Codex caioni

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XVIII-21 le Baroque Nomade
Jean-Christophe Frisch direction
Cyrille Gerstenhaber (CG), soprano, Adriana Epstein (AE), mezzo-soprano Sébastien Obrecht (SO), tenor Ion Dimieru (ID), baritone Mihail Ghiga, violin Kovàcs Làszlo, violin Adorjàn Csaba, viola and bratsch Lazar Zsombor, cello and bratsch Jean-Christophe Frisch, transverse flute Emmanuelle Guigues, viola da gamba and kamanche RémiCassaigne, theorbo and guitar Jean-Luc Ho, harpsichord and organ Pierre Rigopoulos, davul, zarb and wooden spoons Virag Imola ,Virag Endre, dancers.

Codex Caioni
Chronicles of a Transylvanian Wedding Day Morning at the castle 1 - Lepus intra sata quiescit, N° 233 -78-336, (CG puis tutti) 2 - Kovacs Nota Smidt Curranta, N°146, [ Michael Praetorius ] 3 - Audite Sancti, N° 308, [ Giacomo Carissimi ](CG, SO, ID) 4 - Ötödik Tancz hatodon, Apor Lazar Tancza, Paikos Tancz, N° 255-266-251 At the church 5 - Judea et Jerusalem, N° 183 (AE, SO, ID) 6 - O Anima mea suspira, N° 311, Johannes Caioni (CG) 7 - Misericordias, Duo vioneli (ID) N° 352, 8 - Salve Regina, N° 64 (CG, AE) 9 - Csardas, tradition de Mesösègi. Little entertainment of the Devil for the bride and groom 10 - Iratus sum, N° 317 (CG, AEID) 11 - Dialogus, N° 290 [ Gasparo Casati ] (CG, AE ID) 12 - Csardas, tradition de Satu Mare / Szatmari Banquet 13 - O quales Flores N° 313 [ Johannes Caioni ] (SO) 14 - Sarabanda Gesneri N° 343 15 - Sarabanda 2 Violinis N° 346 16 - Lupul Vaidane Eneke [paroles Oana Ghiga] (CG puis tutti) N° 264 17 - Ricercare del secondo tuono, Luzzasco Luzzaschi, in Il Transilvano, 18 - Pargamasca, CodexVietoris / Marco Ucellini 6’57 1’26 4’13 3’14 1’23 4’32 3’08 2’30 6’04 2’30 4’41 3’18 3’46 1’08 1’10 10’00 1’33 4’40

Fugio nec tantum exulto, La la clamant neque ausculto : Quod si canum premor ore, Nihil ago præ horrore, Sed Salto Venator a longe me iuvet, Cepi prædam inquit et ridet : Quod fi propinquem dumeto Densos statim Saltus peto, Sum liber.

Portrait of the Artist as a Hare The « CodexCaioni 1» was the personal manuscript of the organist of a remote monastery in Transylvania but, as we shall see, it contains riches that are of much more than purely local interest. One piece in particular — the first one on this recording — seems to be of special importance. It occurs three times in three different versions in the manuscript, and appears to be autobiographical: a self-portrait,as a hare, of the author of the manuscript, Johannes Caioni. Johannes Caioni [Ioan Caianu, Kajoni Janos] was born into the Orthodox faith in 1629 but was converted to Catholicism in 1648, and he became a Franciscan in 1650. His many-sided activities attracted the attention of Pope Innocent XI, who appointed him vicar general of Transylvania in 1676. He soon gave up that position, however, to devotehis time to tasks of a less administrative nature. Typical of seventeenth-century humanists, Caioni had wide interests. He was not only a musician, but also a collector of church and secular music, an organ builder and restorer, a publisher and printer; he was well known as a teacher, theologian and philosopher; he was interested in herbal medicine; and he was the first Transylvanian musician togain a European reputation. When he died in 1687 he was prior of the Franciscan monastery of Lazarea (Szárhegy) in present-day Romania. At a time when persecution, intolerance and wars of religion were the general rule in Europe, the Edict of Torda (now Turda) of 1568 had proclaimed religious tolerance in the principality of Transylvania. But that did not prevent Caioni from suffering muchhostility and pressure in the course of his life. The Hungarian nobility found it hard to accept that a Franciscan from Wallachia had attained the high position of vicar general. And that must have been one of the reasons for his resignation, just a few months after his appointment. We may imagine that his conversion to Catholicism (in order to be able to continue his studies) had also been an...
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