Biography
The Ensemble Gilles Binchois stands among today's leading early-music groups whose work grows directly from rigorous scholarship under the guidance of one central figure, its founder and director Dominique Vellard. The ensemble maintains an active schedule of roughly thirty concerts annually while sustaining a consistent recording output that reached the album Timor Mortis in 2024, bringing its total catalog past forty releases.
Vellard established the ensemble in 1978 together with several close associates. From the beginning they committed to performing from original notation and to shaping interpretations that illuminate the underlying structure and purpose of each work. Membership shifts according to the repertory at hand: a small group of male voices for plainchant and early polyphony, a modest mixed choir for chansons, and added instruments when more elaborate pieces require them. A hallmark of the group's approach lies in its sustained exploration of how indigenous oral traditions may have shaped written vocal practices. Although the ensemble initially concentrated on French music and continues to favor earlier French repertory, the inclusion of specialists from additional countries has enabled it to expand its geographic scope. It appears regularly throughout Europe and has toured extensively in the Americas and Asia.
French cultural authorities have provided ongoing support, most notably through the Musical Affairs Department of the Ministry of Culture. The ensemble maintains ties to the Center for Medieval Music in Paris, where numerous members have taught or studied. Close working relationships with leading scholars have further enriched its projects, including those with Marie-Noël Colette in Paris and with Karen Smith and Wulf Arlt in Basel.
More than forty recordings have appeared on Virgin Classics, Ambroisie, and Evidence, the last of these issuing the majority of releases since 2015. Among recent projects are Messes de Barcelone et d'Apt (2019), Dufay: Le prince d'amours (2021), and Timor Mortis (2024).
Vellard established the ensemble in 1978 together with several close associates. From the beginning they committed to performing from original notation and to shaping interpretations that illuminate the underlying structure and purpose of each work. Membership shifts according to the repertory at hand: a small group of male voices for plainchant and early polyphony, a modest mixed choir for chansons, and added instruments when more elaborate pieces require them. A hallmark of the group's approach lies in its sustained exploration of how indigenous oral traditions may have shaped written vocal practices. Although the ensemble initially concentrated on French music and continues to favor earlier French repertory, the inclusion of specialists from additional countries has enabled it to expand its geographic scope. It appears regularly throughout Europe and has toured extensively in the Americas and Asia.
French cultural authorities have provided ongoing support, most notably through the Musical Affairs Department of the Ministry of Culture. The ensemble maintains ties to the Center for Medieval Music in Paris, where numerous members have taught or studied. Close working relationships with leading scholars have further enriched its projects, including those with Marie-Noël Colette in Paris and with Karen Smith and Wulf Arlt in Basel.
More than forty recordings have appeared on Virgin Classics, Ambroisie, and Evidence, the last of these issuing the majority of releases since 2015. Among recent projects are Messes de Barcelone et d'Apt (2019), Dufay: Le prince d'amours (2021), and Timor Mortis (2024).
Albums
Nicolas de Grigny, Nicolas Lebègue: Écrire le temps
2020
Livre d'orgue de Montréal
2016
Canto Gregoriano, Los Tonos de la Música
2015
L'Amor de Lonh: Medieval Songs of Love and Loss
2010
Gregorian Chant And Medieval Polyphony (L'Arbre De Jesse)
2008
Vellard: 7 Dernieres Paroles Du Christ En Croix (Les), Stabat Mater & Missa Laudes Deo
2007
Songs of the Renaissance: France/Spain
2005