Very little is known about Matteo da Perugia. His life is poorly documented, and even the dates of his birth and death remain unknown. He served as principal singer at Milan Cathedral during two distinct periods (1402–1407 and 1414–1416), at a time when the previous church had collapsed (1386) and reconstruction was still in progress.
Of great importance is the fact that Matteo was part of the entourage of Pietro Filargo da Candia, Archbishop of Milan from 1402, who was later elected pope under the name of Alexander V (1409).
An examination of Matteo’s musical output reveals a striking degree of structural coherence, expressive and linguistic tension, and an exceptional boldness in melodic and rhythmic innovation. These characteristics clearly anticipate the emergence of a new polyphonic language, commonly associated with the figure of Guillaume Dufay, which would profoundly transform the history of music in the early decades of the fifteenth century. An important aspect is how he perceives the relationship between text and music, in an intimate and direct way,
The source of the music recorded on this album is the Modena Codex. From a corpus of more than forty sacred and secular works, twelve compositions have been selected (four ballades, three virelais, three rondeaux, one Italian ballata, and the sole surviving canon). This selection aims to present a composer whose output demonstrates a remarkable capacity for invention, capable of conveying beauty and eliciting pleasure, admiration, and respect.
Founded in 1991, the MiniM Ensemble initially aimed to explore a specific area of contemporary musical language. Beginning in 2019, the ensemble began exploring medieval repertoire, focusing on "complex" music, particularly that of the so-called "Ars subtilior". Seminars held by Kees Boeke at the Palermo Conservatory — focused on some of the most important musical sources of the period - such as the Chantilly and Modena manuscripts, were crucial in developing the ensemble’s expertise in medieval repertoire. In 2024, the ensemble created its own version, with instruments and male and female voices, of Guillaume de Machaut's Messe de Nostre Dame.
