Carmina Burana Part I
1-1 	Ich Was Ein Chint So Wolgetan CB 185 	4:00
1-2 	Axe Phebus Aureo CB 71 	2:29
1-3 	Bache Bene Venies CB 200 	4:22
1-4 	Dulce Solum CB 119 	9:41
1-5 	In Taberna Quando Sumus CB 196 	3:09
1-6 	Veris Dulcis In Tempore CB 85 E 159 	3:02
1-7 	Alte Clamat Epicurus CB 211 E 211 	5:02
1-8 	Exiit Dilucolo Rustica Puella CB 90 	3:13
1-9 	Olim Sudor Herculis CB 63 	9:36
1-10 	Virent Prata Hiemata CB 151 	3:38
1-11 	Sic Mea Fata CB 116 	6:18
1-12 	Walthers Ton (Da CB 211) 	1:10
1-13 	Tempus Transit Gelidum (CB 153) 	3:12

Modo Antiquo (Ensemble)
Bettina Hoffmann - conductor

The Italian early music ensemble Modo Antiquo travels, so to speak, on two different rails: Under the directorship of Federico Maria Sardelli the group has produced a number of Vivaldi and Corelli recordings for labels such as Tactus, Opus 111 and cpo - recordings which have been highly praised by the critical press. Under the directorship of Bettina Hoffmann, Modo Antiquo here acquaints us with the fruits of its labours in the medieval repertoire during the 1990's. CD 6 ("Danca Amorosa") was recorded in 1994 and released soon after by the French label Opus 111. This is a superb recording. 16 Italian dances (unfortunately, the Brilliant Classics edition gives no sources) are here played on an endless list of historical instruments (recorder, gemshorn, chalumeau, crumhorn, fiddle, rebec, tromba marina, cittern, lute, portative organ, cornemuse, bagpipes, harp, darbukka, nakers, drums, bells, jew's harp ...); the recording was made in the Santa Maria Casa church, Vecchio, San Cascaiano, Italy, and produced by Klaus L. Neumann and Yolanta Skura, the whole being a co-production with the WDR, the state radio in Northrhine-Westphalia, Germany. Perhaps this explains the excellent sound quality and the audible professionality of this disc.

CDs 1 and 2 "Carmina Burana" were recorded next, in Florence, in the Oratorio di San Francesco Poverino. With Elena Cecchi Fedi, Lucia Sciannimanico, Paolo Fanciullacci and Marco Scavazza, a vocal quartet was added, assisted by F. M. Sardelli, Ugo Galasso, Gian Luca Lastraioli and Daniele Poli. The Carmina Burana is a collection of religious and secular songs from 13th century Benediktbeuren (Germany), and here a selection of these is sung with uncommon vivacity and energy; the drinking songs really do sound as though they were recorded in a medieval tavern, drunken cries and all. The instrumental accompaniment is extremely colourful; however, I had the feeling that the singing did not quite match up to the achievement of Catherine Bott and Michael George on the 4 CD Carmina Burana set by Philip Pickett and his New London Consort on Decca. The sound, though doubtless good, needed a little getting used to: the solo voices seemed rather too soft in comparison with the loud instrumental passages. The exceedingly energetic use of drums and bells may mean that this recording is not for those who have weak nerves; however, I can imagine that it would appeal to many young people who have recently begun to get interested in the medieval music scene. These two CDs were never available commercially elsewhere; they originally appeared as a free gift with an Italian music magazine.

In September 1999 the fifth CD was recorded, "French and English Instrumental Songs in the Middle Ages". As with "Danca Amorosa" there is here a wide range of medieval instruments to be heard; the dances are from manuscripts kept in London, Oxford and Paris, and despite their well-known names, I have not heard them on other medieval recordings before, which gives this box an additional repertoire value. The sound quality, although still good, does not match up to the brilliant recording on the sixth CD.

The newest recordings to be heard here were made in the year 2000. Again in Florence (Chiesa della Compagnia, Calenzano), Modo Antiquo recorded songs and instrumental pieces which are associated with the crusades. Most of these pieces are, as one would expect, by anonymous composers, but we do also learn of Thibaut de Champagne, Le Chastelain de Couci, Chardon de Croisilles de Reims, Huon d'Oisi, Guiot de Dijon, Riccardo di San Germano and Walter von der Vogelweide in addition to King Richard Lionheart whose "Ja nuns hons pris" opens the second of the two CDs. The soprano part here is sung by Santina Tomasello. Here, too, the arrangements are very colorful and reflect differing moods from sadness and wistfulness through to exaltation and joy. The first CD begins with a version of "Crudifigat omens" from the Carmina burana, but in an unparalleled arrangement: It is sung so loudly, and the drums and cymbals are crashed so aggressively, that I was almost afraid that my loudspeakers would be damaged. Thankfully, the other tracks of these two CDs are played much more sensitively, leaving a very positive impression in the end, even if I still think that some of the effects here are a trifle overdone.

