Students and others who set themselves to the task of understanding the initially elusive musical language of the Renaissance often learn about Dufay and the cantus firmus -- the preexisting chant or song around which a mass was built -- and about his mathematically dizzying isorhythmic motet Nuper rosarum flores. The more intimate sacred motet, directly expressive of its text, seems to be more the province of Josquin Desprez, two generations later; Dufay's motets, many of which address Mary, are rather tough going for the ...
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Students and others who set themselves to the task of understanding the initially elusive musical language of the Renaissance often learn about Dufay and the cantus firmus -- the preexisting chant or song around which a mass was built -- and about his mathematically dizzying isorhythmic motet Nuper rosarum flores. The more intimate sacred motet, directly expressive of its text, seems to be more the province of Josquin Desprez, two generations later; Dufay's motets, many of which address Mary, are rather tough going for the newcomer. They are not closely tied to the text like the motets of Josquin, and even those that have a cantus firmus don't feature it as an obvious unifying device the way Dufay's masses do.This superb French disc is the one that clarifies what Dufay's motets are all about. This may not knock Beethoven and Andrea Bocelli off the top of the classical charts, but anyone with an interest in the rather arcane musical language of the early Flemish-Italian Renaissance, or even in the art...
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