The subject of Peter Phillips' latest crusade on behalf of renaissance composers who deserve to be better known is Jean Mouton (c1459–1522). A younger contemporary of Josquin, he's routinely grouped among the Franco-Flemish school of Renaissance composers, though musically Mouton, who was born near Boulogne and spent his working life first in the churches and cathedrals of northern France and then at the court of Louis XII, was much more concerned with French poise and clarity than with Flemish elaboration and density, even if some of his polyphonic writing is wondrously complex. Phillips includes one of the most extraordinary of those technical feats, the motet Nesciens Mater, in which two four-voice choirs are interwoven canonically while the counterpoint remains miraculously lucid, but the main work here is one of Mouton's 15 surviving masses, which deconstructs Loyset Compère's chanson, Dictes Moy Toutes Voz Pensées, and obtains virtually every thematic detail of the setting from it. The Tallis Scholars' beautifully shaped performances preserve all the crystalline purity of Mouton's vocal writing, while the recording (made in Merton College Chapel, Oxford) is so detailed that a couple of minuscule glitches – a premature edit before the resonance of one piece has totally died away, a fractional imprecision on the opening note of another – seem like real intrusions.