Customer Reviews

Miracles of Sant'iago: Music from the Codex Calistinus

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... Spain! More precisely, in Galicia, in the northwest corner of Spain, considered in the Middle Ages the End of the Earth, whither the body of the Apostle was miraculously transported. Yet more precisely, in the Cathedral of Santiago (San Diego, Saint James!) in Compostela, the destination of the greatest network of pilgrimage routes in Europe, all crossing southern France, then and now. Yes, now! You can sign up for a Backroads Tour, on bicycle, from somewhere in France to Compostela. Or you can do it the right way, on foot, without reservations, staying in the hostels still maintained by churches along the route. If all this is news to you, google it and read up. The pilgrimage route to Santiago was one of the greatest "information highways" of all history, so what could be more appropriate than an internet search?

Recently I reviewed a spectacular recording of Guillaume Dufay's Mass for St. James, sung by the Binchois Consort. Now it seems time to tread backwards a few centuries and towards Compostela, where the Codex Calixtinus is kept. The manuscript is named for Pope Calixtus; where it was prepared is not fully established, but the chant and troped chant in it seem stylistically connected to the Aquitanian monastery of St. Martial. A "trope" is basically an addition to an existing chant, either in the form of embellishments and ornaments or in the form of harmony, in some cases a simple drone, in other cases a complete countermelody. These troped chants of the 12th Century are the birth music of polyphony, the very point at which the route to the future of European music diverged from all the rest of the world. But the music of the Codex Calixtinus is not just a historical curiosity; it's ravishingly beautiful stuff!

It was not sung by the pilgrims, though they too had their music. Rather it was sung by the tonsured monks, or possibly by the nuns, of the great convents that dominated economic and cultural life in the 12th Century. Thus you have two choices for hearing it, by an ensemble of women like Anonymous 4, or by an ensemble of men.

This CD by Anonymous 4 is one of that ensemble's most polished. It's been deliberately recorded with maximum resonance, to mimic the sound you might hear in a stony chapel of a Romanesque monastery or cathedral. There are MP3 samples, which will be the quickest and most effective way to get a sense of how this music sounds. The choicest piece in the collection is the trope "Congaudeant catholici."

As an alternative, you can hear the monks at their devotions on the CD "Vox Iberica I: Sons of Thunder", sung by the ensemble Sequentia. Unfortunately, that CD is not provided with MP3 samples, and is available only used. It is a far more musically masterful performance than that of Anonymous 4, in terms of accurate tuning and artful handling of the rhythmic complexities of unmeasured chant. But the women of A4 do sound awfully angelic. Sequentia, by the way, is the undisputed alpha ensemble for music of the 11th and 12th Centuries, performing things as diverse as Icelandic Eddas, Spanish cantigas, and Hildegard von Bingen.

Susan Hellauer, Ruth Cunningham, Marsha Genesky, and Johanna Rose have produced what is possibly the most sublime recording I have ever heard. From the first moment of the recording until the last, I was transfixed by their ethereal, uplifting sound, and found myself wanting to run right out and get their other CDs. Every person who is interested in early music will be impressed by their scholarly yet artistic aproach to these texts, and by their first rate performances.

This album was my entrance to the early music world and because of it i continud exploring the wonderful sounds of ancient times . the magicle voices of this 4 angles will in seconds take you into a time travel to the medieval world with so mutch beauty that u'll say "This must be a dream..."

'Miracles of Sant'Iago' by the Anonymous 4 is yet another collection of medieval chants. This time, its from the Spanish shrine reputed to be the site of Saint James' tomb. This is significant, and the reason for the site's being a major pilgrimage destination, because James was the first disciple of Christ.

While the location is Spanish, virtually all the texts are in Latin, and practically all are in plainsong, with very little polyphony. So, if it is the multipart singing you like, this may not have as much as you would like to hear.

I have been listening to Anonymous 4 recordings for about 10 years now, but my reviewing the titles in my colleciton brings be to the conclusion that unless you are a big fan of Medieval music, you may want to pass on this particular title and go for the masses such as 'A Lammas Ladymass' or the collections of secular motets such as 'Love's Illusion'.

But, If you really like this stuff as I do, this is as good as it gets in the relatively uniform Anonymous 4 body of work.

The music in this collection is done in honour of St. James, the first of the apostles to die a martyr's death. Reportedly buried in Compostela, Spain, his burial place became a pilgrimage destination, and the music composed in his honour was very popular in the Middle Ages. This was especially true in Spain when the Christian fervour to recapture the peninsula was in full force. St. James was a miracle worker during his lifetime, and, according to legend, his presence would still enact miracles for the faithful who would trek to his shrine.

Much of this music comes from a book that has survived from the Cathedral of Santiago. Much of the music contained in that book is plainchant, with the rest polyphonic works. There are some pieces that are liturgical, and others that are sacred or so inspired, but not strictly liturgical in nature.

The compositions show somewhat of the international nature of Christendom of the time - despite being in Santiago and used by the Spanish church, much of the composition was done by French clerics and writers, written in Cluny.

According to Susan Hellauer, 'As our guiding principle we have tried to be true to the infectiously joyful and exuberant melody that pervades this remarkable collection, made for and performed by the young treble voices of a medieval French grammar school.'

The blend of voices here is superb, and the spirit is soaring in many respects. As a friend of mine and I listened to this disc last night, she remarked on one of the songs, 'That's a merry little piece!' It is remarkable to listen to the voices of women singing this music, a different feel indeed from the monks or men and boys choirs that are more standard fare.

-- Liner Notes --
This text accompaniment to this disc is very. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation. The cover art features images of St. James, and there is a reprint of a page from the Codex Calixtinus inside, as well as a plate from the Forster Book of Hours.

-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.

Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'

The group ended a touring career of nearly two decades in 2004.

There aren't enough stars. This CD rates at least seven. What these women do is incredible, of course; but in this CD they reveal that rock and roll was invented in Cluny around 1150. Oh sure, you're saying to yourself that this clown is employing dramatic license in the extreme. But I challenge you to listen to track 8: Brief responsory before you dismiss this idea out of hand. Get 'em while you can. They will soon be snapped up by a Motown label and you'll have to put up with a blues backbeat.

Four Angels came down to Earth and are making music for us.

Certainly, I am not being original, if I say that the way Anonymous 4 sing in this record is itself a real miracle, but I am just telling an obvious truth.

In "Miracles of Santiago", the performers almost reach a level of divine perfection, guiding the listener to a state of pure spiritual peace, carrying him to an era where our western cultural heritage dives some of her deepest roots.

A wonderful record that I highly praise and recommend to everybody.

I LOVE this CD!! If you have ever attended a pilgrims mass in the cathedral in Santiago de Compostela, this CD will take you right back to the start of the mass when the nun sings and encourages the congregation to follow. Beautiful voices!

YOUR CAMINO - a Lightfoot Guide to Practical Preparation for a Pilgrimage

I was not prepared for the beauty of this offering, and have since played this CD for many others bringing about similar reactions. The standout track is #3 Benedicamus trope: Vox nostra resonet. I can place that track alone on infinite replay for hours and be hypnotized and entranced into a state of bliss. This is experiential music. At least, I am not sure what to think about it. But I just want more...and more.