Listening to this disc is, to the ear, what participating in a delectable wine-tasting is to the palate. These 34 dances are performed in different settings with an almost endless variety of groupings of an astonishingly high number of authentic sixteenth-century instruments. Such diversity, so we are assured by Philip Pickett, is fully in accordance with what is known about sixteenth-century practice. Among the impressive array of between 20 and 30 different kinds of musical instruments, we find, besides the more courtly lutes and viols, a number of less usual ones, such as the Flemish 'rumble-pot', jingle-bells, and the rackett. Some are clearly rustic, or folk instruments. But Pickett tells us his aim has been to present his listeners with a programme designed ''along the lines of a very special evening's dancing and entertainment at one of the richest Flemish courts (perhaps that of Charles V himself or of one of the Habsburg Stadtholders).''
Indeed, the chief fascination of this recording, quite apart from the quality of the performances, lies in the skilful musical planning of the whole diverse sequence of items. 'Outdoor' sounds are contrasted with intimate 'indoor' music. Some items follow each other without interruption, for example, a set of Rondos (Nos. 4-10)—played with perfectly matching rhythm and tempo. But even within a single set of dances, individual items still have their own distinctive scoring and interpretation and thus a character all of their own. This makes for continuous discovery on the part of the listener and ensures the retention of his or her interest right through to the end.'