Alexander Agricola was part of the Franco-Flemish school, a group of composers from the Low Countries who dominated European music during the Renaissance. This period, spanning roughly the 15th and 16th centuries, was marked by significant developments in polyphony, the increasing use of imitation, and the integration of secular and sacred musical forms. Agricola's career took him across Europe, from the courts of France and Italy to the Habsburg court of Philip the Fair, where he served as a singer and composer. His music reflects the cosmopolitan nature of his career, blending the technical rigour of the Franco-Flemish tradition with the expressive lyricism of Italian and French styles.

The late 15th century, during which Agricola composed the Missa Malheur me bat and Missa In myne zyn, was a time of great experimentation in sacred music. Composers like Johannes Ockeghem, Jacob Obrecht, and Josquin des Prez were pushing the boundaries of polyphony, exploring new ways to structure masses and motets. Agricola's masses are a testament to this spirit of innovation, combining traditional techniques with a distinctive personal voice.

The Missa Malheur me bat and Missa In myne zyn are not only masterpieces of Renaissance polyphony but also important milestones in the development of sacred music. Agricola's innovative use of cantus firmus, his rhythmic complexity, and his expressive depth influenced generations of composers, from Josquin des Prez to Palestrina. These masses also provide valuable insights into the musical and spiritual concerns of the late 15th century, offering a window into a world that was both deeply religious and profoundly human.

Ensemble Beauty Farm, a vocal ensemble specializing in early music, has gained recognition for its meticulous approach to historical performance practice. Their recording of Agricola's Missa Malheur me bat and Missa In myne zyn is a testament to their commitment to authenticity and artistic excellence.