When I heard their first single on YouTube a few weeks ago, I was both shocked and intrigued. Not only was I surprised that the vocally superior Chanticleer, which in recent years has been treading a more popular path, is now diving into Machaut. The Gloria they released sounded quite bizarre on first listening, both in terms of interpretation and pronunciation.
That diction continues to astound me. Well, they are Americans trying French after all! As for the interpretation: Tim Keeler has chosen, based on recent insights into medieval performance practice, to give ornamentation and improvisatory freedom an important role. It sounds completely different from what we're used to. But then again, ensembles like Huelgas in their program Paris1200 or Grain de la Voix often do "different" things. Of course, no one knows how that music really sounded back then, no matter how much some claim they do. They remain commendable and often very interesting attempts.
The cd is more than worth listening to. I listened to it almost in one sitting, and that's not always obvious with an hour of medieval music by one composer. Well, Machaut is not just anyone. Today he is not only a monument in music history, his life also reads like a novel: from poet at court to canon of Reims Cathedral, from early polyphonic church music to refined love songs as miniatures. It's all on this cd.
The singers, in their trendy outfits and contemporary appearance, bring the music in an unusual and therefore fresh way. Anyone with an interest in choral music, early music and Machaut cannot possibly miss this cd alongside the classic recordings of Hilliard, Peres and others. Vocally superior, this American "Orchestra of Voices" glides smoothly through the sometimes complex scores. These Americans have completely made Machaut their own. Although the ensemble is deeply rooted in the American choral tradition, it proves with this recording that geographical distance is no obstacle to a convincing interpretation of the French medieval repertoire. Music is universal.
The alternation between profane and religious works also works particularly well. I find it very pleasant that they have placed these two worlds side by side and not mixed the songs with the mass. This makes the cd homogeneous, structured and easy to listen to. As a listener, you only move once from Notre-Dame to the French court.
Of course, it also has something to do with Tim Keeler. With studies at Princeton University, Cambridge University, the University of Michigan and the University of Maryland, he built a reputation as a conductor, singer and teacher. He has worked with specialized vocal ensembles known for their performances of both early and contemporary music. As music director of Chanticleer, he is known for his interest in connecting early music with a contemporary listening experience.
In the accompanying booklet, moreover, a page is devoted to performance practice. The assumptions are clearly based on solid research, and not only Keeler's own. The booklet is complete, informative and pleasant to read. Polished, so to speak. The same applies to the recording. It is excellent: spatial, recorded at the right distance, with attention to both the individuality of the voices and the homogeneity of the ensemble. Transparent, so to speak.
As I said: when I heard the first release, I was intrigued. Now that I have been able to listen to this pre-release, I am downright enthusiastic. Because they approach Machaut differently and thereby enrich him, but especially because Machaut gains an important ambassador. After all, Chanticleer appeals to a completely different audience and thus opens up this old European music to new listeners.
I don't need it, but it's allowed: I think it won't be long before a DJ samples a fragment of this recording at a popular festival. Music, even old music, must live. Everything we know today about harmony and sound ultimately finds its roots in that time. Old music is allowed to live, especially when it comes from an ensemble like Chanticleer with a performance like this!
