JOHN DUNSTAPLE

 

Sweet Harmony

Masses & Motets

 

Quam pulchra es

Kyrie; Gloria a 4

Credo a 4

Gloria Jesu Christe Fili Dei

Credo Jesu Christe Fili Dei

Sanctus

Credo Da gaudiorum premia

Sanctus Da gaudiorum premia

Agnus Dei

Veni Sancte Spiritus - Veni Creator

Gloria in canon

 

Tonus Peregrinus, Antony Pitts

 

Another outstanding production from Antony Pitts and Tonus Peregrinus, produced by the legendary Jeremy Summerly. Their recording of Arvo Part’s Passio (8555860) won several awards and continues to sell and sell; the recent recording of Leonin and Perotin (8557340) has enjoyed outstanding reviews too.

 

Here the group turns its attention to the great John Dunstaple, formerly known as Dunstable, who in the first half of the 15th century began to develop the rich harmony which remained characteristic of English composition right through to Tallis’s mighty Spem in Alium (8557770).  

 

Not just the first truly great English composer, Dunstaple was musical Godfather to the Renaissance.   In the middle of the 15th century the poet Martin le Franc famously described how Dufay had adopted “the English manner” championed by Dunstaple, and how this new style of music sounded so fresh and joyful to continental ears.   

 

Antony Pitts, commenting in the booklet, sums it up: “Technical descriptions can hardly explain just how superlatively amazing this music is”.  Sure to get a swathe of enthusiastic reviews.

 

This fascinating disc provides a first-class introduction to the earliest named English composer who had a substantial body of great music to his credit. Even better, its bargain price puts it within the reach of any listener interested in exploring a period when England was one of Europe's most important and influential musical nations.

John Dunstable (c1390-1453) was renowned on the continent for his use of the "contenance angloise", the sweetly harmonious style characterised by successions of thirds and triads. This helped to transform the 15th-century musical landscape - and still makes his music immensely pleasant to listen to. The richly sonorous motet Quam pulchra es and the Kyrie at the start of this well-planned programme have a beauty and expressiveness that transcend the lapse of time, as does the ethereally lovely Sanctus for three high voices. In these pieces, as in the faster-moving and more intricately polyphonic Gloria and Credo settings, Tonus Peregrinus sing with an impressive understanding of this highly sophisticated music, with its complex rhythms, luxuriantly interweaving melodic lines and exciting climaxes, enabling listeners to share their obvious enjoyment of it.

Elizabeth Roche, Telegraph

 

Naxos 8557341