Depending
on your point of view, you will either find this CD invigorating
or uncompromising - or both. From the opening notes, it
is clear that we are in for a fascinating recital. The
group has a direct, open sound reminiscent of Musica Reservata.
The music is presented without any soft edges. Not everyone
will like this, but even fifteen years after the CD’s first
release it makes a refreshing change.
It
is not just the group’s delivery which fits into this refreshing/uncompromising
category. Director Christopher Page has decided to present
all of the secular vocal music unaccompanied. Andrew Lawrence-King
(harp) and Christopher Wilson (vihuela) are heard only
in solo instrumental movements. Gothic Voices - in the
form of Evelyn Tubb, Margaret Philpot, Rogers Covey-Crump,
Andrew Tusa, Julian Podger, Leigh Nixon, Donald Greig,
Stephen Charlesworth - sing everything without instrumental
accompaniment.
Page’s
argument is that much of the 15
th century repertoire
is presented in highly speculative versions and that it
is about time we heard the music with voices alone. This
works very well and you never feel that there is something
missing. It also means that the secular pieces lack that
rather generic up-tempo instrumental and percussion beat
which can become too common in this repertoire; catchy
certainly, but inhibiting also. Here the music is presented
on its own, and the voices never feel unsupported. Page’s
singers confidently present us with a stimulating new perspective
on old material.
Singing
the secular items unaccompanied enables Page to create
a recital based on both secular and sacred items without
any awkward joins. Instead we get a fascinatingly seamless
narrative where prayers to the Virgin Mary run cheek by
jowl with love songs.
Much
of the material on the disc is anonymous. Many of the secular
items come from surviving song-books, often created for
Royal or noble personnel. We do know some names. Penalosa,
who created both secular and sacred pieces, was a member
of the Royal Chapel. Juan del Encina trained in the household
of the Duke of Salamanca and wrote two of the striking
numbers on the disc:
Mi libertad en sosiego and
Los
sospiros no sosiegan.
Of
the 23 items on the disc, eight are instrumental played
either by Christopher Wilson or Andrew Lawrence King.
This
is one of those recitals which does not attempt to manipulate
the material to suit modern ideas of performance practice
and recital technique. Instead we are introduced to a remarkable
new world. Here the sounds are fascinating and different
and sacred and secular rub shoulders in a manner which
is probably very medieval. The pronunciation used is period
as well, with both the sacred and secular pieces sounding
remarkably exotic.
You
could probably argue, however, that Page’s aesthetic is
just as modern as the voice and instrument arrangements
of this repertoire. But the virtue of this disc is that
it does not take the easy option, the songs are performed
here in vivid and vital performances which are not always
immediately graceful or easy on the ear. Too often songs
from this period can turn into a high class version of
easy listening. Page and his Gothic Voices make us listen
again and re-tune our ears.
Robert Hugill
see also review by Brian Wilson
Christopher Wilson (vihuela) (2) 
