This is the last of a series of three Hyperion label albums devoted to the conductus, a medieval vocal genre that, as the booklet notes, has been sorely underrepresented on recordings in comparison with (in the happy phrase of annotator Mark Everist) "the flamboyant organum and the occasionally smutty motets." This is especially important in view of the fact that the conductus, whose genre name is of uncertain origin, was the first medieval genre in which words and music were both freshly composed; the pieces were not built ...
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This is the last of a series of three Hyperion label albums devoted to the conductus, a medieval vocal genre that, as the booklet notes, has been sorely underrepresented on recordings in comparison with (in the happy phrase of annotator Mark Everist) "the flamboyant organum and the occasionally smutty motets." This is especially important in view of the fact that the conductus, whose genre name is of uncertain origin, was the first medieval genre in which words and music were both freshly composed; the pieces were not built on preexisting pieces of chant. The poetry is nonliturgical and is sacred, but often just barely; sample a piece like Vite perdite (track three), which spends more time and detail on the dissolute life of its protagonist than on his ultimate redemption. One factor that has impeded performances of the conductus has been uncertainty over rhythmic interpretation of the pieces, but the solution chosen here by tenors John Potter, Christopher O'Gorman, and Rogers Covey-Crump makes sense:...
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