In anniversary years such as this, it's not unusual for two recordings of a relatively obscure work to appear more or less simultaneously. Such is the case with Schutz's set of Italian madrigals. In September 1 greatly enjoyed the performances of The Consort of Musicke on Deutsche Harmonia Mundi (1C 067 1695271); now, here is an equally splendid interpretation by the French-based (but internationally constituted) ensemble, Concerto Vocale. Let me say at once that they are both superb achievements. Each ensemble has prepared the music meticulously, though sometimes with very different results, and each performs with absolute confidence. Tuning can barely be faulted in either case, and both groups have been caught well by the recording engineers.
For those who quail at the idea of having to purchase the pair, let me offer a brief guide to their essential differences. In general, The Consort of Musicke sing with lithe agility and brilliant timbre, emphasizing the artifice of the songs and teasing us with words that might appear serious at first glance but on reflection prove to be just part of the sport of love. The members of Concerto Vocale, on the other hand, seem far less ready to regard the matter as a game. Their voices are fuller and more individual, their collective tone rich and mellow, their speeds in general a touch slower, their moods more inclined to introspection and genuine solemnity. On the whole, they pace and shape the works of a shade less sensitively than does The Consort of Musicke, and react less quickly to changes of mood; yet they have the advantage of weight and expressivity, and in dark madrigals such as Cosi morir debb'io they achieve an effect of stateliness and poignancy that makes the reading of The Consort of Musicke seem a mite too detached. Elsewhere, however, they suffer in their turn from their seriousness, and in shows of brilliance such as the volatile Selve beate the English group easily outshines them in its quick responses and beguiling good humour.
A few additional notes may help you to make your choice. First, Concerto Vocale performs with a theorbo discreetly doubling the vocal lines; The Consort of Musicke sing unaccompanied. Second, the French group has a counter-tenor—Rene Jacobs (who also directs the performances)—on the alto line; the English group enjoys the mellower tones of Mary Nichols, who blends perfectly with the brilliant pair of sopranos, Emma Kirkby and Evelyn Tubb. Third, the version by Concerto Vocale is not quite complete, since it omits the final madrigal from Schutz's collection, the eight-part Vasto mar. This magnificent piece is sung so well by The Consort of Musicke that it alone would make the purchase of their record worthwhile. But it would be churlish to end by pronouncing some kind of judgement. Each of these two records is an absolute joy. Since listening to either one sheds light on the subtleties of the other, perhaps your very best choice would be to have them both. I should point out, of course, that only the Concerto Vocale are at present available on a CD, which brings all the usual advantages of the system.'