Josquin du pres, Josquin Masses, Di dadi, Une mousse de Biscaye, the Tallis Scholars, Peter Phillips

The irreplaceable sublimity of Josquin du pres (c. 1440-1521) in the polyphonic Mass setting is something one must live with to truly appreciate. It cannot be easily or adequately described by words. In the end it is the sensuous experience of the sequence of parts and their movement together that fills the heart and mind of the hearer and leaves an unforgettable mark on her/him, provided one listens sympathetically. There is a sense of inevitability when one hears the best of them. Josquin had an extraordinary ability to make his polyphony seem like an ideal of possibilities.

So in the hands of The Tallis Scholars, a talented and angelic vocal ensemble who exemplify the best practices in early music performance today, we hear two Josquin Masses: Di dadi, Une mousse de Biscaye (Gimell CDGIM 048).

"Di dadi" is remarkable in that Josquin's creative intent was inspired by the throwing of dice. Beyond that point of extreme interest these two masses are at the highest levels of craft and art.

The performances are very moving. The music sublime. Nothing more need be said.

Grzegorz Gerwazy Gorczycki Conductus funebris, etc., The Sixteen, Eamonn Dougan

The early music and baroque composers of Poland generally have not gotten the attention they merit in our modern era. Part of that has to do with historical upheavals, no doubt, but the rest seems serendipitous. Acclaimed early music group the Sixteen are doing their part to expose us to choral music from that time and place. They recently came out with a third CD in the series, in this case the music of "the Polish Handel" as he was called in his day, one Grzegorz Gerwazy Gorczycki (1665-1734).

Gorczycki gets our attention as the Sixteen perform three substantial works and a few brief additions. Conductus funebris, Litaniae de Providentia Divina, Missa Rorate caeli (CORO 16130) partake alternatingly in "stile antico" and "stile moderno" with varying degrees of contrapuntal density accordingly.

Both a cappella and choir-instrumental sacred works get the usual brilliant Sixteen stamp of excellence. As expected the ensemble comes through with wonderfully authentic and rousing versions of the music, with the sort of sweet yet somber timbral richness that brings out the period in all its specificity.

Gorczycki strikes one as a skillfully inventive composer throughout, with a discerning sense of line and part. He is a genuine lyrical force. The performances are as near ideal as one could imagine, pristine, sonically alive, fully worthy of the quality of the compositions.

A beautiful recording, highly recommended.