Here, as in Trois sereurs
, are three closely related texts which welcome a sequential presentation. Isolating the three parts helps to emphasize how well formed they are and also how homogeneous is their style; they share a preference for stepwise motion, for a virtually identical range and tessitura, and for a shared repertoire of ornaments. When they are combined and each part competes for attention, we hear the kind of exhilarating tangle and clamour which was so attractive to thirteenth-century listeners, and which restores to the perfect consonances—where all the parts agree in fifths and octaves—the almost magical power which medieval music theory attributed to them.
from notes by Christopher Page © 1990