The Orlando Consort's third recording for Hyperion turns to the music of Loyset Comp�re, a composer the group first investigated some twenty years ago. In the intervening decades musicological research has elevated this composer from also-ran outsider to something of a trailblazer. For example, the wonderfully complex Magnificat recorded here, is now thought to predate the masterworks of Josquin by some fifteen years. A gorgeous selection of motets and chansons further charts this period of radical musical experimentation.
