The polyphonic plenitude of the Renaissance. Missa pro defunctis by Charles d’Argentil, motets by Jehan Barra, Lamentations by Claudin de Sermisy.
Without giving up the contrapuntal excellence and mastery of their predecessors from the Flemish-French School, these three composers have in common a more homophonic writing, favouring the quality of prosody. This aesthetic choice gives their works a fulfilled sound, which will remain the ideal of Renaissance composers.