Movement 1: Kyrie
Movement 2: Gloria
Movement 3: Credo
Movement 4: Sanctus and Benedictus
Movement 5: Agnus Dei
The three voice parts of Compère’s chanson are treated by Mouton as being three independent lines of melody, to be realigned and worked against each other at will. An example of this comes immediately, in the opening bars of the first Kyrie, where the melody which one hears first in the chanson – in the alto – now is heard third in the baritone part; and the melody which came in third in the chanson – the tenor – enters before the others in the top voice. Almost all the remaining movements begin with some variation of this technique, culminating in the Agnus III where a second tenor joins the ATBarB of the hitherto basic choir giving a whole new range of polyphonic possibilities (and creating some unforgettable dissonances). Interestingly the Crucifixus – a trio created by twinning the alto part and adding a baritone as accompaniment, another gimell in everything but name – seems to be free of Compère’s ideas, though with a polyphonist as resourceful as Mouton one can never be sure of what he has remade.
from notes by Peter Phillips © 2012