Our new album is the culmination of much hard detective work: Fabrice Fitch has recreated the two missing parts of Obrecht’s Missa Scaramella, only two of whose four voices survive (in partbooks) today. The achievement is sensational, and a fabulous tribute to our long-time collaborator Philip Weller, who began the project and who sadly passed away before it could be completed.
Added to the Mass are two further pieces completed by Philip: Brumel’s Philippe qui videt me, and the stunning Mater Patris by Obrecht. Fabrice’s own Planctus, written in memory of our dear friend. plus a motet by Agricola and the two surviving songs on Scaramella, round off the recital. We hope you will get as much out of hearing this as we all have creating it!
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Recording details: September 2019 AudioLab, Genesis 6, Heslington, York, United Kingdom Produced by Philip Hobbs Engineered by Philip Hobbs Release date: 2 April 2021 Total duration: 55 minutes 17 seconds Cover artwork: Portrait of James IV of Scotland (1473-1513) (? 17th century). National Galleries of Scotland, Edinburgh -
Label: Hyperion Recording details: May 2018 Ascot Priory, Berkshire, United Kingdom Produced by Adrian Peacock Engineered by David Hinitt Release date: June 2019 Total duration: 66 minutes 13 seconds Cover artwork: Tourniquet—upper arm (2007) by Sarah Danays -
Recording details: May 2017 Ascot Priory, Berkshire, United Kingdom Produced by Adrian Peacock Engineered by David Hinitt Release date: 27 July 2018 Total duration: 72 minutes 47 second -
Recording details: January 2016 Ascot Priory, Berkshire, United Kingdom Produced by Adrian Peacock Engineered by Andrew Mellor Release date: 31 March 2017 Total duration: 76 minutes 25 seconds Cover artwork: The Battle of Najera, 1367 (Fr 2643 f.312v, from Froissart’s Chronicle). French School, 15th century / Bibliothèque nationale, Paris / Bridgeman Art Library, London -
Recording details: May 2010 St Silas the Martyr, Kentish Town, London, United Kingdom Produced by Adrian Peacock Engineered by David Hinitt Release date: September 2011 Total duration: 72 minutes 39 seconds -
'...this gloriously performed disc from the eight male voices of the pure-toned Binchois Consort. Contrasting motets and mass propers, works of sublime clarity, are rewardingly interspersed. Who knows - or cares - whether it's even faintly authentic. The results are mesmerising' (The Observer) -
The Binchois Consort and Andrew Kirkman are now recognized as being the foremost interpreters of music by the father of polyphony that is Guillaume Dufay; their recordings of the Missa Puisque je vis and of Music for St Anthony of Padua were warmly received around the world, while the programme Music for St James the Greater won a Gramophone award.
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This recording contains the Missa Puisque je vis, almost certainly by Dufay, and Compère’s Omnium bonorum plena written in praise of the Virgin Mary, as well as motets by Dufay and other sources, all of which help colour our increasing awareness of the florid richness and emotional devotion of music before Baroque, till recently the starting point of most people’s awareness of the art. Characteristics of Dufay are his intricate workmanship and the development of independent balance among the vocal parts that lead us naturally to the satisfying clarity which has itself given old music a strangely contemporary feel.
The Binchois Consort, under their founder Andrew Kirkman, has a special affinity with the music of Dufay, for it was to perform Dufay that the ensemble was initially founded. That first outing formed the basis of their continuing award-winning exploration on Hyperion of 15th-century music, in particular the worlds of French and English music during the so-called Burgundian period.
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The French composer, singer and poet Busnois was widely acknowledged as one of the most outstanding composers of his time, and his Missa L'homme armé (circa 1460) was one of the most revered works of the later fifteenth century. Origins of the famous tune on which it is based are somewhat unclear, but many believe it was composed by Busnois himself. His was definitely one of the first (if not the first) Masses to be composed on this tune, and another 40 or so were written subsequently by various composers of various nationalities. In fact, many of Busnois' works inspired emulations, and the other two works on this disc by him are equally mesmerising and exhilarating.
The Franco-Flemish composer Domarto also enjoyed considerable international repute in the mid-to-late fifteenth century, largely due to the popularity of the work by him presented on this disc.
We have therefore, together with Jean Pullois’ inspiring motet Flos de spina, a disc of some of the most important choral works from the fifteenth century, expertly and beautifully performed by one of the country’s leading exponents in this field, namely the Gramophone award-winning Binchois Consort.
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Josquin is one of those composers like Lalande (or De la Lande, Delalande) whose name we're never sure how to spell. Should it be Josquin Desprez, Josquin des Prez or Josquin des Prés. So we generally just call him Josquin. A Frenchman, Grove describes him as 'one of the greatest composers of the entire Renaissance and certainly the most important before the latter half of the sixteenth century'. Scholarship has revealed that much music ascribed to Josquin was in fact by other composers using his name and fame. On the other hand there is also much which he could have written but is not authenticated.
This disc by the award-winning Binchois Consort assembles some sublime music certainly by Josquin, and also works which may or may not be by his contemporaries.
