There are several very distinct periods of Renaissance history - of which the most exciting may well be the time surrounding their best album, A Song for All Seasons, It is the album - along with Azure d'Or and Novella - that almost broke them as pop stars and was filled with some of the most interesting (in their prog rock roots) songs they had yet written. This live album is from the tour accompanying the Song for All Seasons tour - and, as such, it could be argued that it is Renaissance at the peak of their powers. Even more so than Live at Carnegie Hall or the welcomed reunion concert, In the Land of the Rising Sun, Dreams & Omens captures Renaissance as one tight pop band. They almost play like a cross between the Alan Parsons Project and late-era ABBA…
The vocal and instrumental consort Capilla Flamenca takes its name from the choir of the court chapel of Emperor Charles V. When Charles left the Low Countries in 1517, he took his best musicians with him in order to accompany him as ‘living polyphony’ to Spain.
Yet another Christmas release features the Christmas vocal polyphony of Cristobal de Morales, who is regarded as the first significant Spanish composer of the Renaissance. Like most compositions for this Christian feast, his Christmas motets circulated and were performed throughout Europe, traveling far beyond Spain's borders. His archaic, mystical and expressive musical language, that one almost might term place-less and timeless, must have played a role in this dissemination. Moreover, Morales was active not only in Spanish cathedrals but also spent many years of his creative career as a papal singer in the Sistine Chapel in Rome.
The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano. "Kiev" may also startle some longtime fans, since Haslam doesn't handle the lead vocals, the male members' singing being much more prominent. The ethereal, flowingly lyrical "Sounds of the Sea" is the cut here that most resembles the music that the group became known for in the years ahead, and shows Haslam singing in the high register for which she would become famous.
The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano…