Although this mass is ascribed to Dufay on the present program, the ascription is purely conjectural, and unlikely to ever be proven one way or the other. The accompanying motets, most not by Dufay, are also a definite part of the value of this program.
The mass was originally ascribed to Dufay based upon its resemblance to his Missa Ecce ancilla Domini, one of my favorites. The present mass is also nicely melodic, with a compelling sense of form.
Compère's Omnium bonorum plena is also a piece of distinct interest, and the anonymous motets present interesting features in a Busnoys-style idiom. Dufay's own motet also receives a more sophisticated treatment here.
Indeed, the entire performance is of high quality, with a fine sense of counterpoint & detail. The thin quality of the English style of singing is not necessarily to my taste, but here it comes off to good effect, including some good overtone interactions. I have been very critical of previous recordings by this ensemble - even analogizing them to the "fingernails on chalkboard" sound - but here their highly idiosyncratic (and I would say, subpar) approach to intonation and consequently phrasing has vanished. This change was certainly a pleasant surprise, letting the other strengths of this ensemble, especially in program selection, shine.
Todd M. McComb