Recordings of the Notre-Dame repertoire that don’t include the “hits” of the period are becoming increasingly common, or at least those that seem to form part of it. Fortunately this recording by Diabolus in Musica is another that avoids the Perotin quadrupla, presenting interesting pieces from the repertoire, well worth being included alongside the best examples from the genre.

And not just organa, excellently represented in the opening Benedicamus Domino (despite the absence of the Deo gratias response) and in the impressive Christmas Matins responsory Descendit de celis, performed here in a reconstruction that includes the three prosas of the famous triplex neume, a melismatic alternative concluding the body of the responsory, making it one of the greatest pieces of the repertoire, not just in regard to duration (over 18 minutes) but also to inspiration.

Their liturgical destiny was none other than Christmas Day itself, when hours later the famous Viderunt omnes would be performed. The connection between the sections of organum purum and the clausulae (typically in punctus against punctum style) is smooth and there are no surprises at all. The great one-, two- and three-part conductus, true masterpieces of the invention of the period with their long and elaborate caudas, are performed with refined taste: clarity in their line, intonation and diction.

This refinement is reflected in the complicated treatment of the dissonances in the four-part conductus Deus misertus hominis, or in the simplicity of the very well known Veri floris sub figura. JUAN CARLOS ASENSIO