The present recording constitutes more than just a new version of the Vespers. It is the first recording of the Vespers in the alternative version proposed by the composer, without concertato instruments. It reveals the underlying matrix of the work we all know, the ‘original version’ to which Monteverdi added concertato instruments for use in large-scale performances. Respecting the structure of the Office of Vespers, Ludus Modalis has chosen to frame the psalms with the antiphons corresponding to a Marian ceremony.

Little is known of the life of Paschal de L'Estocart, the French composer of the late Renaissance who was roughly a contemporary of Claude Le Jeune (1528 -1600). He seems to have been sympathetic to the Protestant Reformers – he spent considerable time in Germany and his music was published in Geneva – but later in life he applied unsuccessfully to the French King for a position at an abbey. His collection of psalms and motets, Sacrae Cantiones, 16 of which are recorded here, are mostly in French, along with several in Latin, and was dedicated to Calvinist Count Palatine Johann Casimir in 1582. This collection also includes his Ode in 12 parts, set to religious texts in French. L'Estocart's music is typical of late Renaissance polyphony, eclectic in its use of a cantus firmus, imitative counterpoint, and homophonic writing, with an unusually free use of dissonance. The French mixed a cappella ensemble Ludus Modalis, led by Bruno Boterf, specializes in music of this era and sings with passion and authority. Intonation is immaculate and tone quality is pure and unforced. The recorded sound is clean, but spacious and warm.