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Claude Debussy’s Trois Chansons, set to a text by the 15th-century French poet Charles d’Orléans, are an unmistakable nod to the renaissance by a thoroughly modern composer. Published in 1908 during the mature part of Debussy’s career, these three a cappella choral miniatures (the only such pieces in Debussy’s output) are a conscious nod to the historical music revival that had begun in France during the 19th century’s fin de siecle and continued into the 20th century. By using Renaissance modalism combined with jazz-inspired harmonies, Debussy created a seamless connection between French music’s past and present. Dieu! qu’il la fait bon regarder, La gracieuse bonne et belle; Pour les grans biens que sont en elle, Chascun est prest de la louer. Qui se pourroit d’elle lasser? Tousjours sa beauté renouvelle. Dieu! qu’il la fait bon regarder, La gracieuse bonne et belle! Par deça, ne delà, la mer, Ne scay dame, ne damoiselle Qui soit en tous biens parfais telle! C’est un songe d’y penser. Dieu! qu’il la fait bon regarder --- Lord! how lovely it is to look upon her, The good and fair and gracious lady; For the high qualities within her, All are eager to praise her. Who could ever tire of her? Her beauty always increases. Lord! how lovely it is to look upon her, The good and fair and gracious lady! The ocean knows of no woman in any quarter, Married or single, who is as perfect As she is in every way! You would never dream of such a thing; Lord! how lovely it is to look upon her!