- Factum est silentium, for 4 voices
- Bona vita, bona refectio, for 4 voices
- Missa "Tu es Petrus", for 5 voices
- Verbum bonum et suave, for 8 voices
- Exsultet coniubilando, for 8 voices
Renaissance composer Jean Mouton was nearly an exact contemporary of Josquin Desprez and followed a similar career path: born in northwestern France, he traveled to Grenoble and got close enough to Italy to impress the Medici and their pope, Leo X. He apparently never moved to Italy, however, and his music is entirely different in effect from Josquin's. The motets heard here are mostly in eight parts, and they look back to the middle 15th century with their combination of intricate contrapuntal artifice, rich color, and expansive structure. It's sort of as if Ockeghem had lived long enough to enter the new era of transparent texture and specific text expression but had held the line on his contrapuntal skills. A distinctive feature of Mouton's style is the patch of intense dissonance that often develops toward the end of his motet structures. It is grand rather than experimental in effect, and it is very nicely brought out by the youthful English group the Brabant Ensemble (apparently containing no fewer than four siblings), which ranges from about a dozen members to a bit more in the bigger pieces. The group of mixed-gender adults doesn't have the flawless scholars sound, but their performances are very expressive. The "Missa Tu es Petrus" is a five-voice cantus firmus mass of a type that likewise in Josquin's terms would have been a bit old-fashioned; the chief attraction here is the big motets, which are highly recommended for collections of Renaissance a cappella choral music.