The Orlandos are so experienced in this repertory that, nearly always, the choice of tempo and tone is spot-on (and tempo is perhaps the most important decision, given that absolute tempos are never indicated), which maximises the music’s communicative potential and more than compensates for the occasional vocal blemish.

The four voices of the Orlando Consort give spaciously beguiling performances of a choice selection, ranging from the moving lament for the fall of Constantinople, O tres piteulx, to songs of love unrequited and otherwise, and to a final artful drinking song, Puisque vous estez campieur.

[Dufay] knew a good tune when he found one. He also knew the pleasures of voices weaving in striking counterpoint, and the combination, in this Consort’s hands, produces music-making of much fascination and joy. Wholeheartedly recommended.