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III III Peccatorum perdonator Pardon for our sins, we pray, John esto noster expurgator Make us truly clean today, et duc ad divina. So may we to God be led. DUNSTABLE Veni Creator (FB) Veni Creator (FB)

I I Veni Creator Spiritus Come, Holy Ghost, Creator, come, Sweet Harmony mentes tuorum visita And visit every soul of Thine: imple superna gratia Fill with Thine own supernal grace que tu creasti pectora The hearts which Thou hast form’d for Thee. Masses and Motets

Qui paraclitus diceris Thou, who art named the Paraclete, donum Dei altissimi The heavenly gift of God most high, TONUS PEREGRINUS fons vivus ignis caritas Fountain of Life, refining fire, et spiritalis unctio Anointing Spirit, Love Divine:

Tu septiformis munere Thou in Thy gifts art manifold [sevenfold]; dextre Dei tu digitus Th’ effectual finger of God’s hand; tu rite promisso Patris The Father’s faithful promise Thou, sermone ditans guttura Touching each lip with eloquence.

II II Accende lumen sensibus Shine forth before our vision, Lord, infunde amorem cordibus Into our hearts infuse Thy love; infirma nostri corporis And with Thine all-enduring strength virtute firmans perpetim The weakness of our frame confirm.

Hostem repellas longius Far hence repel the threatening foe, pacemque dones protinus Thy peace delay not to confer: ductore sic te previo That, following Thee, our Guide before, vitemus omne noxium We may escape all noxious harm.

III III Per te sciamus da Patrem Grant us, by Thee, to apprehend noscamus atque Filium The Father, and to know the Son; te utriusque spiritum And Thee, the Spirit of them both, credamus omni tempore. Now and in all times to believe.

Veni Creator (TW/AP/ALE) Veni Creator (TW/AP/ALE)

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John II II DUNSTABLE Sine tuo numine If Thou take Thy grace away, (c.1390-1453) nihil est in lumine Nothing pure in man will stay; Sweet Harmony – Mass Movements and Motets nihil est innoxium All our good is turned to ill.

1 Quam pulchra es [JD44] 2:38 Lava quod est sordidum Heal our wounds; our strength renew; (RE/ALE; AH/AP; TW/FB) riga quod est aridum On our dryness pour Thy dew; sana quod est saucium Wash the stains of guilt away. 2 Kyrie [JD1] 6:14 (FULL) Flecte quod est rigidum Bend the stubborn heart and will, 3 Gloria a 4 [JD11] 6:35 fove quod est frigidum Melt the frozen, warm the chill; (FULL) rege quod est devium Guide the steps that go astray. 4 Credo a 4 [JD12] 8:42 (FULL) III III Da tuis fidelibus On the faithful, who adore 5 Gloria Jesu Christe Fili Dei [JD15] 7:48 in te confidentibus And confess Thee, evermore (RE; FB; AH/TW/AP) sacrum septenarium In Thy sevenfold gifts descend: 6 Credo Jesu Christe Fili Dei [JD16] 5:59 (KO/ALE; RE/AH; TW/FB/AP) Da virtutis meritum Give them virtue’s sure reward, 7 Sanctus [JD6] 4:28 da salutis exitum Give them Thy salvation, Lord, (JF; RH; KO) da perenne gaudium. Give them joys which never end. Veni Sancte Spiritus (RE/AH) Veni Sancte Spiritus (RE/AH) 8 Credo Da gaudiorum premia [JD17] 6:00 (RH; JF; KO/ALE) I I 9 Sanctus Da gaudiorum premia [JD18] 6:13 Veni Sancte Spiritus Come, O Holy Spirit, come, (JF; KO; RH/ALE) et infunde primitus Now in us, Thy work begun, 0 Agnus Dei [JD14] 5:33 rorem celi gratie Pour the dew of heaven’s grace. (FULL) Precantibus humanitus Pray we in humanity, salva nos divinitus But by Thy Divinity ! Veni Sancte Spiritus – Veni Creator [JD32] 6:56 a serpentis facie Save us from the Serpent’s face. (JF/RH/KO; RE/AH; FB; TW/ALE/AP) In cujus presentia There we stand without a plea, @ Gloria in canon [version*] 3:01 ex tua clementia Save Thy gracious clemency: (FULL) II II TONUS PEREGRINUS tecta sint peccata Blot out sins that once defiled. Nostra que servitia Then we in due service bound, Joanna Forbes – soprano Richard Eteson – tenor corda penitentia Hearts in penitence be found! Rebecca Hickey – soprano Alexander Hickey – tenor tibi fac placata May to Thee be reconciled. Kathryn Oswald – alto Timothy Watson – tenor Languidorum consolator Comfort of the weakest soul, Alexander L’Estrange – countertenor Francis Brett – bass et lapsorum reformator Gracious Guide to them that fall, mortis medicina Be our quickening from the dead. Antony Pitts – director 8.557341 2 11 8.557341 557341 bk Dunstable US 17/08/2005 11:04am Page 10

