This is a lovely program of mostly secular vocal and instrumental works of the Burgundian school when it was at its creative zenith. The influence of the pre-eminent composer during this period, Guillaume Dufay (represented by six selections), of course looms large, though the ensemble Allegorie’s scope here also is unusually broad. Included, for instance, is a spicy Italian Saltarello and Parlamento (featuring a constantly evolving array of instrumental dialogues), German settings from the Lochamer Liederbuch, Buxheimer Orgelbuch, and Paumann’s Fundamentum Organisandi, as well as the alluring “Pues no mejora mi suerte” from the famous Spanish codex Cancionero de la Colombina.
Allegorie delivers expert, accomplished performances throughout that equal or better other ensembles offering similar programs. For example, in Dufay’s “Bon Jour, bon Mois” tenor Francisco Orozco’s slightly slower, more emotionally transparent rendering now outclasses countertenor Rene Jacobs’ longstanding and still fine effort with Syntagma Musicum (Teldec). In one of two selections from the Bayeux Manuscript, “Hellas! Mon coeur n’est pas a moy”, Allegorie’s additional instrumentation heightens this introspective love song’s sense of anticipation and hope compared with Freiderike Schulz’s more resigned a cappella rendition with Convivencia (I’empreinte Digitale).
The sound is first rate; the presentation is stunning. Throughout the years there have been many programs devoted to this period, though few are as comprehensive, thought-provoking, and fundamentally enjoyable as this one. Highly recommended.
