Now that the so-called “lost generation” born ca. 1500 (Gombert, Morales, Clemens et al.) has largely been reclaimed by both scholarship and performing artists, the next lacuna to be filled in the catalogue is arguably that of Thomas Stoltzer, his probable teacher Heinrich Fink, and other related figures working alongside them. If memory serves, this is not the first anthology devoted to Stoltzer; on the other hand, the Josquin Capella sounds so at home in this repertoire that this recording would earn a strong recommendation in a more crowded field.

Stoltzer’s output is considerable given his early death, but it is argued in the sleeve-note that his strongest work is to be found among his German song-settings. That the largest of those recorded here, Erzürne dich nicht über die Bösen, may well have been composed shortly before his death makes this untimely event all the more regrettable. It is quite audible that the text’s accentual pattern inflected Stoltzer’s style significantly; indeed, one sometimes wishes that the singers had made still more of its forthright rhythms, for the contrast with the Latin’s music more sedate polyphony could have been more marked. 

On the other hand, ensemble, intonation and phrasing are close to unimpeachable, and one would not like these singers to force such a pleasing collective “instrument”.  Given that Stoltzer’s music speaks here so eloquently, it would be churlish to give this less than a full and confident recommendation. FABRICE FITCH