7 & 9 Sanctus 7 & 9 Sanctus John Dunstable (c.1390-1453) Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Sweet Harmony – Mass Movements and Motets Dominus Deus Sabaoth; Lord God of Sabaoth; That today the first truly great English composer is either Dunstable’s rich harmony with its cross-relations, pleni sunt caeli et terra gloria tua. heaven and earth are full of the majesty of Thy glory. unknown or just a name to most musicians and music- resulting partly from major triads on different degrees of Osanna in excelsis. Hosanna in the highest. lovers is one of the great ironies of Western musical the scale, remained a quintessentially English characteristic, surviving through the glories of the Eton Benedictus qui venit in nomine Domini. Blessed is He that cometh in the name of the Lord. history. In about 1475 the musicologist Tinctoris claimed Osanna in excelsis. Hosanna in the highest. that during his own lifetime music had been transformed Choirbook at the turn of the fifteenth century, through into a “new art”, rendering obsolete anything written Tallis’s famous forty-part motet, Spem in alium [Naxos 0 Agnus Dei 0 Agnus Dei more than a generation earlier. He singled out the English 8.557770] to English composers of the twentieth as responsible for this giant leap forward, and one man in century and beyond. Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world; particular: our all-but-unsung hero, John Dunstable (the Very little is known of Dunstable’s life, although Miserere nobis. Have mercy upon us. composer formerly known as Dunstaple - at least in most there are a number of connections with the area around Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world; contemporary manuscripts which bear his name). St Albans, north-west of London. Part of the reason for Miserere nobis. Have mercy upon us. Back in 1442, Martin le Franc had noted his neglect at home stems from the fact that his pieces Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world; Dunstable’s influence on contemporary Continental survive mostly in manuscripts scattered across the Dona nobis pacem. Grant us Thy peace. composers Dufay and Binchois in his poem Le Continent, where he seems to have spent at least part of Champion des Dames: his career. Another reason, I suggest, is that there is a ! Veni Sancte Spiritus – Veni Sancte Spiritus – ! Veni Sancte Spiritus – Veni Sancte Spiritus – Veni veil of mystery over this extraordinary music: on Veni Creator – Veni Creator Creator – Veni Creator “Car ilz ont nouvelle pratique ‘paper’ it can seem very dry and overly mathematical, De faire frisque concordance but when the missing accidentals are restored (either Veni Sancte Spiritus (JF/RH/KO) Veni Sancte Spiritus (JF/RH/KO) En haute et en basse musique “out of necessity” or “for beauty’s sake”, as late En fainte en pause et en nuance mediaeval theorists put it), the colour returns to the I I Et ont prins de la contenance music and it is immediately full of melodic life and Veni Sancte Spiritus Come, Thou Holy Spirit, come, Angloise et ensuy Dunstable harmonic direction. It is not simply that Dunstable uses et emitte celitus And from Thy celestial home Pour quoy merveilleuse plaisance triads, it is what he uses them for – as J.R. Downie lucis tue radium Shed the ray of light Divine. Rend leur chant joyeux et notable.” points out: “The change in the number of triads from Ciconia to Dunstable is a matter of degree – a matter of Veni pater pauperum Come, Thou Father of the poor, “For they have a new method counting word combinations. It is the meaning of the veni dator munerum Come, Thou Source of all our store, Of making fresh harmony triads that switched.” And it is only by hearing veni lumen cordium Come, within our bosoms shine. In music both high and low Dunstable’s harmony in action that we can begin better In artifice and interruption and nuance to understand why continental musicians of his own era Consolator optime Thou of Comforters the best, And have adopted the English were so gripped by what for them was utterly new dulcis hospes anime Thou the soul’s most welcome Guest, Habit and followed Dunstable music. dulce refrigerium Sweet Refreshment here below. Because of which wonderful delight The two motets which frame our main sequence of Makes their song joyful and remarkable.” Mass movements by Dunstable are the brief, but In labore requies In our labour Rest most sweet, exquisite Quam pulchra es [JD44 – numbering from in estu temperies Pleasant Coolness in the heat, Successions of sweet-sounding thirds (C+E, D+F etc) Musica Britannica VIII (revised)] (track 1), and the in fletu solatium Solace in the midst of woe. had long been tried out by English musicians such as the full-on four-part Veni Sancte Spiritus – Veni Creator anonymous composer of the first complete setting of the [JD32] (track !). Quam pulchra es demonstrates the O lux beatissima O most blessed Light Divine, Passion [Naxos 8.555861]: John Dunstable converted simple power of these delectable triads inspired by reple cordis intima Visit Thou these hearts of Thine, these into fully-resonant triads (C+E+G etc). Song of Songs tuorum fidelium And our inmost being fill. explicit words from the : love poetry 8.557341 10 3 8.557341 557341 bk Dunstable US 17/08/2005 11:04am Page 4

