The performance of the trouvère repertory has changed considerably in the past 15 years or so. Much research has been carried out, and put into practice, on the relationship of words and music, voices and instruments. This recording offers a middle way between an earlier “anything goes” approach to these questions and the more clear-cut distinctions based on genre and tone (as in Gothic Voices’ recording for Hyperion, 8/95). Thus, where Christopher Page suggests that “few instruments other than the fiddle were admitted in the performance of [the grand chant]”, Duo Trobairitz use the instrument consistently, where Page employs it not at all. For the lighter genres such as the pastourelle they allow themselves the hurdy-gurdy; but whereas the viellist Hazel Brooks has a few solo spots in the estampies (instrumental dance pieces), on no complete track is soprano Faye Newton heard alone.

Such a detailed description of performance issues is unavoidable in a repertory where a line of music setting several stanzas of text is all that we have to go on. For the most part Duo Trobairitz’s decisions make musical sense and are effectively enacted. Voice and fiddle interact well; the choice of pieces is well judged. In matters of detail, my preference is for a keener edge in both tone and approach: I would have liked to hear the voice on it own at least sometimes, and I find the occasional intrusion of spoken text artificial and distracting. Those who don’t share these reservations will find this recording more satisfying than I have. As a way into the world of the trouvères, it is very approachable.