Ockeghem Complete Secular Music
View record and artist detailsRecord and Artist Details
Composer or Director: Johannes Ockeghem, Johannes Cornago
Label: L'Oiseau-Lyre
Magazine Review Date: 9/1993
Media Format: CD or Download
Media Runtime: 131
Mastering:
DDD
Catalogue Number: 436 194-2OH2

Tracks:
Composition | Artist Credit |
---|---|
Ma bouche rit |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
(La) despourveue et la bannie |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
D'un autre amer |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Quant ce viendra |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Il ne m'en chault plus |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Presque transi |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Ma maistresse et ma plus grant amye |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
(Les) Desléaux ont la saison |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Mort tu as navré 'Déploration sur la mort de Binchois' |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Quant de vous seul |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Au travail suis |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Prenez sur moi vostre exemple |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Fors seulement l'attente |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
(L')autre d'antan l'autrier |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
S'elle m'amera |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
O rosa bella o dolce anima mia |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Tant fuz gentement |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Je n'ay dueil que je ne suis morte |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Malheur me bat |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Se vostre cuer eslongne |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Ce n'est pas jeu |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Resjois toy terre de France |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Departés vous, male touche |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
D'un aultre la, 'Rondeau royal' |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Aultre Venus estés |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Baisiés moy dont fort |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Fors seulement contre ce qu'ay promys |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Qu'es mi vida preguntoys |
Johannes Ockeghem, Composer
Johannes Ockeghem, Composer Medieval Ensemble of London |
Qu'es mi vida |
Johannes Cornago, Composer
Johannes Cornago, Composer Medieval Ensemble of London |
Author: David Fallows
This was the last of the wonderful series of fifteenth-century song sets issued by L'Oiseau-Lyre Florilegium under the initiative of the late Peter Wadland. Like the others—the complete Dufay songs and the complete Chansonnier Cordiforme—it was hardly intended for continuous listening throughout and therefore sits far better in CD format, where songs can be selected individually and repeated for more concentrated listening. Also like the others, it is a touch uneven in quality: perhaps two-thirds of the pieces here receive magnificent performances that go straight to the centre of the music, while a few merely skim the surface.
When this recording was first so warmly welcomed by IF, much of the music was unpublished: Ockeghem's true status as a composer of songs was newly revealed. Now that all the music is available in print, most of it several times over (particularly with Richard Wexler's recent completion of the Ockeghem edition and two extensive German doctoral dissertations), it is worth noting the extraordinarily high quality of the transcriptions provided by Peter Davies for the recording. He includes all the songs likely to be by Ockeghem together with a few that are now believed spurious and have not been included in Wexler's edition. And the musicians often show that rare excitement that can come from revealing new repertory on the basis of solid new research. This is particularly the case with the two singers who already had wide experience in fifteenth-century song and who have continued to open our ears to its wonders in their subsequent recordings with Gothic Voices—Margaret Philpot and Rogers Covey-Crump. (Note to the producers of Florilegium: it really is time that we had retrospective records devoted to showing a range of the achievements of these two glorious singers who have done so much to bring the repertory to life.)
The transfer is excellent; the booklet gives all the necessary information and presents the texts with perfect clarity. In its new easy-access CD format, the set seems to me a required purchase for all serious collections. Roll on the reissues of the other great Florilegium sets.'
When this recording was first so warmly welcomed by IF, much of the music was unpublished: Ockeghem's true status as a composer of songs was newly revealed. Now that all the music is available in print, most of it several times over (particularly with Richard Wexler's recent completion of the Ockeghem edition and two extensive German doctoral dissertations), it is worth noting the extraordinarily high quality of the transcriptions provided by Peter Davies for the recording. He includes all the songs likely to be by Ockeghem together with a few that are now believed spurious and have not been included in Wexler's edition. And the musicians often show that rare excitement that can come from revealing new repertory on the basis of solid new research. This is particularly the case with the two singers who already had wide experience in fifteenth-century song and who have continued to open our ears to its wonders in their subsequent recordings with Gothic Voices—Margaret Philpot and Rogers Covey-Crump. (Note to the producers of Florilegium: it really is time that we had retrospective records devoted to showing a range of the achievements of these two glorious singers who have done so much to bring the repertory to life.)
The transfer is excellent; the booklet gives all the necessary information and presents the texts with perfect clarity. In its new easy-access CD format, the set seems to me a required purchase for all serious collections. Roll on the reissues of the other great Florilegium sets.'
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