The Las Huelgas Codex is one of those fascinating Medieval mysteries whose origins are a source of constant speculation for scholars. Who made the manuscript? Why? And most of all, who performed the music that it contains? But even though it would be marvellous to know the answers to these questions, on another level one hopes that the manuscript will never give up its secrets because as it stands now it is open to many kinds of musical interpretation.

There are however limits to what the listener will tolerate and I take issue with overbearing use of instrumental accompaniment (and added vocal harmonies), such as those heard on this disc and many other recordings of this repertoire. Given that the Las Huelgas manuscript was made fo liturgical use in a convent, the addition of harp, shawm, sinfonye and drums is highly dubious, and I wonder what the point is. For the music is certainly not dull in its unadorned state - as proven by Mille Fleurs’ vibrant versions of the motets Salve, porta regis and O Maria virgo regia and the conductus Alpha bovi et leoni. Although Tess Knighton in her insert note excuses the variety of performance styles here as reflecting the variety of the manuscript itself - and Mille Fleurs picks out a good selection of pieces - I don’t see why the music cannot speak for itself instead of being turned into "Medieval music-lite". (The use of instruments is much easier to justify in vernacular music such as the three cantigas included on this disc, though Mille Fleurs interpretations are a bit too folksy for my taste.)

Instruments aside, the performance style here is in keeping with the raw sound preferred on other south-European Medieval music. Not all members of the group can carry off the technique however, and the strain shows in the sinking pitch heard on some tracks, worst off all Veni, redemptor gencium. But the group sings with commitment and understanding of the text, and the instruments (whatever one thinks of their inclusion) are well played. I would single out for attention an excellent solo shawm improvisation on the conductus Audi pontus.

Taken at face value, this is a good recording that that adds to the Las Huelgas discography (the sheer size of the manuscript means that its repertoire is far from exhausted). But there is definitely some room on the market for serious a capella exploration of its contents, and this would come at the top of my wish-list for a new disc of this wonderful music."

Alison Bullock

Mille Fleurs make their debut recording with this collection of music from the Las Huelgas Codex, and a very auspicious début it is. You’ll know from the first few minutes whether this is for you: the percussion, hurdy-gurdy and folk-influenced vocal production in Virgines egregie set the tone for the whole disc. That said, however, the recording is full of variety, both in vocal style and instrumentation and in conceptual approach and the performances are the epitome of sophisticated smoothness. Rosa das rosas certainly one of the loveliest of the Cantigas de Sancta Maria, achieves something else again, exploiting Belinda Sykes in full eastern vocal style, "backing vocals" from from her colleagues and flowing harp accompaniment by Jan Walters. There’s also improvisation, in the form of Belinda Sykes’ effective hurdy-gurdy treatment of Audi Pontus and Jan Walters contributes a very beautiful version of Como poden per sas culpas.

Just occasionally one feels that things have got a little out of hand - Salve regina glorie, for example moves from a riotously enthusiastic opening to a somewhat wayward ending - and that sometimes tuning is compromised for colouristic reasons. These are minor reservations however. The recording impresses by its freshness and vigour, and by the excitement the singers clearly find in this fascinating repertoire. Anyone who found Maria Kiek singing the Martin Codex (Hyperion 6/88) a revelation will respond to this collection: otherwise, there are anthologies available - by Alia Musica (Harmonia Mundi). for example - which take different approaches, as well as the classic recording by Sequentia, urgently in need of reissue. It is worth noting, however, that all these collections vary greatly in their contents, so none can be considered a genuine rival to this new recording."

Ivan Moody

Despite the heavy drumming on track 1, I’ve really enjoyed this. The varied styles included in this unusual MS (an international repertoire copied at a rich Spanish convent) are characterised by the carefully calculated approach to each piece. The music is religious, but it is presented as it might have been performed for the entertainment of the nuns. The stylish presence of the harp is a bonus, worth having for its own sake, not just to avoid the possibility of the boredom that some small female groups induce. There is no chance of that here anyway; the trio does not fall into the trap of letting sheer beauty of sound get in the way of the individuality of the music. (Yes, that really is a compliment!) The performances have a freedom which is refreshing as well as plausible. Highly recommended."

Clifford Bartlett