Album insights
Those familiar with the Brabant Ensemble's discography know we seldom dedicate more than one album to a composer, as there is still so much exceptional Renaissance music waiting to be heard. However, on the occasion of the 500th anniversary of Mouton's death on October 30, 2022, we felt a second dose of Mouton was apt. Mouton's legacy can be compared in scope to Josquin's, especially concerning religious music. This recording, along with our previous Mouton album, aims to showcase the quality and diversity of his compositions. With the exception of one movement, all pieces here are premier recordings.
Mouton's early life likely began in Samer in Pas-de-Calais in the late 1450s. Later, he held various posts in northwestern France, notably as a choir master at Amiens Cathedral, before moving to the royal court in Paris in 1502, where he remained until his death in 1522. The two six-voice motets recorded here, Confitemini Domino and Benedicam Dominum, are sister works found in the same manuscript at the Sistine Chapel library. Noted for their canonical voices and free surrounding voices, these motets explore a profound contrast in musical density and emotion, expressing praise in a solemn minor mode.
Gaude virgo Katherina showcases Mouton's composition style, using simple means with duets and distinct subsections. This hymn, paying tribute to St. Catherine of Alexandria, follows a poetic form with specific rhyming structures. Illuminare, illuminare, Jerusalem, on the other hand, represents Mouton's characteristic motets, exuding a structured and imitative style typical of 1500-1530 French music. Refrains are a common feature in Mouton's works, as seen in Laudate Deum in sanctis eius, a joyful piece starting with higher voices and incorporating energetic duets and homophonic textures.
O salutaris hostia, a piece based on a eucharistic hymn, stands out for its concise yet powerful representation. Mouton's significant works, predominantly Mass settings, demonstrate his versatility across a multitude of musical forms. Lauded among his compositions is Missa Faulte d'argent, known for its poignant musical delivery. The Mass setting featuring the “Faulte d’argent” motif resonates deeply with its use of chansons, unfolding a musically gripping narrative.
In the concluding sections of Mouton's Mass compositions, meticulous attention is given to the Agnus Dei, characterized by elaborate imitations and intricate interplays among voices. These sections, especially in the Agnus Dei, illustrate the composer's skillful orchestration and emotional depth, culminating in a final poignant plea for peace.