The Rose, the Lily & the Whortleberry (Medieval Gardens in Music) - Orlando Consort

Orlando Consort - The Rose, the Lily & the Whortleberry (Medieval Gardens in Music) - Orlando Consort

The Rose, the Lily & the Whortleberry (Medieval Gardens in Music) - Orlando Consort
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CD Details

Artist: Orlando Consort
Performer: Donald Greig
Composer: Guillaume de Machaut
Composer: Codex Bamberg Anonymous
Composer: French Anonymous
Composer: Jean Robert Trebor
Composer: English Anonymous
Composer: Walter Frye
Composer: Leonel Power
Composer: Alexander Agricola
Composer: Spanish Anonymous
Composer: Juan [1] Vasquez
Composer: Rodrigo de Ceballos
Composer: Gabriel Mena
Composer: Francisco Guerrero
Composer: Claudin de Sermisy
Composer: Antoine Brumel
Composer: Johannes Lupi
Composer: Carpentras (Elzear Genet)
Composer: Cipriano de Rore
Composer: Jacques Arcadelt
Edition: Music CD
Audio: English (Original Language)
Format: Import
CD Release Date: 2006-03-14
Music Label: Harmonia Mundi Fr.
Soundtracks:
  1. Rose, liz, printemps, verdue (Machaut)
  2. El mois de Mai/De se debent/ Kyrie (Anonymous)
  3. He, Marotele/En la praerie/Aptatur (Anonymous)
  4. Passerose de beaute (Trebor)
  5. Flos regalis (Anonymous)
  6. Flos regalis: Agnus Dei (Walter Frye)
  7. Quam pulchra es (Leonel Power)
  8. Soubz les branches/ En la rousee/ Jolis mois de may (Anonymous)
  9. Royne des flours (Alexander Agricola)
  10. Dindiridin (Anonymous)
  11. En la fuente del rosel (Juan Vasquez)
  12. Hortus conclusus (Rodrigo de Ceballos)
  13. Aqella mora garrida (Gabriel [Mena])
  14. Quasi cedrus (Francisco Guerrero)
  15. Changeons propos (Claudin de Sermisy)
  16. Sicut lilium (Antoine Brumel)
  17. Vidi speciosam (Johannes Lupi)
  18. Haec est illa dulcis rosa / Salve (Carpentras [Elzear Genet ])
  19. Da la belle contrade d'oriente (Cipriano de Rore)
  20. I vaghi fiori (Jacques Arcadelt)
  21. Ecce tu pulcher es (Dominque Phinot)
  22. Des herbes ai asses (Thomas Crecquillon)
  23. Au ioly bocquet croist la violette (Clemens non Papa [Jacob Clement])
  24. O flos campi (Nicholas Gombert)

Music reviews of The Rose, the Lily & the Whortleberry (Medieval Gardens in Music) - Orlando Consort

Music Review: Original but flawed concept
Rating: 4 Stars

In this very visual CD, to some extent pre-empted by their earlier recording entitled Food, Wine, & Song - Music and Feasting in Renaissance Europe (HMU907314), the Orlando Consort present a rich and varied programme of music spanning more than 3 centuries (c.1250-1590), both sacred and secular alike. The concept is original and interesting, accompanied by 2 lucidly written essays by Sir Roy Strong and Susan Hitch, and even a Medieval-inspired garden design by Christopher Bradley-Hole, for the horticulturally enthusiastic (to 'turn...into reality' or for 'picturing...in your mind's eye as you listen to the music', liner notes p.15).

However, this striving to present an 'original' concept results in a programme which in truth is only partially successful. Many of the texts draw upon allegory, particularly in the various settings of the Song of Songs (tracks 7, 12, 14, 16, 17, 21 and 24). In Medieval interpretation (and analogous to the tradition of 'amour courtois'), the Song of Songs was seen as alluding to the relationship between the Virgin Mary and the adoring believer, hence the strong association of such texts with the feasts of the Ascension (August 15) and Nativity (September 8) of the Virgin. Elsewhere, conventional symbolism portraying Mary as the 'rose' who bore Christ (tracks 5 and 18) is exploited, and 2 pieces - Trebor's 'Passerose de beaute' (track 4) and Agricola's 'Royne des flours' (track 9) - draw upon religious allegory whilst being simlutaneously placed within the courtly love tradition.

Susan Hitch briefly touches on some of this (p.12), but its significance in the context of this programme is overlooked - that rather than imparting much information on Medieval and Renaissance Gardens (which at any rate would be difficult for the texts based on the [pre-Medieval] Song of Songs, written c.350-200 B.C.!), most works shed more light on Medieval/Renaissance allegorical conventions (see below *1). This in turn affects the performing context. The bold assertion that the music recorded here 'must once have been heard in the open air' and 'would have found its setting in 2 contrasting garden styles' (liner notes, p.8) seems problematic, particularly for the sacred works - primarily intended for ecclesiastical performance, and in any case unlikely to have been performed as minimalistically as here (see below *2).

The performances themselves are generally tight, both in ensemble and intonation, although occasionally the over use of vibrato results in readings which are a little saccharine (and probably anachronistic). In all, despite the originality of the concept, this CD is not a patch on earlier recordings by the Orlando Consort which are both more polished and programmatically more convincing - in particular, Dreams in the Pleasure Garden, The Saracen and the Dove: Music from the Courts of Padua and Pavia and Mystery of Notre Dame Chant & Polyphony. If you've not come across this group before and can forgo the flashy packaging, these 3 discs are well worth discovering instead.


*1 - In addition, flowers were associated with youthfulness, hence the correlation of the theme with 'amour courtois', evident in many of the texts here (see tracks 1, 4 etc; also prose examples such as Le Jardin des Nobles, Paris BN MS fr193)
*2 - This is especially true of the Spanish works - a document preserved in Seville Cathedral dated 1586, possibly written by Guerrero himself, not only confirms the importance of instrumental participation (cornett, shawm, recorder, dulcian), but even states that 'hearing the same instrument always wearies the listener' (see Robert Stevenson, Spanish Cathedral Music in the Golden Age, 1961, p.167)
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