I take it that this is aimed at a rather wider public than most records of medieval music. Sumer is icumen in opens the first side and closes it as well, this time in its Latin version, Perspice christicola. The second side also begins and ends with the same piece, Campanis cum cymbalis, which is a similar kind of thing only with slightly more musical substance.
But that's just the market hype. In between there is a well presented and serious contribution to the picture of medieval music in England. The songs of St Godric are given a spacious and evocative performance, sensibly divided among the soloists; and the lament Stond wel moder is sung antiphonally between Paul Hillier and John Potter, very much to the benefit of the work's passionate drama.
In addition there are several significant works that are rarely heard. The three Mass movements from—to give it its current jargon title—the eleventh fascicle of W1 are among the earliest securely transcribable polyphonic works from this country. They may be relatively simple compared with the continental repertory that precedes them in the manuscript, but they have a fine individual flavour and are eloquently sung.
Nevertheless the most exciting new works here are from nearer 1300. Perhaps the Alleluya—Nativitas attains less than its true stature because the singers seem unaware of the problems inherent in its 6/8 style: in a repertory where almost all has this metre it is surely important to concentrate on melodic and rhythmic fluidity, otherwise it becomes oppressive. But the beautiful Mater ora filium receives a wonderfully melting performance and Gaude virgo mater Christi also works well.
The important issue includes full texts as well as Paul Hillier's perceptive commentary on each of the pieces.'