Having opened the package containing this disc and read its
contents I thought instantly that this might well give us a
very good overview of the most famous Holy Virgin-ecntred pieces
from the 12th to 15th centuries. I’m
not sure why the title should be ‘In the Tavern’.
There’s no real connection except for one track, but never
mind. In any case we do get ‘standards’ such as
Vaqueiras’s Kalenda Maya, Richard I’s Ja
nuns hons pris and dances such as the oft-recorded Ductias
and Estampies and the famous Lamento di Tristano.
You can add to the honour roll May Day songs and extracts from
the Carmina Burana and The Play of Daniel some
of which could, I suppose, have been heard in a tavern. All
that said, I have to tell you immediately that I cannot recommend
this disc. I will explain why as we go through.
Originally recorded for the Italian Rivo Alto label the first
thing that struck me as odd was the recorded balance. Whereas
the instrumentalists seemed to be positioned in a handy hall
the voices appear to be in some distant bathroom. The singing
itself may well be thought of as a little unpleasant and rather
distant. The singers often lack sensitivity and the words can
be sound indistinct. No texts are supplied in the booklet which
is one thing. The fact that there are quite a number of tracks
including no fewer than nine all at once at the end of the disc
that include speech does not improve the situation. Things are
hardly ameliorated by some of the songs having verbal declamation
in what appears to be a Paduan dialect. I know that this is
a budget label but under such circumstances a resumé
of at least some of the songs and readings would have been appropriate.
If you have good Italian then I would imagine there’s
no problem.
I have other versions of most of these pieces and if I wanted
could find the texts and translations elsewhere but if the repertoire
is new to you then obviously that’s not possible. On the
other hand if you just want the music to play as background
to give a certain ambience to your party or evening then that’s
fine. Anyway the instrumental work is very skilful and enjoyable.
The tracks are well contrasted and there is much colour from
percussion, hurdy-gurdys, crumhorns, bombards, lute and recorders
to name just a few instruments.
The interesting booklet notes by Susannah Howe give a ‘state
of play’ introduction to music in the differing centres
of medieval Europe. She cites the contrast between the Troubadours
of France and the German Minnesänger. She also highlights
the importance of Italy. After all the sonnets and poems are
by Marsilio da Carrare, Francesco di Vannozo and Nicoló
de Rossi all from the fourteenth century. These items are set
alongside several contemporary pieces though, strangely enough,
there are no pieces by the greatest Italian composer of the
fourteenth century, Francesco Landini.
Altogether a bit of an oddity.
Gary Higginson
Track-listing
Nicoló de ROSSI (1290-1350)
Paduanus (1308) [0.51]
Tre fontane [1.20]
A l’entrada del tens clar [2.40]
VII Estampie royale [2.05]
Amor con un carcasso c.1470 [1.09]
Astra tenenti from Ludus Danielis [2.33]
Raimbaut de VAQUEIRAS (12 th
Cent)
Kalenda Maya [2.37]
Moniot D’ARRAS (13 th
cent)
Ce fu un mai [3.13]
Salterello [1.46]
E vussi’ rebaltar [1.25]
Conductus from Ludus Danielis [1.32]
Ductia I [2.08]
Richard I (1157-1199)
Ja nuns hons pris [7.09]
Trotto [1.39]
Frelo, el me vien [1.26]
In taberna from Carmina Burana [2.09]
Colin MUSET (c1200- 1250)
In may [3.03]
Quen a festa - Cantigas de Sancta Maria [2.53]
Sonetus domini Elisei [1.10]
Lamento di Tristrano [2.35]
Rotta [0.57]
V Estampie royale [3.35]
Marsilio DE CARRARA (1254-1328) and
Francesco di VANNOZZO (c.1330-c.1389)
Dominus Marsilius de Carraria ad [1.08]
Responso Francisci Vanocli [1/11]
Padiuanus quidam [1.21]
Antedicuts [1.13]
Si no se ne ha ben [1.12]
Vilanesco [1.20]
Paduanus quidam 2 [1.05]
E fu in su [1.15]
Sonetus domini Helisay patavini [1.16]
Cort Antica with Francesco Bisetto (narrator)