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Reviewer: James
V. Maiello Formed in 2012, Ensemble Dragma released their first recording in 2014 to wide acclaim, a program that interspersed virtuosic instrumental music with the works of the late medieval composer Heinrich Laufenberg. Fans of early music have had to wait six years for another recording from the ensemble, and Song of Beasts proves well worth that wait. The program focuses on a topic ubiquitous in medieval life: animals real and imagined. Medieval creatures appear in manuscript illuminations, tapestries, and other objets d’art, as well as in story and song. Recorded intimately and with stunning clarity, Ensemble Dragma bring them to life here. The liner notes include a link to a full-length video of the album accompanied by images from medieval bestiaries. (N.B. The QR code allows access, but the website address has a typographical error that renders it nonfunctional.)
This repertoire is challenging
for any number of reasons, and the ensemble is made up of three of the most
accomplished early music specialists working today. The success of
text-heavy program relies in large part on Agnieszka Budzińska-Bennett,
whose impeccable diction and supple voice make this disc a distinct pleasure
for listeners; she traverses intricate passagework deftly. I’ve found that
the cantus of this repertoire can sometimes be awkward to deliver
effectively, but Budzińska-Bennett makes even the thorniest counterpoint
sound natural and unforced. Moreover, she delivers text with a vitality that
transcends language, communicating past the text itself. For his part, Marc
Lewon’s lute is, as usual, a delight to hear. Whether as a soloist (Ung lion
say) or accompanying Budzińska-Bennett (I cani sono fuora), his playing is
both virtuosic and tasteful throughout. Jane Achtman rounds out the ensemble
on vielle, providing contratenor or tenor lines, as well as instrumental
introductions and interludes. She also takes on the role of soloist
occasionally, rendering treble lines with a keen awareness of their original
conception as a vocal one. The album is divided into six sections that reflect a deep understanding the role of animals in the medieval worldview. For example, a substantial part of the program is devoted to the hunt, a topos central to medieval life and literature. This includes works by composers like Ciconia and Landini, but Jacopo da Bologna’s Un bel sparver also receives a sophisticated performance with Achtman as soloist. Imaginary beasts like basilisks and dragons make appearances, of which the ensemble’s performance of Magister Franciscus’s ballade on the Greek myth of Phyton is a particular highlight. Birds abound, including Marc Lewon’s delicate rendition of the anonymous Or sus vous dormés trop. Fenice fu, the well-known madrigal by Jacopo da Bologna, is given an exquisite a cappella performance by Budzińska-Bennett and Lewon (this time singing). There are too many treasures on this recording to address them all in detail, but this is one of the finest early music recordings I have encountered in recent years. The thoughtful programming and exacting performance standards will invite parallels with Anne Azéma’s recent work with the Boston Camerata, which I consider a benchmark in the field. Very highly recommended.
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