which since New Testament times had been understood Christ, Son of the living God, have mercy on us: 46& 8 Credo 46& 8 Credo as a potent allegory of Christ’s love for His Church. At alleluia, alleluia!”) which is slowed down and given a another musical extreme is Veni Sancte Spiritus – Veni rhythmic pattern to serve as a foundation for the other Credo in unum Deum, I believe in one God, Creator. This motet, associated with the Feast of two parts. In both Gloria and Credo the isorhythmic Patrem omnipotentem factorem celi et terrae, the Father Almighty, Maker of heaven and earth, Pentecost, and directly addressing God the Holy Spirit, scheme is the same: 3/4, 2/4; then again with the cantus visibilium omnium, et invisibilium: and of all things visible and invisible: the Third Person of the Trinity, is technically described firmus moving twice as fast; and both movements seem as ‘isorhythmic’, meaning that the ‘same rhythm’ in the to explore major triads a tone apart, resulting in some et in unum Dominum Jesum Christum, and in One Lord Jesus Christ, tenor part is repeated in its entirety twice (first one-and- surprising contradictions. The Sanctus [JD6] (track 7), Filium Dei unigenitum, the only-begotten Son of God, a-half times faster than the opening pace, then twice as sung here by the upper voices, is made up of alternating et ex Patre natum ante omnia saecula, begotten of His Father before all worlds, fast again) in order to provide an overall structural full sections and faster duets. Deum de Deo, lumen de lumine, God of God, Light of Light, framework for the piece. These three sections, and the The upper voices continue with another pair of Deum verum de Deo vero, very God of very God, change in rhythmic pacing are quite audible and give the Mass movements based on a cantus firmus Da genitum, non factum, begotten, not made, motet forward momentum right to the very end. The gaudiorum premia, this time a Credo [JD17] (track 8) consubstantialem Patri, being of one substance with the Father, upper three voice-parts are each quite distinct in and a Sanctus [JD18] (track 9). The recognisable per quem omnia facta sunt. by whom all things were made: character and set three different texts (a familiar concept outlines of an English Cadence can be heard towards the for the late mediaeval musician), quite possibly alluding end of the Credo, and some of Dunstable’s more Qui propter nos homines, et propter nostram salutem Who for us men, and for our salvation, came down to the triune nature of God. complex rhythmic combinations (possibly suggesting descendit de celis, from heaven, Between these two motets are three groups of Mass the “chains” mentioned in the plainchant tenor) can be et incarnatus est de Spiritu Sancto and was incarnate by the Holy Ghost movements, taking us gradually through the complete heard at the first Hosanna in the Sanctus. The full choir ex Maria Virgine, of the Virgin Mary, Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, joins for a peaceful Agnus Dei [JD14] (track 0). et homo factus est, and was made man, and Agnus Dei), each group including a pair of As a final musical salute (akin to a written epitaph crucifixus etiam pro nobis sub Pontio Pilato and was crucified also