As all of us truly informed Julian calendar-ites know, the real millennium doesn’t begin until January, 2001, and obviously that was the thinking behind releasing this millennium-themed recording now instead of last fall. Remarkably, the historical period and European-Christian perspective that imbues the music on this disc rings familiar–almost uncomfortably so–in its similarity to our own time and collective human concerns. Where in the 10th century the so-called civilized world was rife with war, political intrigue, and social conflict, we must admit that we haven’t progressed very far. Where we now have the capability to destroy the entire planet without supernatural help, the medieval world was equally focused on apocalyptic consequences, only it was centered around the cataclysmic events preceding the Last Judgment as ordained by God’s master plan for humankind. And where today we have many who boldly prophecy the exact date of the world’s end, so did medieval societies, where symbols perhaps meant even more than now, as church and lay people similarly wrestled with dates, times, and places, and urged Christians toward preparedness and unbelievers toward salvation.
The Christian church always has (wisely) kept matters of “the last days” and the afterlife at the forefront of the liturgy, official prayers, and celebrations throughout the church year. Advent and Ascension are two of the more obvious occasions for such a focus, and the inimitable foursome known as Anonymous 4 has chosen music from the Ascension mass–derived from various turn-of-the-millennium sources–for its latest recording.
No doubt this disc will accompany all of the other releases by this phenomenal quartet–phenomenal in every sense of the word–among the classics of programming, exemplary vocalism, and minimalist production techniques. While in some areas of music consistency is neither a virtue nor a key to commercial survival, in the case of Anonymous 4, its absolute devotion to a particular repertoire–medieval chant and polyphony–and vocal style–the purest, most natural, unadorned unity of sound–has made it arguably the most successful and popular early music group ever. No one who knows this ensemble’s work during the past 10 years will be the slightest bit disappointed by this beautifully conceived and executed program–complete with processional hymn, Ordinary and Proper chants (many with tropes, or musical/textual extensions), and with added improvised polyphony where appropriate. The music is entirely solemn and serious in tone–no dancing chants here–which is consistent with the mass’ functional aspect, but the perfectly joined unisons and vibrant open intervals create a sense of life and presence that transcends all physical standards of measurement. Whether the true millennium is this year or next–and whether the Last Judgment comes sooner or later–just make sure you hear this disc before it’s too late.
