Complex mathematical concepts were at the core of church music through much of the medieval and Renaissance eras. Indeed, in educated circles, music was considered to be a mere branch of mathematics up until the second half of the 15th century. Although the rise of Renaissance humanism elevated musical composition to one of the most powerful mediums of human expression, the long-standing infatuation with intricate “mathematical scaffolding” has remained with composers throughout Western history.

Josquin des Pres belonged to a generation of 15th-century church composers who tried to reconcile the highly mathematical polyphony of the immediate past with newly emerging trends that favored simpler musical texture. This is perhaps the reason why the great composer has only two surviving masses that are solely based on canons (using “canons” was one of the favorite compositional devices of his predecessors). The Tallis Scholars present us with both of des Pres’ canonic masses: Missa Sine nomine and Missa Ad fugam. Based on newly invented material, these works truly are examples of Renaissance church music at its best and the ensemble brings them to life with due artistry. The success of the vocal lineup featured on this recording partially lies in the very distinctive vocal timbres of the individual singers; these give a clear character to each line of the musical texture. The ensemble as a whole treats us to singing of the highest caliber, with flawless intonation, crystal-clear voicing and a remarkable balance between emotional expressivity and cool intellectualism, making this a recording to cherish. Highly recommended! ZAK OZMO