Guillaume Dufay was probably the late medieval composer who in his works best knew how to translate political cultural and intellectual concerns in this time of transition. If his sacred music is a perfect reflection of the new spirituality of the early Renaissance, his secular production, abundant and exquisite, is impregnated with a courtly charm in which, however, it is also possible to perceive a subtle and discreet look into the more mundane and earthly pleasures .
It is precisely this repertoire to which the members of Tetraktys turn their attention, a group specializing in music of the late Middle Ages under the direction Kees Boeke and Jill Feldman. Virtually all the works collected in this compact (11 out of a total of 13) come from one of the most important sources of music of the first half of the fifteenth century, the Manuscript Can. Misc. Boedleian 213 of the Libray of Oxford. The selection of works that Feldman and Boeke offer, supported by harpist Maria Christina Cleary and viellist Jane Achtman, presents some of the most popular pages Dufay wrote (Bonjour, bon mois, La belle se siet or Quel fronte signorille) but also reveals the charm of less frequented pieces in the discography such as las que feray, Helas mon deuil and C’est bien raison. With an excellent presentation and high-quality sound, the real attraction of this album is that in both the best known works and the lesser known, Tetraktys reveals an extremely refined and sensual poetic and musical universe that few performers so far have been able to convey in all its intensity .
With this first album for Olive Music (second from Feldman and Boeke for this label) Tetraktys reveals itself as one of the highlights of the current international medieval-music scene (in fact its members are part of the historical interpretation elite) and sign, without a doubt the best compact that has hitherto been recorded of secular music of the great Dufay.
Francisco de Paula Cañas Gálvez