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Classical - Released August 30, 2012 | Aeon

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Sacred Vocal Music - Released October 2, 2014 | Bayard Musique

Distinctions Diapason d'or
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Classical - Released March 17, 2011 | Aeon

Booklet Distinctions 5 de Diapason
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Classical - Released September 25, 2008 | Alpha

Booklet
Celebrated in life as the greatest poet-composer of the 14th century, Guillaume de Machaut is still remembered for his influential motets, rondeaux, ballades, and virelais, marking the culmination of the ars nova in late-medieval France. Yet his masterpiece was a sacred work, the Messe de Nostre Dame, which was the first complete setting of the Ordinary of the Mass by a single composer, and which anticipated the later cyclic masses of Josquin des Prez and others. This recording by Antoine Guerber and Diabolus in Musica presents Machaut's movements of the mass -- Kyrie, Gloria, Credo, Sanctus, and Agnus Dei -- interlaced with chants devoted to the Virgin Mary, in keeping with the intended use of this mass for Marian devotions. The rich sound of the low-register male ensemble, comprised of tenors Raphaël Boulay and Olivier Germond, baritones Éric Lavoipierre and Jean-Paul Rigaud, bass-baritones Geoffroy Buffière, Christophe Grapperson, and Emmanuel Vistorky, and bass Philippe Roche, gives the mass a dark but warm coloration, quite unlike higher-pitched versions performed by the Hilliard Ensemble or Ensemble Gilles Binchois, and is not heavily embellished, as are the performances by Ensemble Organum and Graindelavoix. © TiVo
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Sacred Vocal Music - Released March 3, 1997 | Studio SM

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Classical - Released January 1, 2004 | Alpha

Booklet
If you love the sublime sacred music of Guillaume Dufay, do not deny yourself the joys of this disc. Performed by the eight-voice Diabolus in Musica under the direction of Antoine Guerber, the disc features Dufay's masterful Missa se la face ay pale interwoven with the four musical movements of the Proper of the Mass for Trinity Sunday, thereby giving this gem of the late Medieval period its proper context. With the utmost clarity, the purest intensity, and the greatest expressivity, the delightfully inappropriately named Diabolus in Musica choir weaves Dufay's ecstatically flowing counterpoint into radiant tapestries of spiritualized sound. Separated by the austere monophonic settings of the Proper and ending with a consciousness expanding Ite missa est, the musical genius of Dufay's Missa se la face ay pale glows even more luminously. Recorded in translucent digital sound by Alpha Productions, this disc belongs on every late medieval shelf. © TiVo
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Classical - Released April 13, 2018 | Bayard Musique

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Classical - Released March 4, 2013 | Studio SM

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Classical - Released January 1, 2002 | Alpha Classics

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Classical - Released February 25, 2010 | Alpha Classics

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Classical - Released September 25, 2008 | Alpha Classics

Booklet
Celebrated in life as the greatest poet-composer of the 14th century, Guillaume de Machaut is still remembered for his influential motets, rondeaux, ballades, and virelais, marking the culmination of the ars nova in late-medieval France. Yet his masterpiece was a sacred work, the Messe de Nostre Dame, which was the first complete setting of the Ordinary of the Mass by a single composer, and which anticipated the later cyclic masses of Josquin des Prez and others. This recording by Antoine Guerber and Diabolus in Musica presents Machaut's movements of the mass -- Kyrie, Gloria, Credo, Sanctus, and Agnus Dei -- interlaced with chants devoted to the Virgin Mary, in keeping with the intended use of this mass for Marian devotions. The rich sound of the low-register male ensemble, comprised of tenors Raphaël Boulay and Olivier Germond, baritones Éric Lavoipierre and Jean-Paul Rigaud, bass-baritones Geoffroy Buffière, Christophe Grapperson, and Emmanuel Vistorky, and bass Philippe Roche, gives the mass a dark but warm coloration, quite unlike higher-pitched versions performed by the Hilliard Ensemble or Ensemble Gilles Binchois, and is not heavily embellished, as are the performances by Ensemble Organum and Graindelavoix. © TiVo
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Classical - Released January 1, 2005 | Alpha Classics

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Classical - Released August 30, 2012 | Aeon

Hi-Res Booklet
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Classical - Released October 1, 2007 | Alpha Classics

