It was Ensemble Nusmido that really "made" Ockeghem's Missa L'homme armé for me. It's one of his earliest cycles (although there is still some disagreement on that point), and of course relates to the broader tradition of L'homme armé masses during the era (of which it might also be one of the earliest). It had never been a favorite, but they made it compelling. Here it's even more compelling, with similar phrasing, but great energy.
The Missa Quinti toni has not been tackled nearly as often, and is a later work that I had mostly appreciated in the relatively dated Schola Discantus interpretation. An update is welcome, and here we hear almost a discursive style to this 3-part setting.
So both of those earlier albums meant something to me, although I'm ultimately finding these to be the more appealing performances. They're quite clear & lively.
More comments forthcoming?
To renaissance sacred listTodd M. McComb