With medieval chant established as a major mainstream force in the music industry, it’s easy to see two distinct trends among the genre’s performers: On one hand, the monastic choirs, who treat their material as a devotional, recording in liturgical venues (like the Benedictine Monks of Silos, who really got the ball rolling, back in 1994). On the other hand, there are the musicologists, who may not give a fig for the religious aspect of the material, but will do their utmost to preserve the musical treasure. (Okay, there’s a third category, the dilettantes who just want to make a quick buck or ten by riding the trend, but we’re not dealing with those here.)
I Cantori Gregoriani lean mostly towards the latter. Early music specialists to the last singer, they construct their albums following the Roman Catholic liturgical calendar, covering material for most of the year’s feasts. Disciplined, though not aseptic, it little matters what they actually believe about their material – what dos matter is that they give it the royal treatment. Go ahead, sample these bits, then go here for much more.