The Brilliant Classics edition is offered at an extremely low price, and this should motivate everyone who is interested in medieval music to purchase immediately. The booklet is only in English and contains two essays but no texts whatsoever, so that anyone who wants to understand something of these admittedly difficult texts will be forced to look elsewhere. - The individual CDs are held in lightweight cardboard sleeves; the box containing the whole is stable and attractively printed. ---Brexit_Gegner_aus_England, amazon.com

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Carmina Burana Part II
2-1 	Bonus Est Confidere CB 27 	2:32
2-2 	Nomen A Sollempnibus CB 52 	3:46
2-3 	Dic Christi Veritas / Bulla Fulminante CB 131/131 	5:55
2-4 	O Varium Fortune Lubricum CB 14 	4:54
2-5 	Fas Et Nefas CB 19 	3:01
2-6 	Veritas Veritatum CB 21 	2:05
2-7 	Currit Ad Vocem CB 47a 	1:39
2-8 	Crudifigat Omnes CB 47 	3:30
2-9 	Procurans Odium CB 12 	1:44
2-10 	Ave Nobilis CB 11 	7:00
2-11 	Ecce Torpet Probitas CB 3 	4:28
2-12 	Planctus Ante Nescia CB 14 	6:56
2-13 	Licet Ager Cum Egrotis CB 8 	7:00
2-14 	Celum Non Animum CB 15 	4:14

Modo Antiquo (Ensemble)  
Bettina Hoffmann - conductor

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Music for the Crusades I
I. Appellatio
3-1 	Crucifigat Omnes (Carmina Burana 47) 	2:39
3-2 	Seignor, Sachiez Qui Or Ne S'en Ira (Thibaut De Champagne) 	6:56
3-3 	La Quinte Estampie Real (Anon.) 	3:12
3-4 	Parti De Mal Et A Bien Atourné (Anon.) 	5:14
3-5 	Chevalier Mult Estes Guariz (Anon.) 	6:14
3-6 	De Transfretantibus (Anon.) 	1:45
3-7 	Au Tans Plain De Felonie (Thibaut De Champagne) 	3:44
II. Dure Departie
3-8 	La Seconde Estampie Royal (Anon.) 	2:01
3-9 	Bien Me Deusse Targier 	7:22
3-10 	Dame, Ensinc Est Qu'il M'en Covient Aler (Thibaut De Champagne) 	5:01
3-11 	A Vous, Amors, Plus Qu'a Nule Autre Gent (Le Chastelain De Couci) 	5:07
3-12 	Li Departirs De La Douce Contree (Chardon De Croisilles De Reims) 	5:53
3-13 	Li Nouveax Temps Et Maiz Et Violete (Le Chastelain De Couci) 	7:44
3-14 	Aler M'estuet La Ou Je Trerai Paine (Gilles Le Vinier? - Le Chastelain D'Arras?) 	8:17

Elena Cecchi Fedi - soprano
Lucia Sciannimanico - mezzo soprano
Paolo Fanciullacci - tenor, zampogna, ciaramelle, olifante
Modo Antiquo orchestra
Bettina Hoffmann - viella, ribeca, tromba marina and concert master

A combination of 3 colourful productions of Medieval music. All performed by the Italian ensemble Modo Antiquo, led by Bettina Hoffmann, specialized in early music. These musicians also played the world premiere of Vivaldi’s opera Montezuma. They play on instruments with fantastic names like olifante, citola, tromba marina and hurdy-gurdy. “Ordinary” instruments are also present, like the recorder, lute, harp and harpsichord.

This release contains the "real" Carmina Burana, of which Carl Orff based his namesake work. Then there is a part with French and English Medieval instrumental dances, mainly from manuscripts that are kept in the British Library and the Bibliothèque National. To complete the set, music for the Crusades is included. Much of it written by anonymous composers, some by people with fancy names like Thibaut de Champagne and Le Chastelain de Couci.

A set of early music offering the listener an authentic sound of a broad selection of instruments in a wide variety of repertoire. ---brilliantclassics.com

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Music For The Crusades Part II
III. Passagium Laboriosum
4-1 	Ja Nuns Hons Pris (Roy Richart, «Richard Heartlion») 	9:35
4-2 	Ja Nuns Hons Pris (Roy Richart, «Richard Heartlion») 	
4-3 	Desolata Mater / Que Nutritos / Filios Enutrivi (From Roman De Fauvel) 	2:45
4-4 	Maugré Tous Sainz Et Maugré Dieu Ausi (Huon D'Oisi) 	4:27
4-5 	Congregati Sunt (Gregorian Chant) 	2:44
4-6 	La Quarte Estampie Royal (Anon.) 	2:24
4-7 	In Gotes Namen Fara Wir (Lutheran Choral) 	0:58
4-8 	Chanterai Por Mon Coraige (Guiot De Dijon) 	7:48
4-9 	Diro Satis Percussus Vulnere (Riccardo Di San Germano) - Tristan's Lament (Anon.) 	3:59
4-10 	Nus Ne Porroit De Mauvese Reson (Anon.) 	3:40
IV. Hierosolyma Caelestis
4-11 	Ierusalem Mirabilis (Hymn) 	4:53
4-12 	Nû Alrêst Lebe Ich Mir Werde (Walter Von Der Vogelweide) 	11:28
4-13 	Nomen A Solemnibus (Anon., Carmina Burana 52) 	3:57

