Fons Luminis. Codex Las Huelgas —
Ensemble Gilles Binchois
[27.5.2018]
A la venta dentro de unos días, el primero de junio.
evidenceclassics.com
Una sorpresa
Un regalo para los oídos
Una bendición
Y... ¡qué portada más bonita!
Concert donné le 28 juillet 2017 en l'Abbaye du Thoronet
dans le cadre des Rencontres Internationales de Musique Médiévale du Thoronet:
www.francemusique.fr
[27.5.2018]
medieval.org Remarks
http://www.medieval.org/emfaq/cds/remarks.html
24 August 2018
Todd M. McComb
———
Ensemble Gilles Binchois has returned, once again, to Notre Dame
repertory (or, in this case, the allied Codex Las Huelgas) with
Fons luminis, an anthology involving
a variety of genres from the period. I don't know that I really
have much to say about this new effort (once again) on Evidence
Classics, but do want to note here that I added it to
my personal list.
Performance practice seems to be quite advanced in this repertory
at this point, which is always a welcome development. I guess I
should add that it's something of a historical accident (with regard
to interpretive programs) that there are two versions of Perotin's
Sederunt principes on my list, but now none of its companion,
Viderunt omnes. Isn't it about time for someone to take
another pass at a "complete" Perotin album? (The present
program is entirely anonymous, which is certainly not an indication
of low quality, but does leave the pieces with less sense of history,
however illusory that might be.)
———
Fons luminis.
Codex Las Huelgas
Ensemble Gilles Binchois - Dominique Vellard
Evidence Classics
051
Ensemble Gilles Binchois has been involved with the Notre Dame
repertory — & this Las Huelgas program is undertaken in
relation to the Notre Dame repertory that dominates it — for
more than thirty years now, and so the interpretations continue to
gain in refinement. As the most recent issue, these interpretations
are particularly rich in detail. The Las Huelgas orientation also
brings justification for a female ensemble, and the resulting
variation in sounds & textures (with the all-male groups employed
on some tracks) is welcome as well.
Regarding the repertory, it's an interesting selection among a
relatively vast array of possibility. That it covers a variety of
forms is welcome, and various individual pieces do have distinctive
qualities, even as no particular pieces really stand out amidst the
repertory as a whole. (There are none of Perotin's massive quadruplex
pieces, for instance, although the concluding organum does have a
potent quality.)
Altogether, this program & interpretation do paint a vivid
musical picture, one of many that might be painted.
To medieval sacred list.
Todd M. McComb
[28.8.2018]