Polyphonies oubliées - Faux bourdons Ensemble Gilles Binchois & Dominique Vellard

• 1 Ave consurgens aurora (versus) 02:28
• 2 Lumen ad revelationem (antienne) - Nunc dimittis (cantique de Siméon) 04:28
• 3 Credo in unum Deum 07:48
• 4 Mater regis angelorum (versus) 01:17
• 5 Nunc dimittis - Ayn apolis - Magnum nomen Domini (cantique de Siméon) 05:19
• 6 Litaniæ B. Mariae Virginis (Litanies) 02:28
• 7 Miserere, psaume 50 03:14
• 8 Creator omnium (versus) 03:01
• 9 Magnificat du 6e ton 07:21
• 10 Laudate pueri (psaume 112) 03:55
• 11 Ave regina cœlorum (antienne) 02:04
• 12 In exitu Israel (psaume 113) 05:19
• 13 Laudate Dominum du 3e ton (psaume 116) 02:04
• 14 De profundis (psaume 129) 04:23
• 15 Pange lingua (hymne) 03:47
• 16 Dixit Dominus (psaume 109) 03:43
• 17 Ave maris stella (hymne) 02:24
• 18 Alleluia, O filii et filiæ 03:41
• 19 Ave maris stella (hymne) 02:21
• 20 Kyrie de la Messe des morts 03:13
• 21 Dies iræ (séquence) 08:55
• 22 Omne quod dat mihi (antienne) - Magnificat du 7e ton 05:24
• 23 Kyrie de la messe des solennels mineurs 03:55
• 24 Ave verum corpus (séquence) 02:31
• 25 Ut queant laxis (hymne) 03:49
• 26 Inviolata (séquence) 02:23
• 27 Adoremus in æternum (antienne) 06:01
• Total Runtime 01:47:16

Info for Polyphonies oubliées - Faux bourdons

From the Middle Ages until the nineteenth century, and even in some cases until the time of the Second Vatican Council, plainchant was sung polyphonically all over Europe, in a great variety of ways. It is no exaggeration to say that for centuries it epitomised the sound of church music for congregations. Fauxbourdon was a means of solemnising the Divine Office by embellishing the plainchant melody.


In order to revive this music it was necessary, in particular, to measure the importance of the part played by orality in the practice of fauxbourdon – the written sources that have come down to us being inadequate – and then to attempt to re-acquire the original practice in order to bring out the charms and beauties of these pieces.


The solution adopted by Dominique Vellard was to work with the same group of singers throughout the duration of the project, thus enabling the acquisition of the collective reflexes that would make it possible to grasp the specificity of fauxbourdon.



This double album is the result of four years’ work – four years, during which several thousand manuscript and printed examples were identified. The selection presented here reflects the variety and diversity of four centuries of French polyphonic plainchant.

Ensemble Gilles Binchois
Dominique Vellard, conductor
Maîtrise de Toulouse
Mark Opstad, conductor

No biography found.

This album contains no booklet.