Oswald von Wolkenstein (1376-1445) was a South Tyrolese nobleman whose world travels are reflected in his songs. His life is documented by the usual official records, and two manuscripts (called “A“ and “B“) were compiled in his lifetime, the latter bearing the one-eyed portrait that never fails to turn up on his records. For the seventh full program of Oswald's songs (far more than most secular composers up to this time), Sequentia offers a marvelous selection of eight songs, five of them never recorded before as far as I can tell. The rest include the autobiographical Es fuegt sich, sung complete with its seven long strophes as only Binkley (Fanfare 13:3) has done to my knowledge; the Augsburg ensemble (12:5) used only four strophes, sprinkled through their program, and I have not heard Hans Peter Treichler on the obscure German label called Gold. Two shorter songs of three strophes are Durch Barbarei, Arabia, also complete on Telefunken (Othmar Costa) and Aulos (Wilfried Jochims), and Vil lieber grüsse, likewise included on the Augsburg CD.

Although Oswald wrote both monophonie and polyphonic songs, all these are the former type, and all seem to be sung in complete form; three of the eight are over twelve minutes long. Along with the famous Es fuegt sich, two other autobiographical songs are Wes mich mein bui and Durch Barbarei, Arabia. Es suesst dort her is a morning song (the opposite of a serenade or evening song, dealing with the lovers' parting after spending the night), O snöde werlt is a Spruchdichtung, or moralizing song, and Wer ist, die da durchleuchtet is a song for the Virgin Mary, an interesting contrast to such songs that are found in other countries. Hence the selection is varied, and that extends to the choice of Barbara Thornton or Benjamin Bagby as singer. Harp and fiddles are used for accompaniment except for the unaccompanied Es fuegt sich. The instrumental piece is not even mentioned in the notes, but if Sequentia's record of Hildegard is any indication of their approach, it is an evocation of the composer's themes arranged by the ensemble.

This ensemble is developing a long-range program of German medieval music, not evident from their first few records (Frauenlob and more Hildegard of Bingen are in the works). Like other excellent ensembles', their work is dependable and predictable in the best sense of the word. For the new recordings alone, this disc should certainly go into medieval secular collections, while the duplications are worthy of comparison with previous versions. The sound captured in St. Pantaleon Church in Cologne, one of the city's great old Romanesque churches, is vivid, and the notes are helpful, with texts and three translations. This is highly recommended, with future releases eagerly awaited.

-- J. F. Weber, FANFARE [7/1994]