Performing early music–say, works from the 12th through 15th centuries–is a kind of time travel that often involves imagination as much as solid scholarship. We don’t always know exactly how the music was performed, nor do we always have a clear-cut understanding of the notation itself, so any recording of such music is unique by definition. Its rewards tend to be directly proportional to the performers’ creativity, imagination, and ability to integrate informed musicological concerns with viable performance practice. This uniquely satisfying and thought-provoking program of music that celebrates the cult of Marian worship in Europe from the 13th through 17th centuries is very long on rewards for the careful and serious listener–and will appeal to anyone who wants to experience the flavor and color of some of the most significant song repertoire of medieval and renaissance Europe.
Integrated in the music of these 29 selections, all from Spanish sources, are aspects of the Moorish, Sephardic, and Christian influences that dominated all of the arts in this part of the world during this period. All of the performers seem well acquainted with and completely attuned to this music, and present it in some of the most tasteful and attractive arrangements you’ll find anywhere among the dozens of recordings of similar repertoire. There’s a nifty “Benedicamus” performed by recorders and harp that you’re certain to want to hear again–immediately–just to make sure you heard it right the first time! And we’re treated to the unique sounds of the renaissance bass and “subbass” recorders on another track.
Mezzo Maria Jonas is particularly notable for her clear, expressive, well-focused sound whose rich-hued timbre perfectly complements the accompanying recorders and harps. (Listen to her lovely rendition of the gentle little disc-ending song from the Cantigas de Santa Maria, “Áy, Santa María”.) Her attentive, sensitive vocalism brings these texts to life and, in several a cappella passages, really makes us stop and listen even more carefully. Harpist Tom Daun, who plays Bohemian and Scottish instruments and gets a couple of solo tracks of his own, also is a standout. For those who care about such things, musical sources include the well-known Cantigas de Santa Maria and the Codex Las Huelgas as well as several less-familiar manuscripts. The sound is ideal–clear and intimate yet giving instruments and voice space to naturally sing and vibrate. Completing the package are excellent notes and translations. Early music fans, here’s another must for the collection. [7/5/2001]
