The so-called Bayeux manuscript, copied at the turn of the 16th century, preserves a repertory of songs that was often mined for new compositions. Here, some of those originals are performed alongside their polyphonic settings, and some are allowed to stand on their own. The members of Obsidienne sometimes improvise sung counterpoints against them, as was often done. Though the results are mixed, it’s the only way for listeners to engage with a practice that’s by definition irrecoverable: the pair of improvised Kyries attempted here are certainly most impressive, the second especially so. Some of the songs, though not found in Bayeux, are not otherwise available on CD at present, so this project helps fills several gaps in the discography. Further, the monophonic songs often are extremely catchy.

The discographical and musical interest overrides the reservations one has concerning the performances themselves. Obsidienne’s members both sing and play, but they sound more compelling and proficient on their instruments. With one or two exceptions, individual voices lack distinctiveness (tenors strain audibly at the top of their range, for example in Compère’s Mais que ce fut), and the quality of the choral ensemble is more reminiscent of a highly accomplished French chorale than of polished professionals (as in La Rue’s Pourquoy non). I realise that sounds damning but it’s not meant to be, for there’s real enjoyment to be had from these performances. One simply feels that a couple more voices of substance would enable the ensemble better to meet its considerable aspirations.