Of course, this is one of the most famous masses of the period, and for good reason. Although it does not have quite the melodic mastery of Dufay's last 4-voice masses, it does provide an interesting glimpse into rhythmic & sectional structure, borrowing some concepts from isorhythmic compositions (which were in their final phase at this time).
The performance marks Diabolus in Musica's latest repertory attempt to date, approached from a very medieval perspective. The result is highly satisfying, making this easily the most enjoyable of the Missa "Se la face ay pale" interpretations.
Todd M. McComb