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Federica Bianchi – Aquila Altera. Early Keyboards (24/88 FLAC)

Federica Bianchi -  Aquila Altera. Early Keyboards (24/88 FLAC)
Federica Bianchi – Aquila Altera. Early Keyboards (24/88 FLAC)

HiRes FLAC

Composer: Jacopo Da Bologna, Andrea Antico, Francesco Lambardi, Girolamo Cavazzoni, Antonio Valente, Paolo Quagliati, Andrea Gabrieli, Francesco Landini, Ercole Pasquini
Performer: Federica Bianchi
Format: FLAC (tracks)
Label: Passacaille
Catalogue: PAS1111
Release: 2022
Size: 785 MB
Recovery: +3%
Scan: yes

01. Bologna: Codex Faenza: No. 49. Non na el so amante
02. Antico: Frottole intabulate da sonare organi, libro primo: No. 16. Per dolor mi bagno el viso
03. Lambardi: Toccata
04. anon.: Codex Faenza: No. 69. Ave maris stella
05. Cavazzoni: Intavolatura cioè recercari, canzoni, himni, magnificat: X. Ave maris stella
06. Valente: Intavolatura de cimbalo: No. 4. Chi la dirra disminuita
07. Bologna: Codex Faenza: No. 45. O ciecho mondo
08. Antico: Frottole intabulate da sonare organi, libro primo: No. 9. Occhi miei lassi
09. Quagliati: Il Transilvano, Pt. 1 – Venezia, 1597: IX. Toccata dell’ottavo tono
10. Bologna: Codex Faenza: No. 46. Aquila altera
11. Antico: Frottole intabulate da sonare organi, libro primo: No. 11. Animoso mio desire
12. Gabrieli: Ricercari, Libro 3: No. 8. Ricercar “Anchor che co’l partire”
13. Landini: Codex Faenza: No. 51. Che pena è questa al cor
14. Antico: Frottole intabulate da sonare organi, libro primo: No. 19. Le non vuol esser più mia
15. Diminuzioni sopra il madrigale “Ancor che col partire”

With this recording, Federica Bianchi explores the development of music for keyboard instruments from the beginning of the 15th century to the dawn of the Baroque period. The earliest works originate from the famous Codex Faenza (c. 1400-1420), a manuscript of secular songs arranged for keyboard instrument by composers such as Jacopo da Bologna and Guillaume de Machaut. The earliest printed collection (1517), devoted exclusively to music for keyboard instruments, marks another milestone in this development. Later works on this album include arrangements of Renaissance hits such as Ancor che col partire.


Federica Bianchi’s exploration of this repertoire takes her to the toccatas of the late 16th and early 17th centuries. Federica Bianchi plays this repertoire on three instruments built after historical models: a clavicymbalum after a design from the first half of the 15th century and two harpsichords after Italian models from the 16th and 17th centuries.

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