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This is a disc of whispered conversations: among musicians, cultures and periods – past, present and future. Anonymous composers from the Franus Codex and the Carmina Burana manuscript break bread with Josquin and Lassus, while ancient instruments freely consort with modern. … Whether on recorder or reeds, Surman’s playing is as eloquent as Potter’s ethereal – there’s no other word for it – singing. On the final track, the three instrumentalists let their hair down in a jam session that celebrates both similarity and difference; it’s a surprise end to a disc that is overwhelmingly meditative in character. Forget crass labels like “crossover” – Romaria is as pure a musical experience as you’re likely to have.
William Yeoman, Gramophone

With this, its third mesmeric and magical album, the Dowland Project applies its modus operandi – developing new realisations of early music through improvisation and experimental interaction – to a selection of pieces from the early-13th to late-16th centuries. Purists may quibble, but the results are convincing and, more importantly, utterly compelling and ravishingly beautiful.
Barry Witherden, BBC Music Magazine

The accompaniments make no attempt to be ‘authentic’: the musicians just approach the music with imagination and make from it something new. At this stage of our discovery of early music and our recognition that we haven’t much idea what instruments did when playing with voices, we can be confident enough to make our own attempts, guided by the music itself, to fill the gaps that surround the notes. This is done brilliantly and convincingly.
Clifford Bartlett, Early Music Review

The title implies pilgrimage, and the route takes in varied terrain. There’s everything here from 12th-century sacred music, Minnesinger and troubadour songs to monophonic Iberian folk songs collected about a century ago, with renaissance polyphony by Josquin and Lassus in between. The point about the Dowland Project’s work is less the repertoire than the freedom and telling immediacy with which it is performed. It isn’t that the composer’s notes aren’t respected – rather they are interpreted and embellished by insightful musicians eager to dig beneath. John Potter’s beautifully modulated light tenor summons timeless spirituality and sensuality.
Stephen Pettitt, Sunday Times

Das neue Werk des Ensembles, in dem nun auch der slowakische Geiger Miloš Valent mitwirkt, weitet den Horizont neuerlich um einige Jahrhunderte zurück: Einige Gesänge sind anonymen Handschriften des Mittelalters entnommen, anderes stammt etwa von Josquin Desprez. Wie selbstverständlich reihen sich zwei Kompositionen von Valent, Surman und Stubbs in diesen Kanon ein: Das ferne Fremde musikalischer Strukturen, tatsächlicher oder anverwandelter musikalischer Vergangenheit entliehen, findet Gegenwart über Zeiten und Stilen im berührend sinnlichen Musizieren des Ensembles.
Andreas Obst, Stereo

Die Rückholaktionen von Musik aus dem 12. bis 16. Jahrhundert führen den Hörern die längst selbstverständliche Freiheit in der aktuellen Einbeziehung des Gestrigen nahezu perfekt vor. Besonders erstaunlich: Der gezügelte, gleichwohl animierte John Surman, der weder ausbricht noch saxofonisches Übertempo vorgibt, sondern irgendwo zwischen Dowlands Zeitgenossen und Potters Vision einen diszipliniert-melodischen Führungspart bläst. Das ist gelungen.
Lutz Rauschnick, Südkurier

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