Customer Reviews

On the Banks of Helicon: Early Music of Scotland

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Stirling Castle in Scotland has a room dedicated to authentic early Scots music. Guess what they've selected for you to hear, echoing off those stone arches just as (you are told) it would have sounded four hundred years ago? That's right - a buncha Yanks. And rightly so.

Early music consorts are often rigid, adhering to the sheet as though it were a Beethoven score with every dynamic fastidiously set. The BC play early music the way it was written to be played: to be improvised upon, shown off with, played at, and many other phrases abusing prepositions. Their interpretations are sprightly, exciting, touching, haunting, achingly beautiful, and just plain a delight. And -- in my opinion -- "Helicon" is arguably their best. ("The Ladyes Delight" competes for the spot.)

The Baltimore Consort have done for early music what the Beatles did for rock 'n' roll. Even if you don't care for classical music, you'll like this one.

If you enjoy the musical sounds of Scotland, this album is a must-have. Custer LaRue's vocals, Chris Norman's flutes, Ronn McFarlane's lutes and Edwin George's bagpipes will transport you to Renaissance Scotland. And if you've heard these tunes before by other performers, give the Baltimore Consort a chance to show you what quality Renaissance music is all about! While this album is more vocally driven than some of the Baltimore Consort's other albums, it is an enjoyable offering that will only add spice to your music shelf. The songs here are grand examples of the fine Scottish music of the 16th-18th centuries, and will be enjoyed with perhaps as much zeal as the instrumentals. There is a fine musical rendering of the Lord's Prayer in "Our Father God Celestial" on this album, a favorite of mine. There are two bagpipe tunes, which no Scottish album could be without. Lovers of Celtic music (like me) will no doubt enjoy this album, as it is yet another by the Consort that has been played and replayed in my household.

The Baltimore Consort, an ensemble of six players, was founded in 1980 with the purpose of performing 'broken consort' pieces of Elizabethan origin. 'Broken' here refers to the instrumentation - treble viol/violin, flue/recorder, lute, cittern, bandore and bass viol. Their repertoire expanded beyond these beginnings to include broader British fare, as well as French and Italian music of the time. This is a happy expansion, as it made this disc of Scottish music possible.

The Baltimore Consort play with life and vigour, with a good deal of improvisational flair, not being bound to texts and going through the production of notes as if mechanically. This is true to the spirit and nature of the early music, in which performers often had to 'play by ear', neither being able to read music nor having printed music even if they could.

The music here has a definite Celtic flavour to it. This disc represents 'music fyne', traditional native songs, and English imitations. Scottish courtly music was influenced both by England and France, but put its own unique accent to it. Indeed, most of the words to the songs performed here are in Scots, a dialect of English that had a strong literary flowering in the sixteenth century.

The names of many of the composers of these pieces have been lost to history, particularly the more folk-song oriented ones. Music represented here is as early as 1538 and as late as 1719, nearly 200 years of Scottish musical history.

Added to the regular consort players are Edwin George (playing bagpipe and recorder), and Alice Kosloski as a vocalist (alto). The regular players include Mary Anne Ballard (viols), Howard Bass (bandora), Mark Cudek (cittern and bass viol), Custer LaRue (vocalist/soprano), Larry Lipkis (viols), Ronn McFarlane (lute) and Chris Norman (flutes). Some artists are known from other Dorian productions, such as Ronn McFarlane on the lute in the collection 'Greensleeves'.

This is music that is interesting, flawlessly performed, entertaining and has a quality about it that makes it both ancient and current at the same time. A wonderful recording, this is a real treat to the listener interested in Celtic music, Renaissance music, and folk music.

This cd is so pretty! I love scottish music, and there isn't a single song on this alphum i don't like. And that's coming from a 14 year old girl who dresses in black and listens to Marilyn Manson...@_@....eh, I always had weird tastes. I think i'm the only one my age who listens to Malice Mizer, Dir en Grey, Gackt,Morning Musume, Enya, and Bach....AHHH! what have my parents spawned!?!? . .oh, well...
I think that only a closed minded person wouldn't like this alphum (you know, people who only like modern music and only ever wear the -latest fashions' . . .[cough] . . ) But then again, every one's entitled to their own opinion....

For those of you, and you know who you are, that would like to hear what sheer joy would sound like if it were music-this is the disc for you. On the Banks of Helicon is, like all Baltimore Consort recordings, worth the price of admission.

I can think of no group of musicians that is more talented than those of The Baltimore Consort. All of their individual talents as well as their cohesiveness as a group are showcased here.

Custer LaRue is one of my favorite singers. She sings beautifully throughout the whole recording. Such songs as "In a garden so green" and "Lyk as the dum solsequium" showcase her amazing ability.

The quartet of songs beginning with "The flowres of the forrest" and ending with "I will not go to bed till I suld die" features the virtuosity of Chris Norman's flute playing. Chris Norman earns my award as THE MAN when it comes to playing early flute music.

All the other musicians: Mary Anne Ballard, Howard Bass, Mark Cudek, Edwin George, Alice Kososki, Larry Lipkis, and Ronn MaFarlane also warrant praise.

This is an altogether solid recording that is a joy to hear. I recommend it.

The Baltimore Consort performs the music of early Scotland with a crisp and light hand. The various compositions on this CD sound astonishingly contemporary given their medieval and renaissance origins. This an immensly enjoyable collection.

The Baltimore Consort knows that Renaissance music is not only for the people interested in scholarly music that are studying for their finals. Of course, they are using period instruments and techniques in a very informed manner. However,they realized that the most important thing about music is find.

I'm a Baltimore Consort junkie, and this album is entirely at fault. It's the first one I ever bought, and I got hooked. The first track starts off with pipes breaking into a lively song. Who needs to understand the words? The period instruments on this album give it a different sound; it's not classical music in the way you grow up thinking (Bach, Mozart, Beethoven, etc.). It's popular music-- of a different time. Really, really oldies. It's very hard to explain, but if you're thinking about getting a Baltimore Consort album, I'd say to start with this one. It's a great example of their style, and lots of fun to listen to.

A fabulous blend of instrumental and vocal pieces from way back when. The singers really shine on these songs, and the instrumentals speak to me directly. This is one of the best collections of relatively early music I've ever heard. Nothing is wasted on this disc. I have yet to be disappointed by the Baltimore Consort.

This is a wonderful recording for anyone who enjoys old music, but particularly for those who enjoy Celtic and/or Elizabethan music. I was so impressed by the catchy tunes on this disc, that I also bought "The Laydes Delight" (also performed by the Baltimore Consort) and am planning on attending the BC's concert that will be given in my city at the end of this month.