for us under Pontius Pilate. musically-related movements (identified by consecutive by the Abbot of St Albans, John Wheathampstead, passus, et sepultus est. He suffered and was buried. JD numbers). celebrating Dunstable’s astronomical achievements) we Et resurrexit tertia die, And the third day He rose again The opening Kyrie [JD1] (track 2), heard here with cap this sequence with a four-part Gloria in canon secundum Scripturas, according to the Scriptures, its nine-fold intercessions, leads into perhaps the most (track @) recently deciphered by Margaret Bent. For et ascendit in celum, and ascended into heaven, impressive pair of movements, a Gloria [JD11] (track this recording we have added our own putative two-part sedet ad dexteram Patris. and sitteth on the right hand of the Father. 3) and Credo [JD12] (track 4) in alternating two-part canon underneath (there must originally have been some Et iterum venturus est cum gloria, And He shall come again with glory and four-part polyphony, sometimes dividing the bar similar kind of harmonic support, as in the thirteenth- iudicare vivos et mortuos: to judge both the quick and the dead: into three and sometimes into two (like a modern 3/4 century Sumer is icumen in), echoing the descending Cuius regni non erit finis. Whose kingdom shall have no end. and 6/8 with equal quavers). Both the Gloria and the peal of bells. Credo are built on an identical pattern of alternation, Technical descriptions, however, can hardly explain Et in Spiritum Sanctum And I believe in the Holy Ghost, which helps to explain why some of the (longer) text of just how superlatively amazing this music is. Dominium, et vivificantem, the Lord, and Giver of life, the Creed overlaps towards the end. Although the Qui ex Patre Filioque procedit, Who proceedeth from the Father and the Son, mediaeval double leading-note cadence (as heard at the Antony Pitts Qui cum Patre et Filio simul adoratur, et Who with the Father and the Son together is end of each repetition of the Kyrie) is still very much in conglorificatur, worshipped and glorified, evidence, it is often subverted by the extra part into a Qui locutus est per Prophetas. Who spake by the Prophets. surprisingly ‘modern’ tonal cadence. Recorded in the Abbaye de Chancelade by kind Sometimes, however, three-part writing seems to permission of the Prior and Community. Many thanks Et in unam sanctam catholicam et apostolicam Ecclesiam; And I believe One Holy Catholic and Apostolic Church; provide greater opportunity for experimental, even also to Dr Margaret Bent for her support and confiteor unum baptisma in remissionem peccatorum; I acknowledge One Baptism for the remission of sins; wayward harmony. Like Veni Sancte Spiritus – Veni generosity. et exspecto resurrectionem mortuorum, and I look for the Resurrection of the dead, Creator, the Gloria Jesu Christe Fili Dei [JD15] (track This recording is dedicated to the memory of Mark et vitam venturi saeculi. and the life of the world to come. 5) and Credo Jesu Christe Fili Dei [JD16] (track 6) Buchele – a God-fearing man and a truly great music- Amen. Amen. are based on a ‘cantus firmus’, a plainchant (“Jesus lover. 8.557341 4 9 8.557341 557341 bk Dunstable US 17/08/2005 11:04am Page 8

