These kinds of programs have been done many times before–you know, “recreations” and “reconstructions” of songs from medieval times, especially from such sources as King Alfonso X’s Cantigas de Santa Maria. However, in this case, the excellent musicians of The Dufay Collective have decided to focus not on Marian-themed texts but on secular poetry and songs that “may have been heard” at the 13th-century Spanish court–a subject for which poetic manuscripts exist but without accompanying music. Of course, modern musical scholarship can be a wonderful thing, and in this case it proves quite wonderful indeed–the group’s own realizations, adaptations, and carefully judged musical reconstructions are drawn from contemporary sources or, in the case of the instrumental pieces, derive from period style and even from the particular character, color, and life-forces of the instruments themselves, instruments such as the psaltery, vielle, oud, saz, harp, and various percussion. And don’t forget the voice, which here ranges from plaintive, extended, solo improvisatory expression to straight-ahead, highly rhythmic ensemble chanting. This latter refers to a tune from the Cantigas de Santa Maria, usually heard to the Marian text “Como poden per sas culpas” but here set to a secular–and overtly sexual–one by Joam García de Guilhade.
The second half of the program consists of seven songs by the troubadour Martin Codax, important for the fact that nearly all of these 13th-century poems exist with their original musical accompaniment. While there always remains the question as to exactly what instruments would have been used, the Dufay musicians seem to make decisions in this regard that at least are consistently appealing to the ear while enhancing the mood of the text and capturing the song’s essential rhythmic character.
The performances, both vocal and instrumental, are alternately lively, catchy, and moody, but always involving, infectious, and very colorful regarding combinations of instruments and vocal timbres. Yes, there are many recordings that explore similar territory, and do it with exemplary professionalism and artistic integrity; but this one, which is recorded in ideal sound, is among the best, and because of its unique musical approach to these troubadour songs becomes an essential acquisition for all serious early-music fans who want to wander over to the secular side of Alfonso’s fascinating world. [1/19/2005]
