4The Chantilly Codex is a manuscript with ninety songs and thirteen motets copied sometime before 1400 in Avignon or Foix, representing an overview of the general song repertory for that time. The texts are often arcane and the notation complex, but the adventure is rewarding, revealing both the artistry and often strange concerns of that period. The selection, performed here by the talented Ensemble P.A.N. of Switzerland, is a fine rendering of the spirit and practices of this artistic flowering amidst a land of strife and difficult existence. Beginning with the strangest music and texts, we meet the microtonal and "snaky" swooping and odd tonalities of two pieces referring to the "society of smokers" of the time, who undoubtedly smoked hashish and substances other than tobacco. The involuted texts, with hidden meanings, are Johannes Symonis' (called Hasprios) punning ballade Puisque je suis fumeux (Since I am smoky, full of smoke, smoke I must, for, if I did not smoke, those who call me smoke-head, by reason of smoke, I would prove them wrong") and Solage's rondeau Fumeux Fume par fumee ("A smoker smokes through smoke. A smoky speculation.") There are also songs about great musicians, such as Jehan Suzay's ballade Pictagoras, Jabol et Orpheus, an anonymous love poem and instrumental, a typical imitation birdsong (virelai) by Jean Vaillant entitled Par maintes foys, and another virelai by the mysterious Grimace called A l'arme, a l'arme about a battle of lovers. A brilliant four-voice double ballade (two simultaneous texts), Quant Theseus, by the master Guilliame de Machaut is perhaps the crowning star of the collection. Another ballade double by F. Andrieu, Armes, amours, concludes this fascinating album.