Within the Labyrinth

Within the Labyrinth
Parthenia
Musevich Productions

Viol ensemble Parthenia (the name refers to a kind of dance) describes itself as an "ensemble that explores the extraordinary repertoire for viols from the 16th century to the 21st." However, given that the viol's heyday was from the 16th to the 18th centuries, the music on Within the Labyrinth is closer to the early end of the scale. In fact, all of Parthenia's selections for its first full-length CD are of 16th-century vintage.

As Early Music aficionados are aware, the viol has a sound distinct from that of the brighter, sharper violin. The viol's softer timbre was ideal for the chamber music which it habitually played. In fact, because of the upright position in which the viol is held for playing, it is almost impossible to get a sound of any stridency or force out of this instrument.

That is not to say, however, that Parthenia will put you to sleep. The four musicians who make up the quartet bring a wealth of knowledge and experience to the ensemble, and it is clearly audible in the precision and expression they evoke from material that, in lesser hands, could easily be muddied to the point of becoming unlistenable.

Their rendition of the "Suite from Ludi Musici"-a set of dances from the innovative early 17th-century German composer Samuel Scheidt-is energetic and lively while William Byrd's "Pavane and Galliard" is appropriately grave and stately. It is no wonder, then, that the ensemble has drawn accolades for their work.
The selections here are obviously carefully chosen, which contributes to the overall impact of this collection. The CD's title gives a clue as to the ensemble's intentions here; the pieces chosen are contemplative in nature, gently evocative in a way that encourages a meditative mindset in the listener, as opposed to a strong emotional reaction. Thomas Ravenscroft's "Browning Madame" is a good example; its effect is reminiscent of a winding path-through a labyrinth, perhaps-walked slowly and with attention.

Within the Labyrinth achieves a subtly spiritual effect, if one listens with the attention normally reserved for a live performance. However, it is also quite pleasant as background music, which the chamber ensembles of this period often were. Parthenia here achieves the difficult task of performing music that soothes the soul without putting the mind to sleep.

--Genevieve Williams