The countertenor is so delightful in this piece, very animated and almost as notey as the discantus which is allowed for once to ride splendid long notes on its movement, instead of the other way around as it often is in Binchois' chansons.

The discantus ends up sounding like ideal material for viol music, and gains the quality of always hovering slightly above the ground, looking down from wings of melisma to make the splendid lament be heard across distances. The high range of the discantus also gives the work an especially strong (for Binchois) insistence and force. It's not a force that takes the listener willy-nilly, but when you start to listen really hard, like when you're trying to describe it, that impression grows and grows and grows.

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