Playing time: 71' 04"
Diabolus in Musica
Superius: Frédéric Betous (alto), Andrés Rojas-Urrego (alto
Contra: Philippe Froeliger (tenor), Hugues Primard (tenor)
Tenor: Raphaël Boulay (tenor), Olivier Germond (tenor)
Bassus: Emmanuel Vistorky (baritone-bass), Philippe Roche (bass)
Antoine Guerber, dir.
Recording site and date:
Collégiale de Champeaux [09/2003];
Rel.: 2004, 2019
Diapason (#-p.): 514-90 (may 2004)
Early Music America (Vol./#-p.):
Fanfare (Vol./#-p.): 28/4-119 (march/april 2005) & 32/1-140 (Sept/Oct 2008)
Goldberg (#-p.): 30-72 (2004)
Gramophone (Vol./#-p.): 83/996-62 (september 2005)
Information from owned CD.
Dufay's four-voice Missa "Se la face ay pale" (based on the chanson of the same name) is one of the most famous compositions in Western music. It is considered to be the first of Dufay's four mature cantus firmus masses, and set the stage for the complex masses of the later 15th century.
The Missa "Se la face ay pale" constitutes the mass Ordinary only. The Propers used here is that for Trinity Sunday. Tracks #4, 6, 8, 12 are plainchant, taken from a Cambrai Cathedral missal of the period. Tracks #1, 5, 11 are from the famous Trent MS 88, containing many polyphonic Propers settings. They are strongly believed to have been written by Dufay.
For other recordings of this mass, see that section of our Dufay discography page.
To purchasing information for this disc.
To FAQ references to this recording.
To FAQ CD index page.Todd M. McComb