This is a lively performance by a group from northern Italy, who present a selection of compositions from Alfonso el Sabio’s Cantigas de Santa Maria. According to Giovanni Toffano’s informative notes, the group was inspired by the rich collection of miniatures adorning the various manuscripts. They depict a large number of early instruments, suggesting performance techniques similar to those still used by traditional folk musicians from the shores of the Mediterranean. Details are given of all the reconstructed instruments used, 24 in number, chosen from the 30 shown in the miniatures, including strings, plucked and bowed, a variety of wind instruments and percussion.
Pursuing their desire to follow Mediterranean models, the singers, in turn, seek similar guidelines. We hear throughout the characteristic mellow chest-voice of the solo folk-singer (Gloria Moretti, Federica Doniselli) and some exceptionally raucous refrains from the chorus. Is this really right for music supposedly sung at the court of an enlightened and highly cultured monarch? The result, none the less, is a delightful programme, interpreted with enormous vigour and conviction. There are some charmingly simple, eminently hummable tunes, such as Tanto son da Groriosa, and others, such as En o nome di Maria, with strange, uneven rhythmic patterns. Improvisation, too, has a part to play, however small. After listening to the complete selection, I’m still intrigued by the non-Spanish aspect of Theatrum’s choice of models.
The booklet contains the original Galician texts, but only the notes are translated – into English, German, French and Spanish – not the texts.'