Texts
The songs are mostly love ballads like 2 - Love me: if he doulce nest kind of thing rossingnole; (Anon.) '6 - Farewell my joy of Doctor Cooper: you leave now, leaving me alone; '9 - From my sad displeasure J. Richafort: the lover who died of grief; or '12 - Dont just this' C. de Sermisy: Dont just what more do you recommend a Avg.
The call for the sex trade dA. Willaert ('10 - Fuck Me ') is in P. Certon a tryst ('10 Jay countdown), which runs in my pain nest that secrete less; for J. Clemens non Papa ('10 - Au Joli Bois), on the contrary, the appointment is more promising: Ie Seray vostre amye.
Carpe diem is the opinion of 4 - cuer is good 'of C. Sermisy' without mourning and without melencolie always live children without soucy.
In '7 will fere our beards L. Compere, a hairdresser provides more quune haircut because whiting is a lady. But in the instrumental version of the song became Henry VIII '7 - In true love'. Moreover, the king uses the lament of J. Richafort to give us a moral lesson in ('9 A hobby in good company): idleness is the mistress-in-title defects.
Music
A melancholy mood through the amorous lamentations. But the original melody of the songs is transformed by A. Brugier ('2 - Love Me') in joyful variations, by T. Susato ('12 - Basse dance and recovery ',' 4 - Reprise ") dances Popular and P. Attaignant (Pavane '10) in a procession-like dance.
Some instrumentals are more lively rhythmic compositions (1, 2, 4, 7 - Henry VIII, 10 - P. Attaignant, 11). The recital ends with the adaptation by T. Susato (14) The Battle of C. Janequin. Other pieces are more melancholic (3 - H. Isaac, 5 - C. Gervaise, 12 - and 13 T. Susato - Fantasia P. van Wilder).
The melodic material excels in the compositions 1, 2, 4, 9 - Henry VIII, 10, 11, 14. Some parts are written with discrete counterpoint between voice and instruments, such as 2, 4 (C (Anon.) . of Sermisy), 6 (Doctor Cooper) and echo games, as in ('8 - La Fa Sol W. Cornish) ('10 - Au Joli Bois de J. Clemens non Papa) and (11 Four consort pieces).
The counterpoint between the different voices (7 - Let fere our beards) creates an impression that the hairdresser really successful!
The interpretation by the Musica Antiqua of London, with the angelic singing is sublime.
This splendid recital should not miss in the library of all Renaissance music lovers.
One regret: no translation of English texts.
