The last twenty-five years have yielded significant insights into the life, times and most importantly the music of the Habsburg-Burgundian master Pierre de la Rue. All the sacred works are now available in scholarly editions, and many fine recordings of his music have been committed to compact disc. La Rue has also attracted a good deal of scholarly attention, even controversy, and his place as a major figure at the time of Josquin is now surely secure. There is still much work to be done, however, and not only with the secular music that has yet to be compiled and edited in its entirety. Even the Masses, the core of la Rue’s output, are only superficially known. Of the thirty Mass settings that are securely attributed to la Rue, nearly a third have never been recorded, and recordings of half of the remaining Masses are either no longer available or problematic for other reasons.