ʻIn the 16th century birdsong certainly constituted an essential aspect of that broad stream of natural imitations which runs through the musical aesthetics of the Humanist Age: Human or Artificial Music hearkened to Natural Music in an effort to copy it and thereby to raise itself to the summits of Parnassus. [ . . . ] Janequin never lost his taste for bird-song, from the first attempts of 1520 down to the last chansons of the 1550s. It is at the very core of his creative activity, at the heart of that poetic-musical game, the polyphonic chansonʼ (J.-P. Ouvrard). This recording has never left the harmonia mundi catalogue in nearly thirty years, and is still regarded as a benchmark!
This title was released for the first time in 1985.