This is the first appearance on a European label of the ensemble Chanticleer from San Francisco. The group of ten men who sing on this record mostly declare themselves as singing in several registers: for example one is ''soprano'', contra-tenor, bass'' and another is ''soprano, contra-tenor, tenor''. And this already says that they are singers who cultivate a kind of versatility and flexibility of voice that is highly unusual in Europe. Most European altos, for instance, are capable of singing in the bass register, but very few indeed would dare to do so publicly. Chanticleer's flexibility in this respect brings with it an approach to texture, phrasing and line which is strikingly different from what can be heard from most European singers of Renaissance polyphony. Freedom of line seems the first priority, whereas texture and verticality receive less attention. Briefly then, at first hearing these singers are so different from what we are used to that they seem a little slap-dash; but the ear warms to them, and they are to be welcomed warmly in that they provide a distinctive and original antidote to what is rapidly becoming the standard European approach to Renaissance music.
However, the singing I have just described is not often audible as such here because they are for the most part doubled by the instrumentalists of the Clemencic Consort. This is now a familiar sound from their earlier records: Rene Clemencic sees fit not only to double lines but to introduce instrumental interludes culled from the polyphony, and others that appear to be of his own composing; and once again there are occasional newly composed parts for kettle-drums. Given the present dearth of clearly analysed objective information about how this music was performed, it is difficult to say with confidence that it is wrong; but I find it easy to say that I dislike it as used here, because it seems to hide so much of the subtlty in the singing and the music.
On the other hand, it is also easy to welcome the music on this record. The cycle of Mass Propers is the last and crowning cycle from Book 2 of Isaac's greatest achievement, the Choralis Constantinus. and even though the performance ignores what would seem the inevitable repeats and chant interpolations the music comes across as extraordinary and resourceful. Similarly, the Mass O praeclara is among Isaac's most stunning works and deserves the warmest welcome. The three motets are all occasional works.'