The interplay between melismatic and syllabic writing doesn't come off as seamlessly as usual in Binchois' chansons. First off, a lot less melisma is used and the opening motive is a rising major triad. That in itself gives the song an unusual stiffness—placed at the start of the piece, how can it not sound banal? The melismatic figurations, to get back to those, seem set apart, parenthetical; it's Binchois melodizing like other composers of his day, and highly regrettable, although this has been called "the most heartbreaking song of the fifteenth century." The effect that one sometimes gets listening to Renaissance music—that the people involved are stupid little wooden puppets—is fully present here. The second section finally loosens up into perfect Binchois, ribbon-like, flowing melody, and a slow, subtle, engaging rise in emotional intensity. In principle it should be fantastic, but the piece has way too much trouble shaking the stiffness out of its limbs. Perhaps Binchois is trying to play flowingness against stiffness, or perhaps the opening figure, or the entire chanson, should be played with copious ornaments. Anyways, forget the first part, delight in the second.

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