The recording of Dominique Phinot's sacred compositions clearly demonstrates that large portions of early 16th-century music remain largely unknown. Little is known about Phinot's life, but it is known that he served the Duke of Urbino. He is believed to have been born around 1510, and his life ended with execution for homosexual acts.
Phinot's oeuvre includes more than 100 motets, several masses, settings of vespers psalms, numerous chansons, and madrigals. His polyphonic works were highly regarded, and his motet collections ensured his enduring reputation for centuries. Of particular historical significance are his double-choir compositions of the Liber secundus, which impress with their innovative technique.
In his eight-part sacred works, Phinot demonstrates his mastery of double-choir composition. He deliberately employed contrasts between the choral groups and emphasized the dialogic nature of the music. His composition "Incipit oratio Jeremiae prophetae," with its extraordinary eight-part structure, is particularly noteworthy.
Phinot's motets reveal a wide range of expressive possibilities, from contemplative to emotionally intense. Composed in diverse styles, they convey multifaceted emotional landscapes and tell musical stories. The thesis of a "hidden chromatic art" in Renaissance polyphony leads to fascinating discussions about performance practice and possible hidden layers of meaning.
Both Phinot's motets and Mass captivate with their expressive character and the artful use of imitation and homophony. The Vespers Psalm and the Magnificat demonstrate Phinot's ability to reimagine traditional works and enrich them with harmonic shifts. Josquin Desprez and Milanese composers such as Loyset Compère are particularly known for similar approaches.