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Ockeghem Chansons Bring Out Cut Circle’s Best

Early Music America

The opening syllable is . . . a collective wail of grief that . . . invites, even demands, the listener to participate. The closely miked ambience, the sparse use of vibrato, and the [full texting] . . . draw the listener further into this intimately personal space.
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A Fresh Look at Ockeghem’s Songs

Giornale della musica (Italy)

Radically different . . . [Cut Circle] challenges the predominant sonic aesthetic.
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CD of the Month (Johannes Ockeghem : Les chansons)

Toccata Magazine (Germany)

It is to the great credit of Cut Circle that they take this accumulation of strong feelings very seriously . . . with great individual, expressive, sometimes idiosyncratic expression, [giving] each individual song its own color and shape. With its flexible vocal technique, the ensemble more than does justice to the vocal–technical brilliance and emotional depth of the music.
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EDITOR’S CHOICE (Johannes Ockeghem : Les Chansons)

Gramophone

This is pathbreaking. Sung with beautiful balance and intonation . . . the tempos are perfectly judged . . . sets new standards for the recording of such music and will be a model for many more to come.
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Ockeghem

Fanfare (USA)

Don’t pass up this monument of the early Renaissance. It is a highlight of the year.
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Ockeghem Chansons

Le soir (Belgium)

Destined to revolutionize the interpretation of Ockeghem's songs . . . breathtaking modernity.
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