1. Surat Mariam - I parte 3.49
2. Canto di Carnevale Trad. Salemi (TP), F. 744
Tammuriddara - Trad. Messina *
Assummata di lu corpu di la tunnara
Trad. Castellammare del Golfo (TP), F. 605
Navaii - Trad. Persia 7.02
3. Congaudentes iubilemus - Anon. XII sec. 2.13
4. Ben m'è venuto
XIII sec., Peire Cardinal - Giacomo da Lentini 4.25
5. Assolo di marranzanu - Trad. Catania * 3.04
6. A la viddanisca - Trad. Palermo, F. 141 4.47
7. Natali regis glorie - Anon. XII sec. 3.29
8. Dolce lo mio drudo - Anon. XV sec
(Testo Letterario: XIII sec., Federico II ?) 6.46
9. Vicariota - Trad. Trapani, F. 224 * 5.22
10. Exultantes et letantes - Anon. XII sec
Ballettu - Trad. Maletto (CT) * 4.08
11. Sugnu vinutu di luntana via - Trad. Resuttano (CL) 1.50
12. In hoc anni circulo - Anon. XII sec 2.54
13. Benedicamus Domino - Anon. XII sec. 1.31
14. Montedoro - Trad. Montedoro (CL), F. 364 4.46
15. Richiami - Trad. Partanna (PA), F. 763 * 2.30
16. Resonet intonet - Anon. XII sec. 3.20
17. Parandoush / Chiovu 'Abballati' - Trad. Persia / Palermo, F. 740 4.18
18. Eia fratres - Anon. XII sec 3.45
19. Surat Mariam - II parte 4.53
* instrumental track
Conceived, recorded and produced by Giulio Cesare Ricci
Recording assistant Paola Liberato
Neumann U47, M49 tube microphones
Nagra microphone preamplifiers
Nagra 4s analog recorders
line, microphone and power cables: Signoricci
The original analog masters were transferred directly from Nagra 4s to DSD
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Abballati, Abballati! is an album containing pieces come mainly from two collections: the "Troparium de Catania" from the 12th century, conserved in the National Library of Madrid (ms. 19421) transcribed by David Hiley, and the "Corpus of Sicilian Folk Music" (Palermo, 1957) which contains pieces collected directly from the people by Alberto Favara about a century ago.
The instruments used appear coherent with the variety of the repertoire, so that alongside instruments of the cultured Middle Ages, we find those of the Sicilian and Middle Eastern tradition.
While the Sicilian quality of the "Corpus Favara" is unquestionable, the Catanese quality of the "Tropari" is derived from the fact that those pieces, stylistically similar to sacred music that at that time was performed a bit throughout Europe, were copied in Sicily for use in the liturgical services in the Catania Cathedral.
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