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Reviewer:
Barry Brenesal The Orlando Consort’s series devoted to all of Machaut’s polyphonic works continues, though here four of the 14 cuts are monodic works. The release bears the curious title Fortune’s Child, though it’s not in fact about Fortune as much as the vicissitudes of Love, which was a different allegorical figure in the late Middle Ages and early Renaissance. Each of these ballades, virelais, rondeaus, and tritextural motets reflects upon some aspect of that emotion, usually from the perspective of a male lover addressing his beloved. Far from the wild melodramatics of later Italian poetry, Machaut’s settings reveal subtle shades of heart and mind. While despair is given voice, so are great joy, and contentment, and not infrequently, delight in fulfillment in the service to a lady of the Court of Love.
The liner notes are more abbreviated than in previous albums of this series—assuming it actually is part of that series—but there’s no dearth of skill or attractiveness in these performances. The four musicians that comprise the Orlando Consort display excellent vocal resources, and a consummate understanding (as much as we have of it) of appropriate style in these works.
The engineering is both close and well defined. Those listeners who have enjoyed the Consort’s previous Machaut releases will definitely want this one, while it furnishes a fine introduction both to their talents, and the wide-ranging abilities of one of the 14th century’s most notable composers. | ||||
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