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International Record Review - (07-08//2014)
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Hyperion
 CDA68053

Code-barres / Barcode : 0034571280530
(Classicalacarte ID419)

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Reviewer:  Ivan Moody
 

Cinquecento has not hitherto been noted for hitherto been noted for its interest in secular music, but this stunning disc immediately makes one want to hear it in more of this repertoire. And what repertoire it is: extremely good, almost completely unknown music by four composers who are hardly household names, but who all worked at the Imperial Chapel in Vienna. I cannot, in fact, recall ever before hearing any secular music by Vaet ‑ his sacred music is a rare enough commodity ‑ and Jean Guyot is completely new to me.

Secular music, of course, implies a command of vernacular language or, in this case, languages, and Cinquecento's members are as excellent in this respect as they are at phrasing and tuning. The songs here are settings of texts in Italian, German and French, all three of which sound thoroughly idiomatic.

Perhaps the most interesting discovery here is Guyot, who it appears survived for under one year at the Imperial Chapel, the new emperor, Maximilian II, preferring Vaet for the position. Guyot's songs are certainly reminiscent in their flowing textures of composers such as Gombert and Crecquillon, but they have a distinctive melodic quality which I find quite striking. The six‑voice Vous perdez temps de me dire mal d'elle illustrates this intriguing combination particularly well. Vaet's only thee songs are also quite loveIy, much less complex texturally than those by Guyot, The more Italian‑orientated Regnart provides some lighter refreshment, even in the four German‑texted songs included here, and de Monte's madrigalian perspective on earlier chanson style is characterized by his outstanding competence and elegance ‑ O dolci sguardi is probably the most superb example of this. Can we have a second volume?
  
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