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Volume 5 of Music from the Peterhouse Partbooks contains the world premiere recording of a Mass by an anonymous English composer from the first half of the 16th century. Since the source of the cantus firmus has not been identified, the Mass remains without a name ("sine nomine"). The release also includes an antiphon addressed to St. Augustine of Canterbury which is the only surviving work of Hugh Sturmy, a short and dramatic Ave Maria mater dei by Robert Hunt, whose Stabat mater is a highlight of vol. 3 of the series, and the sonorous and captivating Ve nobis miseris by John Mason, for men's voices in five parts. This recording is part of a 5-release project which began in 2010.

Music from the Peterhouse Partbooks 5

The vocal ensemble Blue Heron, winner of the 2018 Gramophone Classical Music Award for Early Music and a 2020 Preis der deutschen Schallplattenkritik, presents A 14th-Century Salmagundi. A salmagundi is a savory dish composed of chopped meats, seafoods, eggs, vegetables, and condiments; a mixture or hodgepodge; an assemblage of miscellaneous components. Blue Heron's Salmagundi is a pleasing miscellany of music composed c. 1300-1400, a delightful salad of ingredients gathered from our storehouse of French and Italian songs, including virtuosic music by Guillaume de Machaut, Francesco Landini, and Jacob Senleches. Seven vocal soloists are featured along with medieval fiddle, harp, and lute.

14th Century Salmagundi

...glorious performances with incandescent singing ... perfect blend and balance ... a triumph... Craig Zeichner, Early Music America | Fall 2007 The most attractive aspect of this recital is it's feeling of immediacy and freshness.... For me, the high points are the Sanctus Papale, for which it is very welcome to have such a confident and poised rendition; and some of the later songs, for example Malheureux cuer, que veux tu faire, and the cheeky Puisque vous estez campieur... More, please. Fabrice Fitch, Goldberg | August/September 2007 This debut marks Blue Heron as a leading new actor in the field of early Renaissance music, both for studying the sources and bringing them to life. Altogether, this is one of the finest Dufay collections to come out in recent years... J. F. Weber, Fanfare | September/October 2007 ...clarity of texture and intonation ... interesting and well performed ... excellent recording ... Charles E. Brewer, American Record Guide | September/October 2007 The Du Fay discography continues to grow apace ... One of the most impressive of these discs to have come my way lately is a collection by the American ensemble Blue Heron, under Scott Metcalfe, Guillaume Du Fay: Motets, Hymns and Chansons. ... Blue Heron produces a wonderfully clear sound that is nevertheless not lacking in depth, and the highlights of the recording-in that they display these qualities to perfection-are the so-called 'Sanctus Papale' (the Sanctus 'Ave verum corpus', possibly written for the consecration of Santa Maria dei Fiore in Florence in 1436) and Rite majorem, in honour of St James. The chansons are also beautifully sung, by smaller groups, but again with a pleasingly full sound. An extremely impressive recorded debut. Ivan Moody, Early Music (UK), August 2008 Blue Heron's first CD offers an entrancing selection of music by the greatest composer of the 15th century. The program includes three isorhythmic motets (Apostolo glorioso, Rite majorem Jacobum canamus, and Ecclesie militantis), the glorious, large-scale Sanctus "Papale" in it's first recording in three decades, two hymns with alternatim plainchant verses, and a generous sampling of secular songs. While the disc is mostly devoted to the music of Du Fay, it also includes a song by Du Fay's contemporary Hugo de Lantins (Mon doulx espoir), and a marvelous motet-chanson by his friend and colleague of the next generation, Johannes Ockeghem (Permanent vierge). The music was recorded in September 2006 at the Church of the Redeemer in Chestnut Hill, MA and the CD was released in March 2007 on the Blue Heron label as BHCD 1001. Credits released 01 March 2007 Engineering and mastering: Joel Gordon Producers: Eric Milnes & Scott Metcalfe Editing: Eric Milnes & Joel Gordon Graphic design: Pete Goldlust Cover image copyright John Grant, Red and white dahlia.

