For their first recording the Florilegio Ensemble from Italy have chosen a selection of pieces from a 15th­century music manuscript preserved in the Benedictine monastery of Montecassino near Naples. This source‚ with its cosmopolitan and varied repertory‚ has been relatively little explored on CD and so makes for an interesting choice‚ with songs and instrumental pieces by Franco­Flemish‚ Italian and Spanish composers. The group’s director‚ Marcello Serafini‚ aims to uncover the secret life of the manuscript and its rare inclusion of early Renaissance Italian pieces‚ but music manuscripts are notoriously loath to give up their secrets‚ not least as regards how to perform the repertory they contain. His approach sits within the well­established medieval collegium tradition‚ with the players performing on a number of different instruments and/or singing. Each piece is given a different treatment‚ with items in ‘rustic’ vein such as the street cry ‘Alle stamegne’ or the drinking song La vida de Colin featuring strummed guitar‚ percussion and nasal singing. The use of a drone instrument in the anonymous setting of ‘Adoramus te‚ Domine’ disconcerted me until I read in the accompanying booklet that this was intended to evoke a popular devotional event in homage to the Cross. I guess anything’s possible‚ and at least a reading of Serafini’s notes provides some sort of rationale to the instrumental choices‚ showing that decisions have been deliberately taken according to how he envisages the nature of the piece. Among the best works on the CD are Dufay’s Par le regard‚ Bedyngham’s Gentil madonna and Oriola’s plangent lovers’ lament O vos omnes. Florilegio’s version of Ockeghem’s Petite camusette is described as deliberately ‘archaic’ in deference to the ancient origins of the Robin and Marion legend. It comes across as more folksy than usual‚ like something out of Alain Stivell. In Cornago’s Morte mercé‚ where they add drums in the refrain‚ they sound a lot like Hespèrion XXI. I don’t mind the experimentation with different sound worlds‚ but it must be said that there are a few weaknesses to be ironed out as yet in the performances‚ notably some unsupported singing which makes for uncomfortable listening in a few items‚ some insecurity in the bottom line of the wind ensemble and occasional lack of ensemble in the double lute pieces. The potential is there‚ nevertheless‚ and I can imagine the group going on to tackle‚ say‚ the frottole repertory with some success.