Medieval pilgrimage and devotion

Abstract

The recordings considered here span medieval music favourites from the estampies copied in the Chansonnier du Roi (Paris, Bibliothèque Nationale, fonds français 844) to the devotional music of composers John Dunstaple, Johannes de Lymburgia and Walter Frye. These discs also represent careful and innovative programming, introducing the listener to lesser-known works and showcasing the beauty and variety of their chosen repertory. There is much to enjoy and learn about through these outstanding new releases. Hic et nunc (Licanus cdm1641, rec 2016, 64′), performed by La Capella de Ministrers and directed by Caroles Magraner, draws its inspiration from the 13th-century pilgrimages of Raymond Lully. Lully lived at a time of great cultural change on his native island of Majorca, which had only recently been recaptured from Muslim control. His pilgrimages took him to countries bordering the Mediterranean Sea, including Italy, France, Tunisia and the Middle East. The performances therefore draw liberally on practices that include Arabic instruments and styles, presenting repertory that is found in European manuscripts as well as exploring improvisation and arrangement. The instrumental palette is appropriately wide, including vielle, cornamuse, duduk, gittern, citole, saz, oud and percussion, and this range of sounds is paced across the album so that pieces from divergent traditions are brought into dialogue and create a coherent and very beautiful sequence. Adam de la Halle’s Fi, maris, de vostre amour opens with a gentle, reedy organ before being joined by parallel melodic lines on strings and rhythmic percussion―a sensitive interpretation that reminds us that learned, clerical music is also well suited to entertainment. Those who know Alpha, bovi et leoni from the Las Huelgas Manuscript will enjoy its reflective instrumental version, which is introduced and accompanied by a single-pitched bell. Among the dance pieces, the Saltarello from the Chansonnier du Roi is played with conventional spirit on pipes and percussion, and there is delicacy in the estampies from the same source. The standout tracks, arguably, are those featuring music from North Africa, such as the wonderfully exuberant Zurni Trngi. Quant ay lo mòn consirat concludes the pilgrimage with a performance worthy of a medieval Catalan festival.