For the upcoming 500th anniversary of the death of the great Franco-Flemish composer Pierre de la Rue (around 1460-1518), the vocal ensemble The Sound and the Fury, which specializes in early music, has recorded a selection of the composer’s artistic masses for the label FRA BERNARDO, which impressively reflect the high standard at the court of the music-loving and music-savvy Margaret of Austria. The Pierre de la Rue masses on this recording have one thing in common: they are all based on monadic models, thus in keeping with the most traditional of cyclic mass composition models, the cantus firmus mass.

Pierre de la Rue wurde möglicherweise um 1452 in Doornik/Tournai im heutigen Belgien geboren. Dort arbeitete sein Vater Jehan als Illuminator (Buchmaler), seine Mutter, Gertrude de la Haye, stammte ebenfalls aus Tournai. Im 15. Jahrhundert waren dort beide Familiennamen geläufig. Wir nehmen an, dass Pierres Ausbildung, besonders als Musiker, mit einer Verbindung als Chorsänger an der berühmten Kathedrale der Stadt anfing. Als solcher bekam er dann, wie dort alle Chorsänger, die Tonsur. Wenn so, dann war das die erste entscheidende Situation seines Lebenslaufs, den er letztlich als Diaconus beschließen sollte. Zum Priester wurde de la Rue anscheinend nie geweiht.

The oeuvre of Johannes Ockeghem influenced a considerable number of musicians who were contemporaries with, or came immediately after, the Master of Tours. Many of these talented composers took one of his works as a model, thus bearing eloquent testimony to their admiration for him. All of them visited him and helped popularize his image as a benevolent father figure to this amazing caste of singers and composers. Ockeghem s death at a ripe old age in 1497 greatly affected the brilliant generation that was in the process of making the transition between the Middle Ages and the Renaissance, and naturally led to the creation of some deeply moving music.

The infallible Gesualdo Six trademarks of consummate musicianship and scholarly integrity are much in evidence here. 'Queen of Hearts' addresses and reflects on queens spiritual (the Virgin Mary) and temporal (Mary Tudor and Anne Boleyn, among others) in a programme of music largely of the sixteenth century, but spiced with two short works from the twenty-first.

Pierre de la Rue is another of those composers who contributed so prolifically to the richness of musical life in the Low Countries during the late fifteenth century. If today he is less well known than some of his contemporaries, the distinguished advocacy of Stephen Rice and The Brabant Ensemble should do much to redress the balance.

From Ockeghem born around 1420 to Lassus dead in 1594 via Josquin des Prés, this 8-CD collection presents almost two centuries of masterworks from one of the most extraordinary musical school, that could be compared to the Italian Renaissance in architecture or painting. The Hilliard Ensemble, founded by Paul Hillier in 1974 has championed this music with all the virtues of their instantly recognizable style and with a clarity and cleanness of timbre that are matchless.

Beauty Farm is a 2014 founded vocal group focused on the Franco-Flemish polyphony of the renaissance. The international ensemble is based in the Carthusian Monastery at Mauerbach (Austria). The singers are members of well known ensembles like Capilla flamenca, Huelgas Ensemble, Vox Luminis, Collegium Vocale Gent and Graindelavoix. On this extensive release, the ever-acclaimed vocal quartet presents four masses of Pierre de la Rue, all composed during the composer's last creative period. Pierre de la Rue is one of the most fascinating and yet most elusive members of the talented generation of composers from around 1500. On the works recorded here he demonstrates his complete polyphonic skills and thus gives the melancholy an intellectual, complex nuance. The necessary lightness is provided by the voices of Bart Uvyn, Hans Jörg Mammel, Hannes Wagner and Joachim Höchbauer.

The 16 voices of the British choir Stile Antico have a reputation for perfect blend and for programs that go beyond the favorites generally essayed by the similarly sized British choir the Sixteen. That's what's in this collection of motets (and the chanson Mille regretz) united by their connection to the Hapsburg court. It may be surprising to see Thomas Tallis under that rubric, but as the informative booklet points out, he makes the cut due to the marriage of Philip II of Spain to Mary Tudor. As that suggests, and as might be expected from a collection of pieces spanning a century, the Hapsburg factor does little to unite these pieces, even if the Emperor Maximilian does get name-checked at one point. Instead, this is simply a collection of intriguing Renaissance works that are generally beyond the ones normally heard.

Resonating across more than five centuries, expressions of personal piety and prayer fill these works by a quartet of Franco-Flemish composers, all born in the 15th century, and their modern-day colleagues, Estonian Cyrillus Kreek (1889-1962) and British-Norwegian Andrew Smith (b. 1970).

Jérôme Lejeune continues his History of Music series with this boxed set devoted to the Renaissance. The next volume in the series after Flemish Polyphony (RIC 102), this set explores the music of the 16th century from Josquin Desprez to Roland de Lassus. After all of the various turnings that music took during the Middle Ages, the music of the Renaissance seems to be a first step towards a common European musical style. Josquin Desprez’s example was followed by every composer in every part of Europe and in every musical genre, including the Mass setting, the motet and all of the various new types of solo song. Instrumental music was also to develop considerably from the beginning of the 16th century onwards.

The general trend in recordings of Renaissance polyphony has been toward typing music to specific surroundings: royal festivities, religious feast days, and the like. This collection by the Huelgas Ensemble goes in the other direction, providing three CDs' worth of music ranging from the medieval era to Anton Bruckner, with most of the pieces falling into some stretch of the High Renaissance. The music was recorded, beautifully, in a Romanesque church near Dijon in 2018, and the program is unified loosely by a set of general guidelines for the selections at that event: the music emphasized "unknown repertoire, undeservedly obscure composers, and experiments that fall outside the scope of the normal concert season."