Walter Frye was one of the bright lights among composers associated with the Burgundian court of Charles the Bold (1467-77). On the basis of this and several other recordings, it’s easy to see why he was so highly regarded–along with such other luminaries as Antoine Busnois and Johannes Ockeghem. The lines are remarkably fluid and charged with an innate energy that gives each vocal part both prominence and inevitable momentum. Harmonies are sturdy and boldly stated, but it’s clear that the controlling force is melody, which flows with often surprisingly ornate contours, interwoven with similarly intricate counterparts among the other vocal lines.
The voices of the Switzerland-based Ferrara Ensemble, which are used in varying configurations depending on the piece, make an excellent sound no matter what the combination, sustaining a high degree of energy throughout the long-ish mass movements. Between several of the mass sections we hear instrumental versions of some of Frye’s songs, such as So ys emprentid, Alas alas, and Ave regina coelorum. In one of the disc’s highlights, alto Lena Susanne Norin sings O florens rosa, accompanied by viola and harp. Anyone who questions the appeal of a 15th-century song to 21st-century ears must hear this exquisitely beautiful gem. If you want to hear the above-mentioned instrumental selections in their vocal versions, check out the Orlando Consort’s Ave regina coelorum (Harmonia Mundi–type Q5660 in Search Reviews) and the Clerk’s Group’s Alas alas (Signum–review number Q2189). This is a must-have for early music fans, and makes a nice companion to the Ferrara’s earlier disc, The Whyte Rose (Arcana–review number Q358), which explores both the music of Frye and other composers from the same time and place. The sound is ideal. [4/5/2003]
