Jo Morrison wrote this review which ran originally on Folk Tales.
The Baltimore Consort returns to its origins on this recording, exploring music originally written for broken consort during the Elizabethan era. The Consort represents each of the required instruments in the traditional Elizabethan “broken” or “mixed” consort, including the viols, flute, cittern, bandora, and lute. This combination of strings and winds, together with soprano Custer LaRue’s vocals, can create a rich array of moods and styles suitable for any occasion.
The Ladyes Delight explores the entertainment music of the Elizabethan period. This is the pop music of its time, the music any budding musician would have been playing in his spare time. This is the music of jams and backyard gatherings, whether for dancing, singing, or pure fun. The music on this recording was gathered from original sources, dating from the mid-1500s, and tells us much of the passions and interests of the people of this era, from the light and sprightly melodies to the open, interwoven arrangements. It was a world of stateliness, but perhaps of simple relaxation as well.
The music itself is delightful, lifting the heart into a feeling of simple bliss. One cannot help but envision lavish halls decorated with lush tapestries and filled with formal ladies and gentlemen in their dancing attire. There is a wonderful pairing of tunes on the recording, beginning with “The Darke is my Delight,” which features lyrics speaking of that mystical bird of love, the nightingale, and hints at satisfaction in the pursuit of love. This is followed by an uplifting and rollicking “Howells Delight.” It is difficult not to imagine that Howell is one who has found success in the bedroom.
There are a couple of delightful solo tracks to complement the ensemble work. One, by Chris Norman on Renaissance flute in G, is a wonderful interweaving of melody and embellishment on a Playford dance tune, “The Knot.” Another Playford tune, “Light o’ Love,” is deftly rendered on the cittern by Mark Cudek, giving the tune a full and rich feel, despite its solo performance.
There is a wonderful full-ensemble rendering of the madrigal “Sola Soletta,” voiced for instrumentals rather than singers. The treble viol, Renaissance flute, and bass viol interweave the melodic parts, while the lute, cittern, and bandora provide a delicate plucking rhythm underneath. Another uplifting full-ensemble piece, “The Widowes Mite,” features some wonderful melodic work by the bass viol.
A standout among the tracks is a vocal/lute duet, “The New Balow.” This beautiful lullaby of an unwed mother to her babe is touching and sweet and is soulfully sung by Custer LaRue. Ronn McFarlane’s delicate lute work brings just the right touch to this tragic song.
The Baltimore Consort has a reputation and history of quality work and recordings, and this recording stands well among their works. For those that enjoy the popular music of the Renaissance era, The Ladyes Delight will delight gentlemen and ladies alike.
(Dorian, 1998)
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