The German Baroque

Abstract

are so full of life (and, in fact, the stylistic variety is surprisingly great) that I can hardly imagine that being much of a risk with this group. If I have a complaint, it is that full translations are not given for the longer texts, but only summary paraphrases: an unnecessary economy in such a magnificent release. But this should prevent no one from purchasing what can only be described as an essential recording of English music. Finally, The rose, the lily and the whortleberry is another richly conceived production from the Orlando Consort (Harmonia Mundi HMu9o7398, rec 2005, 77' ), this time based on the idea of the medieval garden-it might be thought ironic in the present context, then, that the vast majority of the music on the disc comes from the 'Renaissance', but in fact musically the recording is very much conceived as a (naturally selective) chronological and geographical survey. And, indeed, it works very well as such: the differences in style between the two songs and two motets from France and the trio of English motets (Anonymous, Frye and Leonel Power, magnificently sung) are made extraordinarily vivid by the juxtaposition. And to muddy the waters further, the Orlandos then jump to Burgundy: Angus Smith's notes confidently assert that 'With these two songs from Burgundy our survey unequivocally leaves the Middle Ages behind and enters the Renaissance'! Of course, there is justification for the assertion, not least, as Smith also points out, in the changed social status of the composer, and he is careful to note too that polytextuality and rondeau form are certainly not 'Renaissance' qualities. There follow Spanish, French (again), Italian and Netherlandish sections, all thematically linked, whether song or motet, to floral imagery, and including some unusual repertory, though the music in the Spanish section is all relatively well known. (Incidentally, I know of no period pronunciation theory that could justify pronouncing aquella as though it were Italian.) Particular gems include Lupi's Vidi speciosam, Carpentras's five-voice Haec est illa dulcis rosa/Salve, Gombert's 0 flos campi and, perhaps above all, Phinot's magnificent Ecce to pulcher es. The Orlandos are to be congratulated for bringing so much unknown music of the highest quality to light, and clothing them in such sensitive performances.