THE RENAISSANCE ALBUM
Various artists
Windham Hill Records, 1540 Broadway, New York, NY 10036
The fittingly named Renaissance
Album is a compilation of 17 tracks of mostly 16th-century music
played on period instruments (although a few performers use contemporary
instruments such as steel-strung guitars, pianos, and electric
violin, generally to good effect). Although the level of performance
and musicianship is of a high standard throughout, there are
exceptions. Nevertheless, the overall result provides the listener
with an hour of quality musical entertainment drawn from or inspired
by the Elizabethan era.
Generally, this CD stays away from the darker aspects
so beloved by Renaissance composers of English and Spanish tunesmiths.
A notable exception is Lisa Lynne's bittersweet harp setting
of "How Sweet the Torment" by Claudio Monteverdi, the
Venetian who invented opera. More formal contributions come from
the classically-oriented Piffaro, the Ensemble de Medici, and
the Baltimore Consort.
While much of the music is from England's overlooked
(or underrated) composers such as Orlando Gibbons, Thomas Morley,
and Philip Rosseter, it's pleasing to see Italian, French, and
Spanish compositions included, for these give the album breadth
and scopeto say nothing of variety and balance. For reasons that
escape me, the collection includes one contemporary composition,
Liz Story's "Piéces on l'aire," which is certainly
not the CD's best track but nonetheless provides three minutes
of pleasant listening.
By way of contrast, the Baltimore Consort infuses
an anonymous French dance piece with so much foot-stomping vitality
that one is almost tempted to say, "It rocks!" Of interest
is David Arkenstone's creative setting of one of Monteverdi's
best devotional pieces, here arranged for keyboards, cittern,
mandolin, and polyphonic vocals. The result is otherworldly and
shows that modern instruments and recording techniques can be
employed tastefully to an interpretation of ancient music.
On a more sour note, the CD concludes with two tracks
that have no place in the often distinguished company they follow.
In the penultimate track, Michael Hedges takes one of the finest
pieces to come out of Renaissance Spain, Alonso Mudarras "Fantasia
X," and turns it into a harsh romp, its intrinsic charm
obliterated by a graceless arrangement and an artless rhythm
guitar. The CD closes with an egregious offering from Ann and
Nancy Wilson performing "My Thing Is My Own." Ann Wilson's
voice is harsh, unschooled, and utterly unsuited to artistic
demands of quality Renaissance music.
Obviously, The Renaissance Album is not without its
flaws. Purists might want to look elsewhere for their musical
pleasures, but the majority of listeners drawn to early music
will find much here that is worthwhile, entertaining, and, at
times, remarkably innovative.
Marc Cramer
© 1999
Shelton CT 06484 USA
(800) 232-2224 voice
(800) 775-2729 fax
LadyJanet@RenaissanceMagazine.com