The larger portion of this program by length is devoted to motets, but I'm putting it under secular here for now, since those interpretations seem to be more developed.... If this really does end up being a Complete Josquin, as suggested elsewhere by the performers, then it may need to be moved around....
That said, the motet part of the project is definitely the most exciting to me at this point, and this interpretation announces a rather thorough rethinking: Pronunciations, tempi, coordination is all approached with differences from most prior work. And this kind of rethinking seems warranted too, particularly as the Josquin Anniversary (in 2021) seemed to bring only a few individual recitals, with little significant rethinking or summation.... Most of the Josquin discography remains very dated (in terms of current knowledge).
One exception to that was (& is) Josquin The Undead though, and that approach to the secular works is probably the most similar to what's undertaken here by Cut Circle.... And at this point, I guess it's funny, but after years of calling out for more secular programs, there's been a relative outpouring of Josquin secular recordings of late....
In each portion of the program, however, selections are made from the real highlights of Josquin's oeuvre, across different periods of his career & different stylistic objectives. So although it's not really a program that works great for a single listening session per se, as it's more of an anthology, they did make interesting selections both in terms of the composer's output & their own approach to performance.
And their approach is outstanding in principle, although one can quibble with various passages here being a little rough in execution, particularly in the motets, i.e. some wobbly articulation (& maybe some over-sustain...) or stumbling coordinations.... But these issues also come with great clarity of texture overall, meaning that everything is placed in relief.... (Many choral renditions seem to be designed to obscure the details.)
As far as the choices in terms of historical performance, women's voices are prominent immediately here, so that's clearly a non-historical choices in the motets. And then will they maintain the all-vocal secular readings? It seems that might be difficult if they really aim for completeness, but they do already render Une musque de Biscaye, often considered an instrumental piece, with voices alone here....
In any case, although this initial offering might not generate as much specific enthusiasm if taken all by itself, it certainly seems to herald much more, and I'm excited for where the series will go....
Todd M. McComb Updated: 5 November 2023