This Danish release was recorded and originally released in 1988. It may or may not feature period instruments (the booklet, in extremely rocky English, says nothing about their origin), but it certainly features period graphic design. The sound is murky in the extreme, with the few Danish-language vocals getting completely lost in the mix. The booklet is sketchy and really inadequate in explaining what you're hearing, and the playing is pleasant enough, but far from crisp. What, then, made this disc worth a turn on the ...
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This Danish release was recorded and originally released in 1988. It may or may not feature period instruments (the booklet, in extremely rocky English, says nothing about their origin), but it certainly features period graphic design. The sound is murky in the extreme, with the few Danish-language vocals getting completely lost in the mix. The booklet is sketchy and really inadequate in explaining what you're hearing, and the playing is pleasant enough, but far from crisp. What, then, made this disc worth a turn on the reissue go-round? Quite simply, it has unusual music played in an unusual way. To take the latter issue first, it's rare to hear a transverse flute instead of a recorder in ensemble music of the early sixteenth century. Yet the choice of the Consortium Hafniense is bolstered by court painting of the early 1620s, apparently commissioned by Denmark's King Christian IV and reproduced on the cover of the album, that clearly shows a transverse flute being played. The rest of the group in the...
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