Modo Antiquo
Bettina Hoffmann - director

The crusades had a tremendous political and religious impact in medieval Europe. The military expeditions and the foundation of European states in the Holy Land created an unprecedented sense of purpose and identity in the medieval West. The medieval song—at the height of its development—was crafted by poets and musicians as a vehicle for the expression of religious and secular ideas. Heroic themes, the yearning for the Holy Land, the sense of sacred duty, the departure of lovers, and even the censure of a futile enterprise were common subjects in this repertoire. ---medievalmusicbesalu.com

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French And English Instrumental Dances In The Middle Ages 
English Dances
5-1 	Ductia Manuscript London, British Library, Harley 978, F. 8v-9r 	1:22
5-2 	Patrone Manuscripts London, British Library, Add. 28550 (Robertsbridge Codes), F. 43v 	4:36
5-3 	Nota Manuscript, Oxford, Bodleian Library, Douce 139 	2:19
5-4 	Ductia Manuscript London, British Library, Harley 978, F. 9r/I 	2:04
5-5 	Ductia Manuscript London, British Library, Harley 978, F. 9r/II 	4:18
5-6 	Fragment Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), F. 43r 	1:44
5-7 	Ductia Manuscript London, British Library, Add. 28550 (Robertsbridge Codex), F. 43r 	6:20
French Dances (Manuscript Paris, Bibliothèque Nationale, F. F. 844)
5-8 	La Prime Estampie Royal 	3:10
5-9 	La Seconde Estampie Royal 	2:04
5-10 	La Tierche Estampie Royal 	5:38
5-11 	La Quarte Estampie Royal 	2:21
5-12 	La Quinte Estampie Royal 	3:14
5-13 	La Seste Estampie Royal 	4:30
5-14 	La Septime Estampie Royal 	6:25
5-15 	La Uitime Estampie Royal 	3:02
5-16 	Dansse Real 	3:16
5-17 	[Without Title] 	7:38
5-18 	Danse 	1:51

Modo Antiquo
Bettina Hoffmann - director

In Europe the tradition of secular dance has continued unbroken until the present. In the late Middle Ages it was an important and frequent event—for the nobility a gracious way to entertain guests, for the peasantry a welcome relaxation from the toils of the day. ---muse.jhu.edu

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Dança Amorosa, Italian Dances From The Middle-Ages
6-1 	Ghaetta 	4:18
6-2 	Saltarello (2) 	1:32
6-3 	La Manfredina, Rotta Della Manfredina 	3:19
6-4 	Chançoneta Tedescha (2) 	2:05
6-5 	Isabella 	4:31
6-6 	Saltarello (4) 	2:15
6-7 	Saltarello (3) 	3:00
6-8 	Chançoneta Tedescha (1) 	4:52
6-9 	Chançoneta Tedescha (4) 	3:00
6-10 	Principio Di Virtù 	6:16
6-11 	Dança Amorosa, Suo Troto 	3:18
6-12 	Chominiciamento Di Gioia 	5:44
6-13 	Chançoneta Tedescha (3) 	4:03
6-14 	Trotto 	1:49
6-15 	Bel Fiora Dança 	2:54
6-16 	Lamento Di Tristano, Sua Rotta 	5:47

Modo Antiquo
Bettina Hoffmann - director

If, like me, you really enjoy listening to secular music of the Middle Ages, don't miss this great set. Brilliant Classics has made availabe this 6 disc set of a wide selection of attractive music (some of which you probably already have if you're an avid medieval collector) in truly spectacular performances by Modo Antiquo under Bettina Hoffmann. The set even has what I can only describe as "demonstration" quality sound (all recorded in the middle to late 90's).

Do you admire the work of David Monrow with the Early Music Consort of London? I always considered the work of that great musician as the high water mark for early secular music performance. But, after listening to this set, I have to confess that I actually admire these performances as much or more! I have a couple shelves full of CD's of this type of music, but this set, to me, is the finest one of the lot. It's imaginative, vital, energetic, thoroughly musical and really makes the old pieces come alive. You'll actually feel like you're back in a 13th century castle when you're listening to this. (All that actually survives in the old manuscripts of many of these pieces is the melody, so alot of work and imagination go into creating convincing performances.)

The set comes with an 8 page booklet containing two essays, one by the Bettina Hoffmann. (If I wanted to pick one very tiny nit, I would complain that no information is given on the sources of the pieces, but that's barely worth mentioning.)

The set includes the Carmina Burana (2 CD's), a collection called "Music of the Crusades" (2 CD's), and various dances (2 CD's). [...]

Really, this set will give you many, many hours of real enjoyment. And if you aren't familiar with the treasures of medieval songs and dance music, this is a great way to get started. Don't miss this fabulous recording! ---Thomas Gleim, amazon.com

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