A must-have for any serious collector of early choral music, this is a 5-CD set of the complete music from Blue Heron's groundbreaking, long-term Music from the Peterhouse Partbooks project (2010-2017). The package includes a new 84-page booklet with thousands of words on the works and history by Dr. Nick Sandon, as well as essays by Scott Metcalfe on performance practice, all illustrated with gorgeous color pictures. Complete texts and translations for the complete set are compiled in the single booklet, as well. The discs and booklet come housed in an attractive, early-to open box.
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.
Includes unlimited streaming of The Lost Music of Canterbury (Boxed Set)
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
...more
ships out within 3 days
$70USDor more
lyrics
Credo in unum deum, patrem omnipotentem, factorem celi et terre, visibilium omnium et invisibilium. Et in unum dominum Jesum Christum, filium dei unigenitum: et ex patre natum ante omnia secula. Deum de deo, lumen de lumine, deum verum de deo vero. Genitum non factum, consubstantialem patri: per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de celis. Et incarnatus est de spiritu sancto ex Maria virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato: passus et sepultus est. Et resurrexit tertia die secundum scripturas. Et ascendit in celum: sedet ad dexteram patris. Et iterum venturus est cum gloria judicare vivos et mortuos: cujus regni non erit finis.
Et in spiritum sanctum dominum et vivificantem qui ex patre filioque procedit. Qui cum patre et filio simul adoratur et conglorificatur: qui locutus est per prophe- tas. Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi seculi. Amen.
I believe in one God, the Father almighty, maker of heaven and earth and of all things visible and invisible. And in one Lord Jesus Christ, the only Son of God, eternally begotten
of the Father. God from God, Light from Light, true God
from true God. Begotten, not made; of one being with the Father, through whom all things are made. For us and for
our salvation he came down from Heaven. He was born of
the Holy Spirit and the Virgin Mary, and was made man. He was crucified for our sake under Pontius Pilate, died, and was buried. On the third day he rose again, in accordance with
the Scriptures. He ascended into heaven and is seated at the right hand of the Father. He will come again to judge both
the living and the dead, and his kingdom shall have no end. And I believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son, who with the Father and Son is worshipped and glorified, who has spoken through the prophets. And I believe in one holy, catholic and apostolic church. I confess one baptism for the forgiveness of sins. And I await the resurrection of the dead, and the life of the world to come. Amen.
Engineering & mastering: Joel Gordon
Producer: Eric Milnes
Editing: Eric Milnes & Joel Gordon
Cover photo: Close-up of white lamb's wool (Copyright Bjorn Forsberg / Getty Images)
Graphic design: Pete Goldlust & Melanie Germond
Recorded at Church of the Redeemer, Chestnut Hill, Massachusetts, Sept.-Oct 2012
Winner of the 2018 Gramophone Classical Music Award for Early Music (the first non-European group to win the award), Blue
Heron (Scott Metcalfe, dir.) has been acclaimed by The Boston Globe as “one of the Boston music community’s indispensables” and hailed by Alex Ross in The New Yorker for the “expressive intensity” of its interpretations....more
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