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  • Compact Disc (CD) + Digital Album

    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.
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      $70 USD or more 

     

about

From "Music From the Peterhouse Partbooks, Vol. 1: Three Marian Antiphons", released March 13, 2010.
Music composed by Robert Jones (fl. 1520-35), edited and completed by Nick Sandon. Published by Antico Edition (www.anticoedition.co.uk). Used with permission.

lyrics

Magnificat anima mea dominum,
et exultavit spiritus meus in deo salutari meo.
Quia respexit humilitatem ancille sue:
ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit michi magna qui potens est,
et sanctum nomen ejus.
Et misericordia ejus a progenie in progenies
timentibus eum.
Fecit potentiam in brachio suo:
dispersit superbos mente cordis sui.
Deposuit potentes de sede
et exaltavit humiles.
Esurientes implevit bonis,
et divites dimisit inanes.
Suscepit Israel puerum suum,
recordatus misericordie sue.
Sicut locutus est ad patres nostros,
Abraham et semini ejus in secula.
Gloria patri et filio et spiritui sancto.
Sicut erat in principio et nunc et semper:
et in secula seculorum. Amen.

My soul magnifies the Lord,
and my spirit has rejoiced in God my savior.
For he has regarded the lowliness of his handmaiden:
behold, henceforth all generations shall call me blessed.
For he that is mighty has made me great,
and holy is his name.
And his mercy from generation to generation
is on them that fear him.
He has shown strength with his arm:
he has scattered the proud in the imagination of their hearts.
He has put down the mighty from their seat
and exalted the humble.
The hungry he has filled with good things,
and the rich he has sent empty away.
He has helped his servant Israel,
in remembrance of his mercy.
As it was promised to our forefathers,
Abraham and his seed forever.
Glory be to the Father, and the Son, and the Holy Spirit.
As it was in the beginning, is now, and forever shall be,
world without end. Amen.

credits

from The Lost Music of Canterbury (Boxed Set), released October 19, 2018
Engineering and mastering: Joel Gordon
Producer: Eric Milnes
Editing: Eric Milnes, Joel Gordon & David Corcoran
Graphic design: Pete Goldlust
Cover photo: Radius Images
Recorded at Church of the Redeemer, Chestnut Hill, Massachusetts
September 2009

From "Music From the Peterhouse Partbooks, Vol. 1: Three Marian Antiphons", released March 13, 2010.
Music composed by Robert Jones (fl. 1520-35), edited and completed by Nick Sandon. Published by Antico Edition (www.anticoedition.co.uk). Used with permission.

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Blue Heron Boston, Massachusetts

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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