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Fanfare Magazine: 39:6 (07-08/2016) 
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Reviewer: J. F. Weber

This is the final disc promised when the first two were reviewed (Fanfare 37:5), adding 11 works to the 33 heard on the first two discs. The length of the selections is the most obvious differ­ence among the three discs. The first one, if I understand the notes correctly, has 16 conductus that each have no more than three verses. The second has 17 conductus with as many as eight verses, but no more than three of each are sung. This disc has as many as eight verses for the monophonic A globo veteri and nine verses for the two-voice Vite perdite, and all the verses are sung. The latter is followed by two vernacular songs set to the lower voice of Vite perdite: the French-texted A l’entrant del tans salvage of Huon de St. Quentin and the Provençal-texted Per dan que d’amor mi veigna of Peirol, leaving only nine conductus on the record. (As before, the notes adopt the common modern use of a second-declension plural form–conducti–for what was originally a fourth-declension noun.) The length of these conductus demands close attention to the texts, otherwise the repetitious melodies would seem uninteresting. But we have had few recordings of this repertoire that even come close to such a comprehensive look at the form, and these lengthy renditions are exceptional.

The other difference between this disc and the first two is the secular nature of these pieces. All of the pieces on the first disc and most of those on the second disc are set to sacred texts, but all of these nine pieces are secular, though they sometimes treat of such spiritual matters as sinfulness and repentance. Mark Everist writes an annotation that begins with a repetition of the previous notes and continues with the specifics of each piece. Six or seven of these selections are monophonic. (Note my typo in the previous review: Quoting the notes, I intended to write 184 two-part pieces in the total repertoire, not 1284.) One of the more familiar titles is Olim sudor Herculis, the classical story of the labors of Hercules, a solo by John Potter, and the longest piece on the disc. These three discs are a rare contribution to the shelf of Medieval music, due to be heard again and again as a touchstone of the repertoire. A masterly achievement, not to be missed.

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