It's surely a sign that a body of relatively obscure music has come of age when a group of performers commit it to record more than once in less than a decade. But then, as members of The Consort of Musicke point out in the series of personal statements that replaces the usual sleeve-note, the madrigals of John Ward have ''run like a thread through our concert repertoire'' (Emma Kirkby) for some ten years, and provided the point of focus to which they return ''to retune our ears'' (Mary Nichols) on what must be the rare occasions when The Consort lose their way as an ensemble. Certainly Ward's madrigals still find a place in their public concerts, sometimes complementing and occasionally taking precedence over new repertory, no less than a string quartet or a pianist will keep some favourite pieces always close at hand.
Those who already possess a copy of The Consort of Musicke's complete L'Oiseau-Lyre LP recording of Ward's 1613 madrigal book (D238D2, 9/81—nla) may wonder what there is to tempt them to its successor—which is, after all, only a selection from the five- and six-part pieces (admittedly with the addition of three unpublished madrigals not previously recorded), sung largely by the same performers. Play the recordings one after another and the answer is obvious enough. While remaining totally distinctive in their general style, The Consort have made so many advances in just six or so years: communication between the singers is more immediate and intimate, blending of the voices superior interpretations more sophisticated, the sense of relaxation far greater; and, with greater familiarity, there's more evidence of 'thinking through' both the texts and the music, particularly evident in long, varied madrigals such as Sweet Philomel or the magnificent If the deep sighs.
Familiarity can take its toll. My one regret with this new version is that the interpretations, however robust and intense they may be, inevitably sound more studied than fresh, they seduce, but they rarely surprise surprise neither the listener nor, I'd guess, members of The Consort themselves. For a warm, mellow and reasoned appreciation of some of the highlights of Ward, this new record is required listening; but for the sheer joy of first (or at least earlier) discoveries, I should not want to part altogether with The Consort's first thoughts.'