From the Middle Ages to the 19th century, plainchant was sung polyphonically all over Europe in a great variety of ways. It is no exaggeration to say that for centuries it epitomised the sound of church music for congregations.

Faux-bourdon was a means of solemnising the Divine Office by embellishing the plainchant melody. This double CD featuring Dominique Vellard and the Ensemble Gilles Binchois is the result of four years’ work – four years during which several thousand manuscript and printed examples were identified. It offers a selection of this music that reflects the variety and diversity of four centuries of French polyphonic plainchant.

Dominique Vellard has been the inspirational driving force behind the Ensemble Gilles Binchois – more than three decades of research and performance that have led to the creation of some essential recordings in the field of medieval and early Renaissance music.

Contents:
CD 1 (16th-17th Century)
- Ave consurgens aurora (versus)
- Lumen ad revelationem (antienne)
- Nunc dimittis (cantique de Siméon)
- Credo in unum Deum, Mater regis angelorum (versus)
- Nunc dimittis / Ayn apolis / Magnum, nomen Domini (cantique de Siméon)
- Litaniæ B Mariae Virginis (Litanies)
- Miserere (psaume 50)
- Creator omnium (versus)
- Claudin de SERMISY: Magnificat du 6e ton
- Laudate pueri (psaume 112)
- Jean de BOURNONVILLE: Ave regina coelorum (antienne)
- In exitu Israel (psaume 113)
- Laudate Dominum du 3e ton (psaume 116)
- CHARPENTIER: De profundis (psaume 129)

CD 2 (18th-19th Century)
- Pange lingua (hymne)
- Dixit Dominus (psaume 109)
- Ave maris stella (hymne)
- Alleluia, O filii et filiæ
- Ave maris stella (hymne)
- Kyrie de la Messe des morts
- Dies iræ (séquence)
- Omne quod dat mihi (antienne)
- Magnificat du 7e ton
- François-Louis PERNE: Kyrie de la messe des solennels mineurs
- Ave verum corpus (séquence)
- Ut queant laxis (hymne)
- Inviolata (séquence)
- Aloys KINC: Adoremus in æternum (antienne)