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Nova, nova! Ave fit ex Eva

from Christmas in Medieval England by Blue Heron

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    This disc comes in an attractive 4-panel wallet-style format, with a CD sleeve. There is no plastic tray, which makes for a greener (and more lightweight) package. The CD allows listeners to share the beauty, excitement, intensity and variety found in a Blue Heron concert performance. It includes plainchant, carols, and other music for Advent and Christmas from 15th-century England. It is comprised entirely of tracks recorded live at First Church in Cambridge, Congregational in December 2013.

    The package includes a booklet with notes by Music Director Scott Metcalfe.

    Including unlimited streaming of Christmas in Medieval England via the free bandcamp app, plus high-quality download in MP3, FLAC and more.

    Includes unlimited streaming of Christmas in Medieval England via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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lyrics

Nova, nova! Ave fit ex Eva. (i.e. The angelic salutation “Ave” reverses the sins committed by Eve.)
Gabriell off hye degre,
He cam down from Trinite
To Nazareth in Galile.

He met a maydn in a place,
He knelyd down afore hir face,
He seyd, Heile Mary, ful of grace!

When the maiden herd tell off this,
Sche was full sore abaschyd iwys,
And wened that sche had don amysse.

Then seid th’angell, Dred not thue,
Ye shall conceyve in all vertu.
A Chyld whose name shall be Jhesu.

It is not yit syx moneth agoon
Sen Elizabeth conceyved John,
As it was prophysed beforne.

Then seid the mayden verely,
I am youre servaunt right truely.
Ecce ancilla domini.

credits

from Christmas in Medieval England, released October 9, 2015
Glasgow University, Hunterian Museum MS 83 (15th century), arranged by Scott Metcalfe

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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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