Motets Hymns Chansons Sanctus Papale

The first release of new material from Blue Heron since winning the 2018 Gramophone Classical Music Award for Early Music, this two-album set is the world-premiere recording of Cipriano de Rore's landmark first book of madrigals for five voices. The set includes all twenty madrigals in de Rore's 1542 print, as well as readings of the Italian poems (many of which are by Petrarch) by Alessandro Quarta. de Rore is celebrated as an innovator who helped create the madrigal as it is known today, putting the music at the service of the text and inventing a new, dramatic, and expressive harmonic language. In this music, listeners will perceive a deep engagement with the text, an engagement matched by the singers of Blue Heron, who were led by both Scott Metcalfe and Alessandro Quarta in developing an appropriately rhetorical style of performance. Musicologist Jessie Ann Owens has shown that the book is a poetic and musical cycle that likely resulted from a collaboration between de Rore and the Venetian poet Giovanni Brevio, who wrote the opening and closing poems of the set. The narrative structure is illustrated with \\the colors of the modal system,\\ the madrigals being sequenced in modal order. Professor Owens' research and conclusions are presented in extensive notes in the booklet. Prof. Owens and Blue Heron won the 2015 Noah Greenberg Award from the American Musicological Society, which provided stimulus funding for the project.<li>Artist: RORE / BLUE HERON / METCALFE</li><li>Format: CD</li><li>Features: 2 Pack</li><li>LABEL: Blue Heron Ren Choir</li><li>NUMBER OF DISCS: 2</li><li>RELEASE DATE: 10/4/2019</li>

RORE / BLUE HERON / METCALFE I MADRIGALI A CINQUE VOCI (2PK) COMPACT DISCS

A feast of poetry, song, and visual art animated by a surprisingly Zen-like philosophy, Guillaume de Machaut's Remede de Fortune tells the tale of a woebegone lover who is counseled by Lady Hope on how to be happy and persevere in the face of the ups and downs dished out by Fortune and her Wheel. Machaut was at once the greatest poet and composer of 14th-century Europe, and the Remede is a narrative poem or dit, around 4000 lines long, with interpolated lyrics set to music. This live recording of a concert production of the Remede-a collaboration between two outstanding American ensembles, Blue Heron and Les Délices-includes all seven musical items from the Remede as well as a selection of other motets, songs, and dances, which take the place of the narration, express the emotions and thoughts of the Lover, and convey Hope's teachings in lyric form. Four singers are joined by a delightful ensemble of medieval instruments (recorder, douçaine, fiddle, lute, harp, hurdy-gurdy, and percussion) in performances which are both spirited and deeply informed by the study of historical performance practices. The album booklet contains complete texts and translations, an interspersed synopsis of the story, and numerous full-color reproductions of the pictures that grace the lavishly illustrated first manuscript copy of the Remede, prepared c. 1350 under Machaut's supervision.

Remede De Fortune

Format: CD (1 Disc)Country: USARelease Date: 14 August, 2015Label: Blue HeronDimensions: 12.7 x 14 x 1.3 centimeters (0.07 kg)

Robert Jones: Missa Spes nostra; Nicholas Ludford: Ave cujus conceptio; Robert Hunt: Stabat mater

Format: CD (1 Disc)Country: USARelease Date: 9 October, 2015Label: Blue HeronDimensions: 14 x 1.3 x 12.7 centimeters (0.04 kg)

