think a lot of contact points with prog. If I didn't know, I could have easily thought that it was a Branduardi's song. Mr Blackmore surely knows it as well.

As the opener, also the closer is by Carlo Pallavicino. Just 1 minute and half of Venetian baroque. Please forgive me if I have taken the opportunity of this album to make a bit of "history", but I think that knowing some about the composer helps in better appreciating the composition.

What does this album have to do with prog? Very few effectively. Apart of some songs which have parts that can be found in the music of Branduardi, Blackmore's Night, Pentangle and Malicorne, this is an album of classical music. I go for two stars only for this reason. If this wasn't a prog site it would have been a 3 stars album. So good, non-essential, but most of all, not prog. The music on the disc varies between classical themes and folklore, so exactly what you can expect of Branduardi, but most of the stuff is instrumental - and rather slow.

If you're looking for more proggy moments than on Angelo's regular output you probably will be disappointed, although the soundtrack-pace has allowed him to experiment a little more, if you're looking for ear-wigs like "Cogli la prima mela" you might be disappointed even more - although "Vanita di Vanita" has become an enduring classic and, together with the marvellous instrumental "Tema di Leonetta", the dreamy "La Canzone di Momo" and the medieval instrumental "Tema dell Villagio", it's worth the price of admission alone.

With several listens you may find that "La Canzone de Deserto" is another highlight, with its inspiration audibly coming from the Irish traditional "She moved through the fair", but Branduardi is taking it elsewhere and inventing the guitar-riff to "Amazzonia" a track that later appeared on "Il Ladro". This is a very sensitive song solely performed by Branduardi alone - and it's a grower. A personal 3. I think that Branduardi drew a line between "regular albums" and his forthcoming "Futuro Antico"-Project by then, saving those influences for the latter, while the folklore-touch did still play an important role on albums like this - making sure that after all it's still Branduardi you're listening to!

This is a very fine album with beautiful melodies and a happy, reflective instead of a sombre mood most of the time. The songs - other than on its predecessor - are mainly of superior quality, and given that "La Donna della Sera" for once my ears start complaining about "clanging drums" again here and "Tenera Nemica" are the weakest tracks on board - the both of them would have made outstanding tracks on "Si puo Fare" - the fan ought to be more than satisfied. Maurizio Fabrizio was back.

But, don't be mistaken, it's not his guitar delivering those outstanding moments in "I Santi" - it's Pedro Javier Gonzales! But for sure Fabrizio helped to make this album a coherent and convincing affair - he's a brilliant arranger, you know.

Another classic, as is the light-weight, joyous chant of "Le dodici Lune". How long did we have to wait to get stuff like that from this man again?

Songs in which his violin really starts to shine and the overall feel is uplifting? Songs in which the melodies enchant you and make you feel good? But for years we had been held short of joyous tracks like this coming one after another on ONE album of the man.

The soaring, atmospheric ballads are back again, too. I think that this kind of relaxed soundscapes was what Branduardi had been up for with "Indiani" on the previous album. But while he sadly failed on that - here he succeeded in every respect.

The great and sensitive musicianship of the whole ensemble coming through with every note - so I have to give them an extra-mention.