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Medieval & Renaissance Recordings of the Year - 2003
This year saw something of a rebound when it came to releases of medieval
and early Renaissance polyphony, and seemingly in the classical music
industry as a whole. While obtaining European recordings in the United
States continues to be something of a challenge, most items on this list
are more generally available. That was not by explicit design, but is
presumably a happy coincidence for the reader.
On a more personal note, this is the tenth year for which I have formally
selected a Recording of the Year. Readers are encouraged to consult
previous writeups for context regarding how selections are made.
The items on this year's listing all have distinct merit, but are also
rather evenly matched. There is essentially an "arc" from one to the
next, rather than categories into which they can be readily placed, as
in some previous years. I will consequently proceed directly with a
rundown.
Recording of the Year
Pierre de la Rue has long been under-represented on recording, although
that has been changing. Interpretations of his music often have difficulty
balancing its small-scale lyrical subtleties against larger formal
concerns, and given the relative lack of overtly ear-catching gestures
in this finely chiseled music, La Rue's following has been slow to form
with non-specialists. This year saw a recording which, while not a
significant upgrade over some of the best items already found in La Rue's
discography, is sure to help raise public interest in his music.
La Rue: Missa de Sancta Cruce / De Quadris: Lamentations
Clerks' Group - Edward Wickham
AS&V "Gaudeamus" 307
http://www.medieval.org/emfaq/cds/asv307.htm
Whereas it was rather easy to be critical of the Clerks' Group's early
attempts at late 15th century music, they continue to show an earnest
desire to progress as an ensemble and to build upon their successes with
further study & experimentation. Although the rather prolific pace of
their own discography mandates less time spent on a particular project
than might be desirable, and still leads to some uneven issues, there
are also notable successes. Their first recording devoted to La Rue is
just such a success, capturing the lyricism & formal drive of his music
together in one of his finest large-scale previously-unrecorded pieces.
Although balance problems continue to plague this ensemble, related
partly to their continued (and laudable) experiments with reading directly
from parts, the overall composure of this interpretation makes it one
of the most accomplished to appear. La Rue's motets have been recorded
before, but are a worthy addition to the program. The Quadris Lamentations
are forgettable, however.
Runners-up
Continuing the trend of established ensembles working & improving their
command of c.1500 polyphony, a notable recording devoted to Josquin also
appeared this year. Whereas the A Sei Voci series of Josquin's masses
had established a certain level of quality, it was only a matter of time
before one or more of those masses was released in a better interpretation
by someone else. Even in the case of Josquin, a composer with hundreds
of dedicated recordings, there are still many ways to improve upon
existing interpretations, and that is what we continue to see. Such
issues revolve around increased experience & command, especially as
younger musicians are able to hear & internalize the pioneering efforts
of older musicians.
Josquin
Pomerium - Alexander Blachly
Glissando 043
http://www.medieval.org/emfaq/cds/gli043.htm
Although the featured Missa Hercules dux Ferrarie is not necessarily
a personal favorite, Pomerium may have produced the most accomplished
recorded interpretation of a major c.1500 mass cycle to date. The
combination of lyricism, rhetorical gesture, and structural integrity
is indeed impressive. That level of accomplishment is also found in the
motets, especially Ut phebi radiis. Regarding the chansons, it is amazing
that a program dedicated to this music has not appeared in several years,
and in this case, I continue to consider a medium-sized choir of this
type to be too inflexible for c.1500 secular songs. There is some good
singing here, but we are still awaiting a truly satisfying recording of
Josquin's songs. That said, the mass cycle does raise standards, and
should prove to provide one more rung on an ascending ladder of quality.
---
Wrapping up the year's best releases of c.1500 polyphony, the A:N:S
Chorus returns with a third issue in their Obrecht series. Although
this program is not as striking as in their previous Obrecht releases,
the addition of two more previously unrecorded masses is critical to a
developing understanding of how Obrecht's works present themselves in
sound. Only a short time ago, he was even more neglected than La Rue,
but now we can begin to perceive some "standards" of Obrecht's idiom.
