Opinions will vary over
this set: some may call it a good way to acquire a wide
mix of medieval music quickly; others may call it an attempt
by Naxos to shift some samples of its less popular repertoire
and capitalise shamelessly on a famous name. You decide.
Everything in this collection
has been previously released by Naxos in various different
guises. They have been gathered together here under the
most tenuous auspices imaginable! There is virtually no
direct link to the Templars
whatsoever here! The
booklet notes don’t even claim one! Instead each CD has
a brief historical blurb about the Templar order: beginning,
growth and decline. Once this - non-musical - introduction
has been put out of the way, they give a very brief, generalised
discussion of the music with no texts or translations,
by the way. This never attempts to link it directly to
the Order, merely suggesting that if a Templar was alive
in the Middle Ages then this is the sort of thing that
he just might have heard. All this makes the whole Templar
conceit rather ridiculous! It would probably have been
more honest - if less catchy - if Naxos simply to market
this set for what it is: an endearing collection of a broad
range of medieval music, both sacred and secular. On those
terms it is actually very attractive indeed.
Variety is the key to
the first disc. There is both sacred and secular music
on offer here, from poignant Crusader songs (tracks 1 to
3), rumbustious settings of
Carmina Burana and anonymous
laments, through to the visionary, ecstatic settings of
the famous Hildegard of Bingen. Everything on this disc
is very well done: the exposed instrumental playing is
very fine, with caring attention to the historical detail
of the instruments themselves. Similarly the singing in
the sacred moments is effectively sonorous and evocative.
Equal credit goes to the engineers here for capturing such
a convincing church acoustic. There are some nice surprises
here, such as the
Cantigas by King Alfonso The Wise
of Castile.
Disc 2 consists completely
of Gregorian Chant, which presumably a Templar would have
heard while he was in church?. I’m no expert in this kind
of music and there’s an element in which it all sounds
the same; though it’s worth saying that in many cases that
is exactly the point. It is sung very clearly and accurately
by the Nuova Schola Gregoriana, however, and again the
church acoustic is very evocative and convincing.
The third disc is the
most revelatory, though here the Templar connection is
the most distant of all. It presents music from different
traditions and courts that surrounded the Mediterranean
around the times of the Crusades. Western European elements
are represented by some vividly sung choruses (tracks 1
to 3) which represent secular concerns such as love, the
awakening of Spring and drinking. Similarly there are sacred
manuscripts from Florence and Germany. The most interesting
music on this disc, however, is the contrasting music that
was coming out of the contemporary Levant. The Syrian Dinaresade
is a surprisingly hypnotic piece whose purpose was to draw
the listener into the music as a way of meditating and
transcending his environment. The Croatian and Arab elements
show a mingling of the traditions of East and West, while
the works of Yunus Emre show how the Turks were responding
to their own mystical traditions.
All of the music on this
set is well performed and the presentation box is attractive.
Don’t buy this set if you want to find out about the musical
traditions of the Templars, however, because it will get
you almost nowhere. If, on the other hand, you’d like to
dip into medieval music and sample a very wide variety
at very little cost then this set is as good a place as
any to make a start.
