Movement 1: Kyrie
Movement 2: Gloria
Movement 3: Credo
Movement 4: Sanctus and Benedictus
Movement 5: Agnus Dei I, II & III
Movement 5c: Agnus Dei III
The remainder of the setting seems more relaxed though, in fact, Josquin can be heard to be constantly trying out new speeds, new rhythms and new scorings for the L’homme armé tune, now complete, now with a few notes used as the basis for an ostinato pattern or a canon. The wide overall range of the four voice-parts brings to the writing the kind of sonority which is associated with Palestrina, and Josquin constantly uses this to imaginative effect, nowhere more memorably than at ‘Et resurrexit’ in the Credo. For showing all these different aspects of his extraordinary technique, this Mass must rank as one of the most accomplished productions of a composer long held to be the greatest writer of his time.
from notes by Peter Phillips © 1989