1 Quam pulchra es 1 Quam pulchra es TONUS PEREGRINUS

Quam pulchra es et quam decora, carissima in deliciis. How fair and how pleasant art thou, O love, for TONUS PEREGRINUS is a group of individual musicians each forging their own diverse careers, yet unified when delights! (Song of Solomon 7:6) they meet to make music from many times and places. The ensemble was founded by the composer and producer Statura tua assimilata est palme, et ubera tua botris. This thy stature is like to a palm tree, and thy breasts to Antony Pitts in 1990, while studying at New College, Oxford under Dr Edward Higginbottom. The Latin term tonus clusters [of grapes]. (7:7) peregrinus was the name given to one of the Church’s ancient psalm tones; in turn, this chant was based on a Jewish Caput tuum ut Carmelus, collum tuum sicut turris Thine head upon thee [is] like Carmel (7:5a) Thy neck melody which may have been sung by Jesus and the disciples at the Last Supper. This particular psalm tone was eburnea. [is] as a tower of ivory (7:4a) unusual in that it had a different recitation tone in each half, hence its name: ‘wandering tone’; it was also known, Veni, dilecte mi, egrediamur in agrum, et videamus si Come, my beloved, let us go forth into the field... despite its history, as the tonus novissimus, or the ‘newest tone’. TONUS PEREGRINUS combines these two flores fructus parturierunt, si floruerunt mala Punica. (7:11a). ...let us see if ....the tender grape appear, [and] characteristics in a repertoire that ranges far and wide from the end of the Dark Ages to scores fresh from the printer, Ibi dabo tibi ubera mea. the pomegranates bud forth: there will I give thee my and with an interpretative approach that is both authentic and original, as demonstrated on the recent release of loves. (7:12) Léonin/Pérotin’s Sacred Music from Notre-Dame Cathedral [Naxos 8.557340]. It was a recording of Pitts’s own Alleluia. Alleluia. sacred choral music, Seven Letters (Hyperion CDA67507 – Editor’s Choice in The Gramophone) that led Klaus Heymann to commission the ensemble’s very first two recordings for Naxos: Passio by Arvo Pärt [Naxos 8.555860], 2 Kyrie 2 Kyrie which hit the top of the BBC Music Magazine chart and won a Cannes Classical Award, and a pairing of the earliest complete polyphonic settings of the Passion and the Mass, The Mass of Tournai [Naxos 8.555861]. Other planned Kyrie eleison. [three times] Lord, have mercy upon us. releases include the first-ever opera Le Jeu de Robin et Marion [Naxos 8.557337], and Hymnes and Songs of the Christe eleison. [three times] Christ, have mercy upon us. Church [Naxos 8.557681], and the old and the new meet again in The Naxos Book of Carols which is available both Kyrie eleison. [three times] Lord, have mercy upon us. as a CD [Naxos 8.557330] and as a book published jointly with Faber Music (ISBN 0-571-52325-0). The ensemble’s website is at: www.tonusperegrinus.co.uk; TONUS PEREGRINUS is represented by Costa Peristianis 35& @ Gloria 35& @ Gloria ([email protected]).

