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The nine voices of Musica Nova, directed from within by counter-tenor Lucien Kandel, refer to manuscript sources and clearly relish the intellectual aspects of a work such as this, where the composer has stretched his considerable creative sinews to form utter glory out of an exercise in musical ‘speculation’, with proportion and canon ruling the score. Ockeghem’s genius ensures that musical mind games never compromise beauty and devotion, however, while the singing is well balanced with the firm foundation provided by an extra bass grounding what is generally a fine performance, this repertoire mercilessly exposes any weaknesses of blend, ensemble and vocal technique, especially in such a recording as this, captured in the Abbey of Noirlac with a warm bloom and exemplary clarity, ensuring that neither the internal workings-out of Ockeghem’s puzzle nor the slightest glitch in performance can be ignored.

Rebecca Tavener Read the full review on Agora Classica

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Early Music Today, 2013 - ©Rhinegold Publishing