We’ve trod this territory before–many times–with this group and others, most notably the Baltimore Consort (also on Dorian). Part of the reason is that this repertoire is just so universally appealing and so easily adaptable to varied interpretations and combinations of instruments. Listeners are fortunate that not only are there many recordings from which to choose but that the artistic and technical level on most of them is of such a high quality. This one is no exception. The three regular members of Hesperus–Tina Chancey (fiddle, treble & bass viols), Grant Herreid (lute, guitar, theorbo), and founder/artistic director Scot Reiss (recorders)–are masters of their musical domain and are among the world’s best early music practitioners. (They’re joined on this recording by viol specialist Jane Hershey.) They also have an interest in bringing today’s audiences to “early” music through unconventional means such as special theatrical or thematic programs or with experimental efforts to combine various modern and traditional styles.
This program is a familiar and fairly routine rendering of songs and dances by Byrd, Gibbons, Dowland, Playford, Morley, and some lesser-known (some anonymous) composers–but the familiarity and routineness is comfortingly so, done with such style and virtuosity that once again we can’t resist, even though we’re not hearing anything new. Only one track, the anonymous “Devision for a trible viol to play with a virginall” gave me pause, because the solo recorder is ever so slightly flat relative to the accompaniment. The sound is as close to perfect as we’ve come to expect from Dorian’s “home venue”, the Troy Savings Bank Music Hall in Troy, NY.