Gloria in excelsis Deo Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and in earth peace, good-will towards men. Laudamus te, benedicimus te, We praise Thee, we bless Thee, Antony Pitts adoramus te, glorificamus te, we worship Thee, we glorify Thee, gratias agimus tibi propter magnam gloriam tuam we give thanks to Thee for Thy great glory, Antony Pitts was born in 1969 and sang as a boy in the Chapel Royal, Hampton Court Palace. He was an Academic Scholar and later Honorary Senior Scholar at New College, Oxford, graduating in 1990 with First Class Honours. Domine Deus, Rex celestis, Deus Pater omnipotens. O Lord God, heavenly King, God the Father Almighty. While at New College he founded TONUS PEREGRINUS and in 2004 won a Cannes Classical Award for his Domine Fili unigenite, Jesu Christe O Lord, the only-begotten Son Jesu Christ; intepretation of Arvo Pärt’s Passio with the ensemble. He joined the BBC in 1992, and worked for many years as a Domine Deus, Agnus Dei, Filius Patris O Lord God, Lamb of God, Son of the Father, Senior Producer for Radio 3, before resigning in protest over the BBC’s screening of a blasphemous musical. He Qui tollis peccata mundi, miserere nobis. that takest away the sins of the world, have mercy upon us. received the Radio Academy BT Award for Facing the Radio in 1995 and the Prix Italia 2004 for A Pebble in the Qui tollis peccata mundi, suscipe deprecationem Thou that takest away the sins of the world, receive our Pond. For the turn of the Millennium he devised an eighteen-hour history of Western music called The Unfinished nostram prayer: Symphony, and more recently harmonized all four Gospel accounts of the Passion in A Passion 4 Radio. Antony Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of God the Father, Pitts began composing at an early age and has written pieces for Cambridge Voices, the Clerks’ Group, European have mercy upon us. Chamber Opera, King’s College London, the London Festival of Contemporary Church Music, Oxford Camerata, the Oxford Festival of Contemporary Music, Rundfunkchor Berlin, Schola Cantorum of Oxford, the Swingle Quoniam tu solus Sanctus For Thou only art holy; Singers, and the Choir of Westminster Cathedral. Faber Music publish selected scores, including the forty-voice Tu solus Dominus Thou only art the Lord; motet XL, and a CD of his sacred choral music called Seven Letters has recently been released to great acclaim Tu solus Altissimus, Jesu Christe Thou only, O Christ, [Hyperion CDA67507]. He also teaches at the Royal Academy of Music. cum Sancto Spiritu, with the Holy Ghost, in gloria Dei Patris. art most high in the glory of God the Father. Amen. Amen. 8.557341 8 5 8.557341 557341 bk Dunstable US 17/08/2005 11:04am Page 6

Joanna Forbes Francis Brett

Joanna Forbes studied cello and piano from an early age and read Music at Hertford College, Oxford. Best-known Francis Brett was a choral scholar at King’s College, for her work with world-renowned a cappella group the swingle singers, of which she was soprano/Musical Director Cambridge where he read Music. He studied as a postgraduate for over six years, she enjoys a varied career as a classical soprano (both as a soloist and in consorts), jazz singer, at the Royal College of Music and has since performed a wide arranger, lyricist, record producer, workshop leader and singing teacher. variety of music including opera at Covent Garden and many of the major works of oratorio. Rebecca Hickey Timothy Watson

Rebecca Hickey has sung in choirs from a very early age. She started her formal singing studies whilst at university Timothy Watson studied history and French at Oxford, in York and now sings in a number of small choirs and vocal ensembles. Her solo rendition of Perotin’s Beata completing a doctorate on the French Renaissance, and viscera was recently showcased on BBC Radio 3’s CD Review. lectured at the Universities of Oxford and Newcastle. A former principal percussionist of the National Youth Orchestra, he studied at the Conservatoire National Supérieur de Musique de Kathryn Oswald Lyon with François Dupin, and performed for the first time TONUS PEREGRINUS in rehearsal with TONUS PEREGRINUS in 1990, playing vibraphone in at Chancelade Abbey Kathryn Oswald read Music at Worcester College, Oxford, where she held a Music Scholarship. She now pursues a busy the première of Music for a Large Audience. He has also sung and varied musical career, performing regularly with other leading choirs and ensembles, and also as a solo recitalist. with the choirs of Magdalen and Christ Church Oxford, Schola She features as a voice-over artist for BBC Radio 3 and Unknown Public Radio, and is editorial director at Faber Music. Cantorum of Oxford, and the Opéra de Lyon. In 2002 he left British academe for the religious life, and is currently a member of the Chemin Neuf Community in south-east France. Alexander L’Estrange

