When is the last time we heard something like this? Perhaps in Jordi Savall’s Iberian explorations of Hesperion XX with its exuberant sound spontaneity? Or perhaps in the colorful, intense palette of expression performed by the mixed vocal and instrumental ensemble, the French discovery Le Poème Harmonique? Several will think of Christina Pluhar’s L’Arpeggiata (...). In any case these associations offer a brief impression of the dazzling quality of the recording which capture the listener right from the start.
What is being offered? Italian love songs from the Late Middle Ages and Renaissance, discovered and transformed into a musically riveting performance by the five musicians of the medieval troupe CorDatum and the three recorder players from the ensemble RAYUELA. “The melodies float in the Italian air. And frequently they can be found in the barely regarded, discarded parts of great collections – scribbled ideas in the margins, notes on fragments of something heard, something remarkable,“ states Walter Waidosch, the so-called spiritus rector of the endeavor, in the CD booklet. And indeed most of the songs are true excavations; the one or the other song may still be whistled in southern Italy, but for „art music“ they are great discoveries.
“Art music“ is of course the wrong expression – for it is a recording which turns into a magical sessio, in which the rich color of the instruments - flauti dolci, liuto, salterio, citola, viella, vihuela, viola da gamba, organo di legno, organetto and the omnipresent percussione in varying tonalities – by teasing each other, sighing, singing, interweaving and together with the human voices create an enthralling cosmos of their own. The singers and musicians are one, so that the entwining of the voices and the instruments seems improvised and at the same time in an almost somnambular way feels ‘right’. (...)
The unquestionable value of this CD is that it has woven a cloak of sound for the rediscovered melodies, it has dressed it seamlessly and has thereby allowed the centuries to easily join ‘in communio’ – in short it offers a timeless audible delight. And that there was a time when this music, this recording, did not exist is hard to imagine.
(Georg Göbel in: TIBIA – Magazin für Holzbläser)