As lovely a program of the secular songs of the great French Renaissance composer Guillaume Dufay as there has ever been, this 2007 disc by the delightfully named Diabolus in Musica gives first-time listeners an attractive introduction to his art and long-time listeners a wonderfully new set of performances to cherish. Of Dufay's 80 songs, the French ensemble led by Antoine Guerber has chosen 19 and grouped them according to topic: Songs of Sorrow and Grief, Songs in Praise of Noblemen, Love Songs, and Songs of Joy and Celebration. Within each set, Guerber mixes various song types from rondeau to bergerette, various groups of singers from solo to trio, and even interpolates the occasional instrumental solo. Balanced between four singers -- a soprano, two altos, and a tenor -- and four instrumentalists -- a guitar, two violins, and a clavicytherium (a sort of vertical harpsichord) -- Diabolus in Musica performs these songs as if the musicians had been born performing them. One never senses artificiality or superficiality, but rather a naturalness and authenticity that defy time and space. While the seeming austerity of the music may at first dissuade fans of later songs by, say, Schubert or Gershwin, the intrinsic beauty of the music and the universality of the emotions may ultimately win over even the most recalcitrant. Recorded in La Ferme de Villefavard en Limousin -- a fine-sounding name for a converted barn with surprisingly splendid acoustics -- the sound here is clear and true. © TiVo
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Classical - Released August 25, 2011 | Ricercar

Booklet
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Classical - Released January 1, 2005 | Alpha Classics

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Classical - Released January 1, 2004 | Alpha Classics

Booklet
If you love the sublime sacred music of Guillaume Dufay, do not deny yourself the joys of this disc. Performed by the eight-voice Diabolus in Musica under the direction of Antoine Guerber, the disc features Dufay's masterful Missa se la face ay pale interwoven with the four musical movements of the Proper of the Mass for Trinity Sunday, thereby giving this gem of the late Medieval period its proper context. With the utmost clarity, the purest intensity, and the greatest expressivity, the delightfully inappropriately named Diabolus in Musica choir weaves Dufay's ecstatically flowing counterpoint into radiant tapestries of spiritualized sound. Separated by the austere monophonic settings of the Proper and ending with a consciousness expanding Ite missa est, the musical genius of Dufay's Missa se la face ay pale glows even more luminously. Recorded in translucent digital sound by Alpha Productions, this disc belongs on every late medieval shelf. © TiVo
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Classical - Released March 17, 2011 | Aeon

Booklet
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Classical - Released January 1, 2003 | Alpha Classics

The music on this disc will be unfamiliar even to most of those who've studied some medieval music; alas, it doesn't quite fit into the grand historical march that took music from Latin church compositions to vernacular courtly love songs. These Latin songs of the twelfth century represent something of a historical dead end, and they fall into genres -- the dance-like rondellus, the conductus, the sequence, and some just designated as chansons -- that get just passing mention in the history books. They were elite pieces, written by highly educated clerics for their own amusement or for that of a lord; the motet was perhaps a more "public" genre. Yet, for all that, this music fits interestingly into what one already knows of the styles of its era. Some of the texts lie right in between sacred and secular, for one thing; they seem to condense the sacred-secular mixes of the polytextual motet into a single unified form of expression. And they fall pleasingly all over the map when it comes to subject matter. Some are long, involved, ambitious religious poems. Some point clearly to the tradition of courtly love; some meditate gloomily on death. The small French ensemble Diabolus in Musica presents sparse, quiet readings that they imagine to be in keeping with the refined nature of the music: most of the songs are accompanied by a pair of small fiddles and perhaps some light percussion. For those less interested in the specifics, the singers are pleasant to listen to, and the disc is ideal for hearing a quiet hour of medieval song. And, as usual with the Alpha label, the album artwork -- an incredible illuminated letter Q from a medieval manuscript, with two naked men trapped in a kind of iron scrollwork, being eaten by dog-like creatures that issue from the mouths of an encircling wreath made up by the bodies and long tails of some other kind of demon, with yet a different kind of dog forming the bottom cross-slash of the Q -- is worth the price of the album all by itself. This is an offbeat release even by Alpha's standards, but a fascinating and informative one. © TiVo
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Alternative & Indie - Released April 17, 2020 | EDGE Records (HMR Music Kft.)