The Medieval period was one of my first historical interests. I did not realize there was such a thing as Early Music, until I stumbled upon some records and cassettes in my college bookstore back in the mid 1980’s. I have been a devoted fan this genre ever since.

Electronica has pervaded virtually all aspects of the music scene over the past decade or so. Even Early Music contains many bands that are a synthesis of modern electronics and period instruments. This is not necessarily a bad thing. There are bands that do it well, (Mauerbrecher, for example). But I do deeply appreciate bands who try to recreate an authentic “medieval” sound with period instruments and arrangements. Of course, we do not really know what medieval music actually sounded like. We can only try to reconstruct it from surviving musical elements.

L’Ensemble Deuxplus et Compagnie truly captures the spirit of the Medieval and Renaissance eras. Recorded live in an ancient cathedral, “Pelerinage” features a selection of pilgrimage songs from the famous Cantigas of Alphonse X and other authentic sources. I have always found ecclesiastical and devotional music from the Middle Ages to be very evocative and moving. “Peleriange” has some very fine selections which include a favorite of mine, “O Virgo Splendens”. Songs such as this require a certain level of finesse. If performed too sedately, they can sound listless and mechanical. Yet with too much animation, they lose the sense of contemplation that is at their core. The hurdy gurdy on “Mater Dei, Mater Virgo, Eius” just provides the right counterbalance to the evocative vocals. Many Early Music groups clutter their pieces with too many sounds. Pre-industrial people were unfettered by all the sensory input that we moderns are used to. For example, to the medieval ear, five people singing would probably have sounded positively sonorous. L’Ensemble Deuxplus et Compagnie clearly understands the principle that “less is more”.

“Fuggit Amore”, composed by Giovanni Domenico da Nola in the 1500’s, has excellent layered vocals and harmonies. “Bizzare d’amore, Furioso” is a fine Braoque dance song by Negri Cesare. “Cunctie Simus Concanentes” is one of my absolute favorites, a very danceable tune with fine vocals and percussion. The vocals on “Laudemas Virginus” are stunning, and the piece is enhanced by lute and percussion. Recorders and organ on ReCercar by Francesco da Milano (who was the personal lutenist in Rome to Cardinal Ippolito de Medici), are very moving. I had always heard this as a lute piece, but the version here truly does de Milano justice as well. “Chi Passa per sta Strada” is a stately, regal piece. A secular madrigal from Italy, it combines lute, vocals, percussion, and strings. Girometta Senza Te is a captivating love song by Azzailo, We move to the Brarogue for “Tres en Petits Mouvements”. Another stately piece with viols and harpsichord. Finally, the CD ends with “Homo Fugit Velut Album” a tarantella written 17^th century, usually associated with Stefaon Landi, begins very pensively with viols, which suddenly breaks into an energetic, almost joyful set. Thereafter, the song alternates between the two.

I have not mentioned every song, but I leave the rest for the listener to discover. One of the nice things about ‘”Pelerinage” is that the CD provides varied selections from the Medieval, Renaissance and Baroque eras.  “Pelerinage” demonstrates that L’Ensemble Deuxplus et Compagnie has the right combination, inspiring reflection and a sense of longing for another time.

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