Leuven Chansonier, vol. 2 "Au beau chastel"   /  Sollazzo Ensemble


peregrina.ch | dodax.es | medieval.org
Ambronay 059 | Passacaille 1109

Recorded: January 2021
Released: November 2022

1. Les desloyaux ont la saison  [2:52]

2. Ou beau chastel  [10:13]

3. Ce que ma bouche  [3:04]

4. Esperant que mon bien viendra  [4:19]

5. Quant ce vendra  [9:09]

6. Donnez l'aumosne  [3:39]

7. Le souvenir de vous me tue  [2:51]

8. Par malle bouche  [3:06]

9. Ma maitresse  [6:30]

10. Helas mon cueur tu m'occiras  [3:04]

11. Helas que pourra  [2:25]

12. Ave Regina  [2:30]

Sollazzo Ensemble
Anna Danilevskaia

Andrew Hallock — counter-tenor
Jonatan Alvarado, Lior Leibovici — tenor
Lukas Henning, Jan Van Outryve — lute
Adrien Reboisson — shawm & dulcian
Patrick Denecker — shawm
Rémi Lécorché — sackbut
Filipa Meneses, Anna Danilevskaia — vihuela de arco



medieval.org Remarks

24 January 2022
Todd M. McComb


Maybe it's my imagination, but it seems as though releases of significant repertory for this space have become more frequent. Maybe that's just a short trend of the moment, or maybe the proliferation of publishing will mean increasing access to this repertory in quality, contemporary interpretations....

In that, it's appealing — at least to me — when musicians put out material systematically, whether completing a composer's output, some thematic genre (perhaps), or of course a period source: Leuven Chansonnier 2 is an album of the latter sort, the second of an intended four volumes to render this newly discovered (in 2015) source.

I reviewed the first volume here back in 2019, noting its program around e.g. Ockeghem songs, as well as unica. Both continue into the second volume, although my impression is that the first program was generally stronger musically (& so we'll see about the third & fourth...). I also remarked upon the vocals & noted the prevalence of instrumental part doubling: This second volume continues with Ensemble Sollazzo under Anna Danilevskaia, then, but with different singers (to reflect the perspective of the songs, say the notes).

And there is, if anything, an even busier quality, including e.g. unusual doubling of voices by shawms. There's quite a concern with the orchestration here, combining alta & bassa capella in novel ways, generally doing alternations, etc. To me this suggests a lack of trust in the material.... But there are still intriguing items, and more attention is surely warranted. Some of these other chansons, some lengthy, may end up resonating more than their initial impressions. And the renditions do involve considerable skill (with many of the musicians being, apparently, of a younger generation).