Josquin also stars in a disc to which he contributed not a single note: the lute intabulations on Jacob Heringman’s anthology are all arrangements by 16th-century lutenists. Two things are particularly striking: the vast majority are drawn from the motets and songs of Josquin’s last years, testifying to the enormous influence of those works in particular. And the disc is a fascinating exercise in listening. For today’s audience, the experience of this recital must vary radically according to one’s familiarity with Josquin’s originals: if familiar, one can follow the intricacies of the intabulators’ variations, and ‘join the dots’ of the original voices (sometimes as many as five or six) which the lutenist, despite his skill, can at times only suggest, for the tempos are slowed down to about half what they would be in a vocal performance; if not, one can experience the intimate ambience, the wash of sound, the beauty of Heringman’s rather laid-back approach; but it must be a curiously disembodied impression. Either way it is ideal late-night listening, conducive to meditation in the true sense of the word: active, not passive.

Fabrice Fitch, Gramophone, February 2001