Utwory na płycie:

• Salve Regina (Motette)
• Intermerata Dei Mater (Motette)
• Alma Redemptoris Mater (Motette)
• Kyrie
• Gloria
• Credo
• Sanctus
• Agnus Dei
• Introitus
• Tu solus qui facis mirabilia, motet for 4 parts
• O virgo prudentissima/Beata mater, motet for 6 parts
• De profundis, motet for 5 parts
• Ave Maria... virgo serena, motet for 4 parts
• Salve Regina, motet for 4 parts
• Nymphes des bois/Requiem aeternam/Deploration de la Mort de Jehan Ockeghem, lament for 5 parts
• Missa "L'homme armé" sexti toni, for 4 parts: Kyrie
• Missa "L'homme armé" sexti toni, for 4 parts: Gloria
• Missa "L'homme armé" sexti toni, for 4 parts: Credo
• Missa "L'homme armé" sexti toni, for 4 parts: Sanctus
• Missa "L'homme armé" sexti toni, for 4 parts: Agnus dei

CD1:
Johannes Ockeghem [c1410-1497]:
Motets - Missa Caput - Requiem (excerpt)

CD2:
Josquin Des Prez [c1440-1521]:
Motets - Missa L'homme armé

CD3:
Pierre de la Rue:
Missa Cum iucunditate - Absolve Quaesumus, Domine

Johannes Ockeghem:
Ave Maria

Adrian Willaert [c1490-1562]:
O crux splendidior

Heinrich Isaac [c1450-1517]:
Virgo Prudentissima

Jean Mouton [1459-1522]:
Noe, Noe - Nesciens Mater

CD4:
Alexander Agricola [1446-1506] Lamentatio Jeremiae - Lectio prima/secunda/tertia

Pierre de la Rue:
Mijn Hert altijt heeft verlanghen - O salutaris hostia

Il viendra le jour désiré - Autent en emporte le vent - Fors seulement

Laudate Dominum, omnes gentes

Josquin Des Prez:
Mille Regretz - Scaramella

Adrian Willaert:
Pater Noster

Heinrich Isaac:
In Gottes Namen - In meindem Sinn - Ach, was will doch mein Herz

Alla battaglia - Mon pčre m'a donné mari - Es wollt eine Maeggdlein grasen gahn Rorate, caeli - Virgo prudentissima

CD5:
Pierre de la Rue:
Missa De septem Doloribus - Missa Sub tuum praesidium

Adrian Willaert:
Ave Virgo - Lauda Ierusalem - Douleur me bat - Vecchie letrose - Quante volte diss'io

The Mass, the motet, the chanson. These three genres make up the lion’s share of the polyphonic works in the Alamire manuscripts, a body of fifty often opulently illuminated manuscripts of Flemish origin; these were compiled between 1490 and approximately 1530 as a result of the contacts of the Burgundian-Habsburg princes with foreign rulers and religious brotherhoods. They were named after their copyist, one Petrus van der Hove, alias Alamire his pseudonym spelt out in note names that he often used as his signature on a stave. Seven of these manuscripts are to be found in Belgium: one in the Archief en Stadsbibliotheek of the city of Mechelen, the only one of the seven that is still kept in the city of its creation, and six in Brussels in the Bibliotheque royale de Belgique, including the splendid chansonnier or song-book compiled by Margaret of Austria of works by herself and others (Ms. 228). The remaining manuscripts are valued just as highly abroad as in Belgium and are preserved in eleven other European libraries, principally those of Jena, Munich, the Vatican and Vienna.

It can be seen from the above how much store the composers of the Renaissance set by their combining beauty of sound, expression and symbolism with expert and highly skilled compositional techniques. Polyphony was known at that time as the ars perfecta, the perfect art: the word ars here still has its original meaning as the Latin translation of the Greek word techne, meaning learning or skill. Here it signifies the mastery of an extremely difficult technique of combining several vocal lines with each other in such a way that they form a perfect whole and are yet imparted with a deeper significance that goes beyond the simple experience of the senses. It is precisely thanks to this unique combination of reason and emotional power that this music remains timeless.