Since its first recording in the 1980s, Fretwork has displayed a knack for interesting, uncommon programming, and this collection of songs and consort music by Ludwig Senfl (c. 1486-c. 1542/43) continues that tradition. A much younger contemporary of Josquin, the Swiss-born Senfl shone as a master of song-writing, although he also wrote many choral works and some instrumental music. The style is characterized by expansive, supremely independent melodies accompanied by full-textured, almost distractingly busy instrumental parts. There’s nothing quite like it among other composers of the period, and these top-notch performances, recorded in clear, vibrant sound, stand as prime examples of Senfl’s works for voice and viols.
Indeed, this generously programmed disc–more than 76 minutes–is one of a very few devoted to this composer, and it benefits from the involved, thoughtful musicianship and expressive interpretations by tenor Charles Daniels, whose experience as a solo artist and in his many years with the Orlando Consort shows in each expertly rendered phrase. Of course, some listeners will be put off in several of the songs by his overly inflected, affected delivery, and long before the endlessly repetitive six-plus-minute “Was sird es doch des Wunders noch” ends, we’ve ceased to be enamored of Daniels’ penetrating tone and hard-accented manner.
However, most of his singing gives warm life and character to the songs, presenting them in an appropriately personal style as one who has actually lived the stories they tell. Particularly notable are the quodlibets, where Daniels sings two songs at the same time(!), and the sets for viols, which remind us once again just how adept and stylish the Fretwork players are. There’s real passion in Senfl’s music–no timid or apologetic emotions on display here–and these performers capture it as well as or better than anyone. Listeners interested in this fascinating corner of Renaissance vocal music shouldn’t hesitate to investigate this unique, adventurous release. [9/23/2004]
