One of the sad things about Josquin research is that works are judged spurious – or even just possibly spurious – and then get forgotten entirely. That is partly because there are so many superb Josquin works that are beyond doubt; but all the same it is a pity. Besides, the case of the Missa Une mousse de Biscaye has been one of the most energetically argued over the years, both for and against. The main issues here are that there are a lot of dissonances that are uncharacteristic of his mature style; and the main counter-argument is that in his early years he was experimenting with many different styles. Either way, there seems not to have been a recording of it since 1959, which is a great pity, because it is a marvellous piece, whoever composed it. Some years ago I went on record as thinking that, on balance, it was probably not by Josquin. Now that I have heard this wonderful recording I am almost ready to rethink the whole thing.

In his booklet-note, Peter Phillips makes no secret of the disputed nature of both Masses on this record; that the cover simply describes both as ‘Josquin Masses’ seems to me no problem, though obviously some purchasers could feel duped. But what is clear is that both works are magnificent achievements, beautifully sung. As concerns the Missa Di dadi, I am still inclined to stay with my earlier view that it is by a younger composer who had absorbed Josquin’s style; but the important matter here is that Peter Phillips and The Tallis Scholars approach the two works in entirely different ways, treating the Missa Di dadi in a much gentler manner, with extended passages allotted to solo voices, whereas the Missa Une mousse de Biscaye gets a much more robust performance. In both Masses they have only eight voices, with women on only the top line.