Oswald von Wolkenstein (d 1445) comes across as one of the most ‘knowable’ characters of the medieval period. That is partly because, as a member of the minor German nobility, he was heavily involved in the politics of his time; another reason is the rich autobiographical detail of his poetry. As with many poet-musicians, not all of Oswald’s music is original; some pieces are adaptations of well-known songs of his time. The clearest example is Der mai mit lieber zal, based on the very famous Par maintes foys by Jehan Vaillant (the original was recorded by Ensemble PAN; New Albion, 10/90 – nla). This sort of borrowing was common practice, and should not be thought of as plagiarism. In Oswald’s case, the sensitivity of his ‘translation’ of the music into idiomatic German delivery amounts to re-composition. While the range of Oswald’s poetic vein is vast, what is perhaps more surprising is the variety of musical styles he espouses. Indeed, the music seems to lead the text much of the time, with near-nonsense words invented as much for their sound as for their apparent meaning. His freedom in all these matters and the details of his eventful life give the impression of a very modern sensibility.
The New London Consort successfully convey the often dramatic personal tone of Oswald’s poetry. The diversity of repertoire enables both singers and performers to shine in different ways, but not surprisingly it is the former who take centre-stage. The simple song of Der oben swebt receives lyrical treatment from Paul Agnew, while an impish-sounding Catherine Bott bitingly conveys the chattering, apparently bad-tempered birds in Der mai and the flighty serving-girl in the delightful Stand auff, Maredel. As for Michael George’s contributions, they put one in mind of certain German-speaking baritones. In saying that I’m not being coy, but pointing out that a number of Oswald’s pieces could quite conceivably be included in Lieder recitals; and it remains true that the men here tend to use more vibrato than is usually fashionable in this sort of repertory. But then, the music of language, as Oswald himself recognized, is a power unto itself, capable of suggesting connections far removed in time.
Little-known repertory, then, but so diverse and captivating as to appeal to early music-lovers and general listeners in equal measure. Although the emphasis is surely on the contribution of individual singers, ensemble and instrumental pieces are handled equally effectively. A most enjoyable release.'