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GRAMOPHONE (10 /2013)
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Reviewer: David
Vickers
Doulce Mémoire delve into a polyphonic anthology
The blind organist Antonio de Cabezón (c1510-1566) served at the Spanish
court from 1526 and was one of the musicians who travelled to England for
the marriage of Mary Tudor and Philip II (whom Cabezón taught). Although an
esteemed pioneer of instrumental polyphonic composition, most of his
surviving music was published posthumously under the supervision of his son
Hernando in Obras de música para tecla, arpa y vihuela (Madrid, 1578).
Printed in tablature, many of these didactic pieces based on familiar songs
or motets were designed to instruct students in the art of diminution (ie
skilful improvisation).
This selective
anthology presents the sweetly natural soprano voice of Clara Coutouly
(accompanied by harp, lute and spinet) singing chansons by Franco-Flemish
masters including Verdelot, Crecquillon and Willaert in conjunction with
Cabezón’s intricate polyphonic treatments of the same tunes, played exquisitely
by the multi-instrumentalists of Doulce Mémoire; some five- and six-part pieces
feature varying combinations of cornett, shawm and sackbut with Renaissance
bassoons and recorders of various shapes and sizes. The Calvinist poet
Guéroult’s ‘Susanne ung jour’ was probably set to music more often than any
other chanson spirituelle during the 16th century, so it is enjoyable to hear
Lassus’s famous setting prior to Cabezón’s version, played rapturously by shawm
and bassoons. Denis Raisin Dadre supervises intelligently programmed and
imaginative music-making that not only advocates Cabezón’s merits but also
recreates the improvisatory spirit of his probable practices – and, most
importantly, proffers a veritable feast for the ears.
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