The title of this disc, Hildegard von Bingen: The Dendermonde Codex, is somewhat misleading because the Dendermonde Codex includes 58 of Hildegard's 77 liturgical works, and this CD has only eight of them. As long as the listener isn't expecting the complete contents of the Codex, this recording has much to recommend it. The early music ensemble Dous Mal is made up of soprano Katelijne van Laethem, Bart Coen, recorders, and Liam Fennely, fiddle and lirone (a string instrument similar to a viol). The group inventively mixes unaccompanied sections with those featuring one or both of the instruments, and there are several instrumental solos. The strings primarily provide drones, but because the lirone is able to play several notes at a time, it can offer harmonic support and is especially effective when there is a shift in modes within a piece, something that is rare in Medieval monody other than Hildegard's. Fennely, by strategically placing bow changes and shading dynamics, is able to make the drone into a surprisingly expressive part. Coen plays a number of recorders, including a tenor, which provides a low voice that contrasts beautifully with van Laethem's soprano. These antiphons and responsoria are notated as monophonic pieces, so the recorder part is improvised. Purists could argue that the score offers no indication of an accompaniment, but little enough is known about performance practice of the period to definitively prohibit it. Coen's subtle and judicious contributions are never obtrusive, and add an appealing textural variety to the music. The main attention falls on the singer, and van Laethem offers an impressively expressive performance. She is keenly attuned to the texts, and lets them take the lead in interpreting the spare notation. In the more impassioned sections, van Laethem lets loose with an ecstatic propulsiveness that sounds freely and joyfully improvised. Her performance, which seems at times to be on the verge of spinning out of control, seems closer to the spirit of Hildegard's visionary mysticism than the more reserved interpretations that are frequently heard. Although her singing is heavily ornamented, the ornaments sound not like fancy, premeditated elaborations on the line, but the spontaneous expressions of someone having an intensely visceral religious experience. This is an album that would make a fine introduction to Hildegard's work, and the quality of the performances makes it one that should also appeal to anyone who loves her music.
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