This is the first record in the series that I bought myself, and still have in my possession. I can’t remember exactly when I got it, but I would have been in my teens, and do recall buying it from a record shop in the Arndale centre in Nelson. I’m not sure exactly what can have triggered an interest in medieval music, but it may well have been linked to a fascination with the history of the period and before (when I won the school Biology prize in 1983 I bought the book of Michael Wood’s ‘In Search of the Dark Ages’ with the book token. I suppose it was a bit of an odd Biology prize when I was presented with it at the awards assembly). I do remember that I sometimes used to tune in to Radio 3, although I’ve never developed a deep knowledge of classical music, and that it was most usually early music that I enjoyed. I remember hearing the name Emma Kirkby a lot, and being transported by recordings of her singing the music of Hildegard of Bingen. My lack of real knowledge was shown up when I started taping a Radio 3 recital on authentic reconstructed instruments, the shagbutt, minikin and Flemish clackett, only to find it was a repeat of a spoof originally produced by the BBC Radiophonic Workshop in 1968 under the moniker Schola Polyphonica Neasdeniensis (and if anyone can find a way of getting this to play, I’d be really grateful: https://www.youtube.com/watch?v=irqERfuS-iQ).
With regards to most music, regretfully, I’m really in the “I don’t know much about it but I know what I like” camp, and my knowledge of the ‘classical’ music field is still very patchy, but this record, when I go back to it, has elements that reach forward into all sorts of other things I’ve come to enjoy. There’s the sacred music here that reaches forward to Byrd, Tallis, Taverner and Palestrina, then on to John Tavener, Henryk Gorecki, and Arvo Pärt. There’s the world-music element, with many of these tunes apparently having common roots with Asian or middle-Eastern instrumentation, rhythms and melodies: the sleeve notes are testament to this, describing the sound as “not unlike an Arabian night-club band, and referencing instruments that are ‘played to this day in Tibet’. A particular favourite of more recent musical fusion that I discovered a few years later via John Peel was the German electro-rock-dance-world-fusion band ‘Dissidenten’, whose Krautrock underpinnings were elaborated by Moroccan musicians on their superb ‘Sahara Elektik’ album, and there other moments in this record that I think “that sounds like Tinariwen”, a Tuareg group that I’ve been fortunate enough to see play live.. One of my favourite bands from the 4AD record label that has been the source of my biggest musical obsessions, ‘Dead Can Dance’ drew heavily on medieval and world music: there’s a Saltarello on this album, and on their ‘Aion’ LP. My favourite musical artists by a far, ‘Cocteau Twins’ have, I’ve always felt, a mediaeval feel to the rhythms and guitar treatment on their ‘Peppermint Pig’ EP, while the title of their song ‘Musette and Drums’ offers more than a nod in that direction too.
Looking back at the roots of their nation’s culture is for some people a search for a an illusory purity (see all those social media posts featuring heroic knights of St George and white dragons). For me, this record was one of the first clear indicators of just how diverse the origins of ‘English’ culture are.