Alexander L’Estrange was a chorister at New College, Oxford and later read Music at Merton College, singing in the choir of Magdalen College and graduating in 1994 with First Class Honours. Besides singing countertenor professionally, he is also much in demand as a composer, arranger and jazz double bass player.

Richard Eteson

Richard Eteson has been singing all his life. From an early age he was a chorister at King’s College, Cambridge, and later a choral scholar there. He has since sung tenor in many of London’s finest choirs and vocal ensembles whilst being in demand up and down the country as an oratorio soloist.

Alexander Hickey from left to right: Richard Eteson, Geoff Miles, Alexander Hickey started singing as a chorister in Hereford Cathedral, went up to Christ Church, Oxford as a choral Joanna Forbes, Alexander L’Estrange, scholar and now practises as a barrister. He regularly sings with renowned amateur and professional choirs in and Francis Brett, Timothy Watson, Kathryn Oswald, around London. Antony Pitts, Rebecca Hickey, Jeremy Summerly, Alexander Hickey Chancelade Abbey

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Joanna Forbes Francis Brett

Richard Eteson

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1 Quam pulchra es 1 Quam pulchra es TONUS PEREGRINUS

Veni Creator (TW/AP/ALE) Veni Creator (TW/AP/ALE)

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CMYK N N

AXOS John Dunstable (Dunstaple) was not just the first truly great English composer, he was also AXOS the forefather of the musical Renaissance. In the middle of the 15th century the poet Martin le Franc famously described how Dufay had adopted the English manner championed by Dunstable, la contenance Angloise, and how, to Continental ears, this new style of music sounded so fresh, and above all, joyful. From the sweet-sounding triads of Quam pulchra es 8.557341

DUNSTABLE: to the complex harmony of Veni Sancte Spiritus – Veni Creator, this selection of Dunstable’s DUNSTABLE: sacred music must simply rank as some of the most heartwarming music ever recorded. DDD

John Playing Time DUNSTABLE 70:08 (c.1390-1453) Sweet Harmony

Sweet Harmony Masses and Motets Sweet Harmony 1 Quam pulchra es 2:38 8 Credo Da gaudiorum premia 6:00 2 Kyrie 6:14 9 Sanctus Da gaudiorum 3 Gloria a 4 6:35 premia 6:13 4 Credo a 4 8:42 0 Agnus Dei 5:33 Naxos Rights International Ltd. www.naxos.com Made in Canada Sung texts and translations included Booklet notes in English &

5 Gloria Jesu Christe Fili Dei 7:48 ! Veni Sancte Spiritus –

6 Credo Jesu Christe Fili Dei 5:59 Veni Creator 6:56 2005 7 Sanctus 4:28 @ Gloria in canon [version*] 3:01 TONUS PEREGRINUS Recorded at Chancelade Abbey, Dordogne, France, from 5th to 9th January, 2004 Producer: Jeremy Summerly • Editor: Antony Pitts • Engineer: Geoff Miles Performing Editions and Music Notes: Antony Pitts

8.557341 from original texts and variants in Musica Britannica VIII (revised) *except for new 8.557341 speculative version of canonic Gloria after Margaret Bent’s reconstruction Cover image: Virgin and Child Enthroned with six angels, detail of an angel musician, 1437-44 by Sassetta (Stefano di Giovanni di Consolo) (c.1392-1450) (Giraudon / www.bridgeman.co.uk)