The challenges and rewards of performing early music are here vividly illustrated by The Binchois Consort, as creative scholarship comes to the aid of two substantial-but fragmentary-works by Jacob Obrecht, and an audacious recorded sound attempts to recreate the experience of the original performers 500 years ago. A novel twenty-first-century motet is also included, emerging from the prevailing Renaissance textures to reflect on themes of mourning and loss.
