Subtitled ''Sacred Music of the 12th Century'' this recording seemed set to introduce fresh knowledge and new insights to a repertoire that has become increasingly popular over the past decade. Before that time none but a few had even heard of Hildegard. At present the great Abbess is so well known that it can surely no longer be necessary, if it ever was, to support her music with drones, surround it with instrumental commentaries, or provide the listener with light relief by the addition of ingenious contrapuntal postludes and interludes. Hildegard is really best of all when she speaks—or rather, sings—for herself. Indeed, those few moments of unaccompanied singing on the disc are the ones, I believe, we can all most enjoy. Sadly, they are rare. A pity, indeed, since the voices, Sabine Lutzenberger's in particular, are well suited to the composer's ecstatic monody.
Having made the choice, however, to 'dress it up', the Ensemble goes to town over its imaginative approach, and with a technical excellence that could easily bowl over any listener willing to indulge in the 'medieval sound'. Yes, I am convinced this disc will prove to be popular with the public at large, though possibly less so with the discerning.
So much for ''Hildegard''. As for '' … and her Time'', this is illustrated, in the first place, by Peter Abelard's Planctus and his lovely Vespers hymn O quanta qualia. The Planctus is heightened into drama with the Ensemble's diversified rhythmic interpretation, shared between two well-contrasted male voices. In the hymn, the strict application of musica ficta has the effect of reducing the strength of this wonderful melody.
Three joyful celebratory pieces by a twelfth-century Anonymous complete the programme, the most attractive being a delightful New Year's carol. The third piece is interpreted as a purely instrumental arrangement.'