In this case, the Missa De Sancto Donatiano is an uneven work, based
more closely on the style of Ockeghem, whereas the Missa Sicut spina
rosam takes a similarly motivated style to a more masterful level.
The latter is sure to become a favorite in Obrecht's oeuvre.
Obrecht: Missa De Sancto Donatiano / Missa Sicut spina rosam
A:N:S Chorus - Janos Bali
Hungaroton 32192
http://www.medieval.org/emfaq/cds/hgr32192.htm
The A:N:S Chorus continues to be one of the most prepared and energetic
ensembles performing this repertory, and the present release does nothing
to change that impression.
---
Moving to somewhat earlier mass cycles, Walter Frye is starting to
build a real following on disc, with another fine recording of two (one
conjecturally attributed) of his melodious masses appearing this year.
Whereas the featured item here, the Missa Summe trinitati, is less
sumptuous than the better-known Missa Flos regalis, it is highly appealing
in its own way.
Northerne Wynde
Music of Walter Frye
Ferrara Ensemble - Crawford Young
Marc Aurel Edition 20018
http://www.medieval.org/emfaq/cds/mae20018.htm
This release also marks the entrance of the Ferrara Ensemble into the
realm of large-scale sacred music recordings, something they accomplish
admirably. Although their style can be considered typical of the Schola
Cantorum Basiliensis, they execute it with mastery. This is the most
clearly articulated recording yet to be devoted to Frye's masses.
---
In the era of Frye, of course Dufay was the best-known composer, and
while some masses of the era are secularly attributed to Dufay, others
are not. Some masses have been subsequently rejected as Dufay's, and
others have been added to his oeuvre, but one early conjectural attribution
which remains relatively unexamined is the Missa Puisque je vis. Although
we might never know the truth of its authorship, the cycle is of some
definite merit.
Dufay: Missa "Puisque je vis" / Motets
Binchois Consort - Andrew Kirkman
Hyperion 67368
http://www.medieval.org/emfaq/cds/hyp67368.htm
The Binchois Consort is another group of which I have been highly
critical in the past, even more so in their case. Such criticisms
were based upon the wandering pitch resulting from their approach
to intonation. However, here they seem to have solved some of these
issues, and the residual attention to detail between lines & motifs
gives their interpretation a tightly kaleidoscopic quality. Although
the characteristically English sonority of their voices is not really
to my taste, if they can continue to build upon these interpretive
strides, the Binchois Consort could provide a new level of intonational
detail in the interpretation of mid-15th century sacred polyphony.
---
Moving to a later era, and into the realm of instrumental music, a
series of variations by Festa may have been the most surprising discovery
of the year. Given new evidence regarding the attribution of pieces
once thought to be lost, this music becomes some of the earliest "learned"
instrumental ensemble polyphony, and does so in volume. Although not
as compelling as the best music of this era, there is a wealth of ideas
here, a virtual encyclopedia of Renaissance counterpoint.
Festa: 32 Variations sur "La Spagna"
Huelgas Ensemble - Paul van Nevel
Harmonia Mundi 801799 (SACD)
http://www.medieval.org/emfaq/cds/hmu1799.htm
The Huelgas Ensemble is another established group which continues
to refine its interpretations. Whereas the historical basis for the
instrumental combinations they often use may be debatable, the increasing
facility with which they develop characteristic sonorities from them can
only be seen as a blessing. This recording is also one of the first of
music this early to appear in the SACD format, in this case readable by
standard CD players too.
Presumably next year will see some less experienced performers find
their way onto this yearly summary, as they have in the past. That
this did not occur in 2003 is something I noticed only upon concluding
this writeup. Therefore, let me please extend a general greeting to all
younger musicians thinking about entering this field: We need you too!
And happy 2004 to all!
Todd M. McComb
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