1. Ave Maria [1:31] Anonym
2. Fors seulement [2:51] Johannes GHISELIN
3. Plorer, gemir, crier / Requiem [4:05] Pierre DE LA RUE
4. Requiem [3:23] Jacob OBRECHT
5. Il viendra le jour désiré [1:58] Pierre DE LA RUE
6. Pour ce que je suis [2:02] Pierre DE LA RUE
7. Scaramella fa la galla [2:33] Loyset COMPÈRE
8. Amours mon Fait [2:43] Anonym
9. James que la ne peult estre [2:27] Antoine BRUMEL
10. Fors seulement [2:35] Pierre DE LA RUE
11. Fors seulement [1:55] Matthaeus PIPELARE
12. Fors seulement [2:11] Johannes OCKEGHEM
13. Tout a par moy [3:55] Alexander AGRICOLA
14. Ave Maria [1:36] Anonym
15. Sonnes muses melodieusement [3:01] Alexander AGRICOLA
16. Deuil et ennuy [1:51] Johannes PRIORIS
17. Royne du ciel / Regina Caeli [3:39] Johannes PRIORIS
Jacob OBRECHT. Missa Fortuna Desperata
18. Kyrie [1:46]
19. Sanctus [2:31]
20. Osanna [4:37]
21. Ma bouche rit [4:17] Pierre DE LA RUE
22. La mi la sol, la sol la mi a 4 [2:10] Heinrich ISAAC
23. Ave Maria [1:42] Anonym
The Boreas Quartett Bremen and soprano Dorothee Mields bring a little-known musical manuscript of the renaissance to life and present a series of premiere recordings. The Basevi Codex, a collection of Franco-Flemish chansons, motets and mass settings, was produced during the early sixteenth century in the famous music scribing workshop of Pierre Alamire. Faithfully following renaissance performance practice, which allowed great freedom in its musical realisations, the recorder consort and Dorothee Mields interpret selected pieces from the codex, with voice or purely instrumental, and, depending on the character of the piece, also with improvised virtuoso ornamentation. This creates a colourful picture of the music as it was sung and played at the Burgundian-Dutch court of Princess Margaret of Austria in Mechelen. This recording is the second volume of a multi-part audite recording series with recorder player Julia Fritz, and the audite debut recording of the Boreas Quartett Bremen.