Simon Thompson
see also reviews by Gary
Higginson and Brian Wilson
Full Track-List
CD 1 – Music for a Knight [65:34]
1. Walther von der Vogelweide (1170-1230)
Palastinalied
[03:07]
2. Richard I “Coeur de Lion” (1157-1199)
Ja
nuls homs pris [2:22]
3. Blondel de Nesle (1180–1200)
A
l'entrant d'este que li tens s'agence [4:07]
4. Alfonso X (EL Sabio) (1221-1284)
Cantiga
No. 60, "Entre Av'e Eva" [2:19]
5. Anonymous
Chominciamento
di gioia: Saltarello No. 1 [2:35]
6. Anonymous
Carmina
Burana: Clauso Cronos [3:38]
7. Alfonso X (EL Sabio) (1221-1284)
Cantiga
No. 213, " Quen serve Santa Maria" [5:42]
8. Anonymous
Carmina
Burana: Axe Phebus aureo [5:48]
9. Anonymous
Carmina
Burana: Katerine collaudemus [3:28]
10. Hildegard of Bingen (1098-1179)
O
pastor animarum [1:23]
11. Raimbaut de Vaqueiras (1150–1207)
Kalenda
maya [2:24]
12. Anonymous
Kyrie
eleison (Ambrosian Chant) [1:33]
13. Perotin (1180-1225)
Viderunt
omnes: Notum fecit [3:55]
14. Hildegard of Bingen (1098-1179)
Kyrie
eleison [4:27]
15. Anonymous
Vetus
abit littera [2:23]
16. Hildegard of Bingen (1098-1179)
Alleluia,
O virga mediatrix [3:33]
17. Anonymous
Estampie
[2:34]
18. Anonymous
Lamento
di Tristano: La Rotta [4:30]
19. Anonymous
A
la nana [3:11]
20. Anonymous
Guardame
las vacas [2:16]
Estampie
(1-3, 11, 17); Ensemble Unicorn (4-7, 18); Oni Wytars Ensemble
(8, 9); Oxford Camerata/Jeremy Summerly (10, 14, 16); Manuela
Schenale (soprano) (12); Tonus Peregrinus (13, 15); Carmen
Cano (mezzo), Ensemble Accentus/Thomas Winner (19); Shirley
Rumsey (lute) (20)
CD 2 – Music of the Church (All anonymous
Gregorian Chant) [75:25]
Introitus
1.
Adorate Deum [4:02]
2.
Da pacem [4:33]
3.
Dominus illumination mea [5:45]
4.
Laetetur cor [4:46]
Gradualia
5.
Dirigatur [3:09]
6.
Domine, Dominus noster [3:22]
7.
Iacta cogitatum tuum [3:54]
8.
Laetatus sum [3:14]
Versus Alleluiatiei
9.
Adorabo [2:17]
10.
De profundis [3:16]
11.
Deus, iudex iustus [2:51]
12.
Laudate deum [1:49]
Offertorio
13.
De Profundis [3:16]
14.
Domine convertere [2:17]
15.
Iubilate Deo universa terra [7:45]
16.
Iustitiae Domini [4:15]
Communiones
17.
Circuibo [2:04]
18.
Dicit Dominus [3:51]
19.
Dominus firmamentum meum [2:23]
20.
Qui manducat [2:17]
21.
Gustate et videte [3:29]
Nuova
Schola Gregoriana/Alberto Turco
CD 3 – Music of the Mediterranean [67:24]
1. Anonymous
Bach,
bene venies [5:58]
2. Anonymous
Tempus
transit gelidum [5:07]
3. Anonymous
Tempus
est iocundum [5:58]
4. Traditional Syrian
Dinaresade
[13:50]
5. Traditional Macedonian
Nevestinko
oro [3:17]
6. Anonymous German
Sei
willekommen Herre Christ [4:38]
7. Traditional Croatian
Kod
Bethlehema [1:43]
8. Traditional Croatian
Koleda
na Bozic [1:02]
9. Traditional Turkish
Dudul
[2:38]
10. Christian-Arabic Tradition
Kyrie
Eleison [3:17]
11. Christian-Arabic Tradition
De
la crudel morto de Cristo [1:59]
12. Yunus Emre (1241-1308)
Sallalahu
ala Muhammed [4:41]
13. Yunus Emre (1241-1308)
Pesrev
[1:28]
14. Yunus Emre (1241-1308)
Ey,
Dervisler [4:57]
15. Traditional Jewish
Keh
Moshe [1:46]
16. Adam de la Halle (c.1245–c.1288)
Robin
m’aime [3:01]
17. Adam de la Halle (c.1245–c.1288)
Mout
me fu grief li departir [1:26]
Ensemble
Oni Wytars (1-5, 7-9, 15); Ensemble Unicorn (6); Tonus
Peregrinus (10-14, 16, 17)