The first time I heard a recording of Studio der Frühen Musik was one of those revelatory moments that change the course of one’s life. The recording of L’Agonie du Languedoc from 1975, recounting the horror of the Albigensian crusade, was played during my first-semester Music History class at the Universidad de los Andes in Bogotá, Colombia. This was medieval music as I had never heard it before, a sound that I did not know was possible in the interpretation of early music. Listening to it now, I can hear that their collaboration with a singer from Languedoc brought the troubadour poetry close to the intimate interpretations of mid-20th-century protest singer-songwriters such as Victor Jara and Violeta Parra, explaining why I was so surprised to hear medieval European music sung in such a manner. There was a freedom of emotive expression which countered the usual restraint I had known in early music recordings.

中文翻译：

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托马斯·宾克利（Thomas Binkley）的影响力持续25年

我第一次听到Studio derFrühenMusik的录音是改变人们一生的那一刻的启示之一。L'Agonie du Languedoc的录音从1975年起，我就在哥伦比亚波哥大的洛斯·安第斯大学上学期的第一学期音乐史课上演奏了讲述阿尔比冈斯十字军东征的恐怖故事。这是我从未听过的中世纪音乐，在解释早期音乐时我可能不知道这种声音。现在听，我能听到他们与朗格多克（Languedoc）歌手的合作，使这首诗歌与20世纪中期抗议歌手，作曲家Victor Jara和Violeta Parra的亲密诠释接近，这解释了为什么我如此惊讶聆听以这种方式演唱的中世纪欧洲音乐。情感表达的自由与我在早期音乐唱片中通常所表现出的克制背道而驰。