One of the pleasures of working in the field of early music — really early music, that is, music from well outside the ordinary classical musician's realm of experience — must be the sense of having found a corner of the repertoire and built a relationship to it, minutely and intimately and genuinely from scratch. Dedicate yourself to knowing and loving Bach or Haydn or Brahms, and you are to some extent only taking a great common love a little farther than most, building on an appreciation that comes easily to many.
Getting on the same intimate terms with, say, Ciconia or Dunstable or Ockeghem is another matter, and a much trickier one. But do it well — come to feel as much at home in the 14th or 15th century as most of SFCV’s readership likely is in the 18th or 19th — and you come to be the medium through which the rest of us can approach music we'd otherwise neither encounter nor understand.
So although Asteria, which opened Seventh Avenue Performances' 2008 season with a recital Saturday night, has by conventional standards a quite narrow repertory, the atmosphere of its compact gem of a concert was anything but straitened. The duo — soprano Sylvia Rhyne and tenor and lutenist Eric Redlinger — drew the entire program from the Burgundian chanson repertoire dating roughly between 1420 and 1470.
The same little cache of music seems to be Asteria's sole province, judging by the contents of its two published CDs (which between them cover virtually all the music heard Saturday) and its concert programs (listen online). But, graced with singing and playing as loving and understanding as this, theirs seemed not a cramped musical corner but generously spacious, too full of delights for such a short visit to encompass.
How to go about performing this music is even now an open question, at least in the sense that no one solution has gained overwhelming sway. If you have a piece in three or four contrapuntal parts, not all of which necessarily have the text fitted to them, where (if anywhere) do you use instruments, where voices? Asteria, with two voices and a lute at its disposal, generally gives the cantus and tenor lines — the two strands that form the contrapuntal framework for the others — to the voices, and everything left over to the lute.
It's an arrangement that does make the counterpoint harder to hear. Partly because the played lines aren't sustained, partly because the timbres call up memories of (centuries-later) lute-accompanied song, the ear tends to perceive the plucked parts as harmonic "accompaniment" rather than melodic lines in their own right. Rhyne's voice, too, is somewhat more penetrating and her singing more emotionally demonstrative than Redlinger's. I caught myself wondering once or twice whether some of the performances' extraordinary appeal couldn't be chalked up to the way they quietly assimilated the unfamiliar 15th-century idiom to more comfortable ideas of melody and harmony, tune and accompaniment.
Michelle Dulak Thomson is a violinist and violist who has written about music for Strings, Stagebill, Early Music America, and The New York Times.