Christmas in Medieval England

'But what polyphony this is! Even as a hardened reviewer and performer/director of polyphony (including several mass settings by Ludford), I was transported by the exquisite beauty of this Mass, and found myself sitting in semi-darkness luxuriating in the genius of Ludford's intertwining vocal lines. Pygott's enormous Salve regina, running in this recording to almost 23 minutes of intricate polyphony, is in the more conservative idiom of the Eton Choirbook and is given an equally intelligent and exquisitely unhurried performance. I cannot recommend this superb CD highly enough - it is the sort of recording to listen to in awe at the sustained and unerring skill of the performers and the burgeoning brilliance of the composers (and their unobtrusive editor), and to shed a quiet tear for the untold treasures that have been lost.' --- D. James Ross, Early Music Review (UK), October 2012 "This album and it's predecessor...are the beginning of an exciting series, more than hinting at the wealth of great sacred music written by English composers between roughly 1500 and 1540...top marks in all respects: engineering, liner notes-by the group's director, Scott Metcalfe-and, of course, the performances themselves." --Barry Brenesal, Fanfare, Sept./Oct. 2012 The second installment in Blue Heron's 5-CD series of Music from the Peterhouse Partbooks features Nicholas Ludford's radiant Missa Regnum mundi, sung in a musical context like that of it's probable original occasion, a festal mass for St Margaret, with plainchant items from the Proper according to the Use of Salisbury. The disc concludes with Richard Pygott's extraordinary Salve regina, one of the longest votive antiphons extant and a marvel of rhetorical expression. This is the world premiere recording of all the music on the disc. The scholar David Skinner has called Ludford "one of the last unsung geniuses of Tudor polyphony." Ludford and Mason are almost completely unknown, but this series of recordings reveals these composers to be every bit the equal of the big names from the period such as Tallis and Taverner. Our understanding of English music from the early sixteenth century is grievously hindered by a historical tragedy, the destruction of most manuscripts of English sacred music during the religious upheavals of the 16th and 17th centuries. The Reformation regarded the florid music of late medieval Catholicism with disdain, if not outright hostility, and much was lost or deliberately destroyed by zealots. Fewer than ten significant sources survive from the period 1500-1547, much less than one might have found in just one well-stocked church music library at the time. The Peterhouse partbooks are the largest extant source and contain nearly 50 pieces not found complete anywhere else. Despite the enormous importance of this source to music history and the extremely high quality of much of the music contained in it, it has received short shrift from performers and musicologists alike owing to the fact that the tenor partbook, along with a portion of the treble, has been missing for centuries. This has prevented singers from performing the fifty pieces in the partbooks that survive complete in no other source-until recently, that is. Blue Heron's performances of the incomplete Peterhouse music rely on reconstructions by the English musicologist Nick Sandon, who has devoted his career to retoring this repertoire to it's rightfully prominent place. The CD booklet includes extensive notes by Scott Metcalfe on the Peterhouse partbooks, the music by Ludford and Pygott, and on the performance practice of music from the period. A detailed account by Nick Sandon of the Peterhouse partbooks, their place in history, and the process of restoring the missing music, may be found in the notes to the Volume 1 of the series, Hugh Aston: Three Marian Antiphons (BHCD 1002); the notes may also be read online or downloaded at Blue Heron's website, where you will also find links to more informati

Blue Heron - Vol 2 Music from the Peterhouse Partbooks: Missa Regnum mundi (CD)

Format: CD (1 Disc)Country: USARelease Date: 15 April, 2014Label: Blue HeronDimensions: 12.5 x 0.6 x 14.3 centimeters (0.06 kg)

Music from the Peterhouse Partbooks, Vol. 3: Missa Inclina cor meum/Ave fuit prima salus

Format: CD (1 Disc)Country: USARelease Date: 15 April, 2014Label: Blue HeronDimensions: 12.7 x 0.9 x 14.3 centimeters (0.06 kg)

Music from the Peterhouse Partbooks, Vol. 1 - Three Marian Antiphons

The 5-release project The Lost Music of Canterbury: Music from the Peterhouse Partbooks is the capstone of a landmark project of international musical significance which presents extraordinary music from the last generation of medieval Catholicism in England. Judged by this music, Catholic culture remained vital and confident during this turbulent period. The fifth release in the set, released in 2017, was a Gramophone Editors Choice and Critics Choice, and was also shortlisted for the magazine's 2018 Early Music award. Fabrice Fitch called it "one of the discoveries of the year." The set includes mostly world premiere recordings and features masses by Nicholas Ludford, antiphons by Hugh Aston and Richard Pygott, the complete surviving works of Robert Jones, and the gifted though previously completely unknown composers Hugh Sturmy and Robert Hunt, and all but one of the surviving works of John Mason. The missing tenor parts have been supplied by Nick Sandon, who has dedicated much of his professional life to the Peterhouse partbooks, which were copied for Canterbury Cathedral in 1540 and are now named for the college currently housing them, Peterhouse Cambridge.

Blue Heron Ren Choir(11)

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