From Chanson to Credo: A Journey Without Barlines This barless transcription of Josquin Baston’s Doulce Memoire for TTB recorders is part of a broader exploration of Pierre Sandrin’s iconic chanson and its expressive legacy. Presented at the Carolina Mountain Recorder Society, the project traced the emotional and structural transformation of Doulce Memoire across five distinct settings: Sandrin’s original chanson; a reflective duet by Pierre de Manchicourt; this graceful trio by Baston; the philosophical reply Fini le Bien by an anonymous composer; and Orlando di Lasso’s sacred reimagining in mass form.

Baston’s trio, posted here, reimagines Sandrin’s chanson through a Northern polyphonic lens. A Dutch composer active in Denmark and Sweden, Baston layers expressive counterpoint over the graceful contours of the original. One especially moving moment comes with the line “Mal soudain recommence” (“Sudden evil returns”), where a poignant clash between voices evokes a musical sigh—a hesitation that mirrors the emotional weight of the text.

The four related transcriptions mentioned above—Sandrin’s chanson, Manchicourt’s duet, the anonymous reply, and Lasso’s mass—can be found on the ARS website by entering “barless” in the Keyword box. This collection invites modern ensembles to engage not only with historical repertoire, but with the emotional testimony embedded in its evolving musical language. For those new to playing barless music, you may wish to consult my article, “How to Play Barless Renaissance Music,” in the July 2025 issue of ARS NOVA.