Paul Laird's "American Record Guide" review of Iberian Garden Volume I

American Record Guide March/April 1998

Medieval monophonic repertoires are fairly well-represented among early music recordings. Imaginative musicians unafraid to bring improvisation to the traditions have repeatedly proved this music can speak to the modern world. Nobody really knows what medieval improvisation sounded like, but familiarity with extant melodies allows one to create music that at least sounds possible. On this disc the principle of extrapolating on medieval musical sources is taken a step further, because medieval melodies do not survive for several of the texts sung here.

Altramar, a noted ensemble, attempts here to contrast the music of the three religious and literary traditions found in medieval Spain: Christianity, Judaism, and Islam. Christian music survives in numerous manuscripts, especially the famed Cantigas de Santa Maria. Sephardic songs are heard often today, but few of those melodies can be traced with certainty to the Middle Ages. Almost no notated Muslim music survives from the period. Altramar uses only medieval texts here, and, according to the liner notes, "turned to firsthand medieval descriptions and to the still-thriving oral traditions to inform our musical decisions." This means that much of the music is new. Many will ask whether or not the new melodies sound "right", a question that really cannot be answered, but Altramar does affect a Middle Eastern spirit in the Jewish and Muslim numbers from imitation of sources like 13th Century Hebrew biblical cantillation symbols and contemporary Moroccan folk music. The disc also includes a song from the Codex Calixtinus (a 12th Century source of sacred music from Santiago de Compostela), a troubadour song by Catalan composer Berenguer de Palol, and a Galician cantiga de amigo. For the latter text a melody also was created.

An effective artistic vision shines through all of the improvisation and scholarship here. Singers Angela Mariani, David Stattelman, and Allison Zelles are very good with this repertory. A variety of appropriate instruments are used, with some especially lovely vihuelas d'arco and rebecs played by Jann Cosart and jaunty shawm-playing from Timothy G. Johnson. Several members also play percussion, a very important presence. There are many magical moments, like the opening of 'Dum Pater Familias' from the Codex Calixtinus and a delightful instrumental accompaniment in 'Rase Am Et Hitassef', an Arabic [sic] muwashshah text. Some songs are not, however, for the impatient. The cantiga 'Rosa das Rosas' is ten minutes long--not the longest on the release, but it does drone on, possibly in need of more varied instrumental accompaniment. Full texts are included, making the disc a delight to follow, but one must pursue it with intensity. The sound is vibrant.

--Paul Laird

Go here for an Iberian Garden program description.
Go here to visit Dorian's web site.