Pierre de La Rue, one of the leading figures of the generation around Josquin Desprez, directed the music at the Habsburg-Burgundian court and left behind numerous outstanding works during his impressive career. Over the course of his career, he composed a total of twenty-nine Mass cycles, four complete Mass movements, six Magnificats, fourteen motets, and a number of secular pieces, making him one of the most prolific composers of his time. His musical development is reflected in the various stages of his employment: he was first mentioned in the archives of the churches of Brussels and Ghent as a singer, before various engagements eventually leading him to the Habsburg-Burgundian chapel, where his artistic style continued to evolve.[4][5]
The ensemble Gothic Voices took on the challenge of performing La Rue's music, as his work already exhibited modern influences. In particular, the emphasis on lower voices and the characteristic use of intervals distinguished him from composers of the Middle Ages. Compositional techniques such as imitation and canonic structures characterized his work; this is exemplified in the Missa De Feria, which demanded a great deal from the singers. La Rue demonstrated a keen sense for contrapuntal and choreographic subtleties.
In the Missa De Feria, La Rue incorporated Roman cantus planus melodies, which he artfully intertwined with canonic techniques, thus lending the mass a festive character. The sonic architecture of his works is evident in the sophisticated balance of intensity and melodic richness. The Missa Sancta Dei genitrix, with its compact form and allusions to earlier compositions, also demonstrates the composer's creative versatility.
Furthermore, some of La Rue's motets have been intabulated for lute, with these arrangements reinterpreting the original works with sensitivity and restraint. Christopher Wilson's intabulations reflect the tradition typical of Flemish and northwestern European lute playing, as it was widespread during the lifetime of Pierre de La Rue.