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  • Sweet Harmony: Masses & Motets
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Sweet Harmony: Masses & Motets


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Audio CD, October 18, 2005
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Quam pulchra es, JD 44 2:35$0.89  Buy MP3 
listen  2. Kyrie, JD 1 6:14$0.89  Buy MP3 
listen  3. Gloria, JD 11: Gloria a 4, JD 11 6:35$0.89  Buy MP3 
listen  4. Credo, JD 12: Credo a 4, JD 12 8:47Album Only
listen  5. Gloria, JD 15: Gloria (Jesu Christe Fili Dei), JD 15 7:42$0.89  Buy MP3 
listen  6. Credo, JD 16: Credo (Jesu Christe Fili Dei), JD 16 5:58$0.89  Buy MP3 
listen  7. Sanctus, JD 6 4:31$0.89  Buy MP3 
listen  8. Credo, JD 17: Credo (Da gaudiorum premia), JD 17 5:59$0.89  Buy MP3 
listen  9. Sanctus (Da gaudiorum premia), JD 18 6:11$0.89  Buy MP3 
listen10. Agnus Dei, JD 14 5:33$0.89  Buy MP3 
listen11. Veni Sancte Spiritus - Veni Creator, JD 32 6:56$0.89  Buy MP3 
listen12. Gloria in canon (reconstructed M. Bent) 3:01$0.89  Buy MP3 

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Frequently Bought Together

Sweet Harmony: Masses & Motets + Guillaume Du Fay: Motets, Hymns, Chansons, Sanctus Papale
Price for both: $28.20

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Product Details

  • Audio CD (October 18, 2005)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B000B6N67M
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #113,326 in Music (See Top 100 in Music)

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30 of 32 people found the following review helpful By DAVID BRYSON VINE VOICE on November 28, 2005
Format: Audio CD
Goodness me, how many superlative groups of ancient music specialists can there be? Here is yet another, predictably brought to us by Naxos. There are 8 singers directed by Anthony Pitts, and the group photograph also shows us Jeremy Summerly himself in a daft-looking hat as producer, and also, most properly, the engineer Geoff Miles whose work I would call absolutely outstanding.

England was not always `the land without music'. In particular, it seems that a sudden and spectacular leap in musical development occurred precisely there in the early 15th century, and, if we are to believe the musical historian of the time Tinctoris (cited by Pitts in his liner-note), the main driving-force behind this revolution was John Dunstable, whose innovations were picked up promptly by his contemporary Dufay and thereafter by Europe in general. My own knowledge of this period is deplorably patchy, but it is quite clear that by the 12th century the ecclesiastical tradition of monodic plainsong, believed to date from the 8th century, had not changed much, even at the hands of the frumious Hildegard of Bingen. There was a parallel secular tradition, probably more than one, but if the music of the troubadours during this same period is anything to go by it had primitive instrumental accompaniment for the voices, but nothing by way of genuine `harmony' much less polyphony or counterpoint.

Enter the English, Dunstable in the lead. Not a lot seems to be known about him except that he appears to have been associated with St Albans in Hertfordshire, where his name survives in the name of a town not far away, as does that of the author of Dunstable's epitaph and Abbot of St Albans Abbey John Wheathampstead.
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13 of 14 people found the following review helpful By Eddie Konczal on June 7, 2006
Format: Audio CD
Take a journey back to early 15th century Europe with Tonus Peregrinus' recording of the works of English composer John Dunstable (c. 1390-1453). Dunstable worked in English-occupied France during the early 1400s, and his sweet English harmonies influenced French composers such as Dufay and Binchois. The incorporation of English harmonic technique into the Continental style was a major factor in the development of Renaissance counterpoint.

Dunstable was a master of isorhythm, a technique that involved repetition of lengthy melodic and harmonic figures (sometimes in sync and sometimes in overlapping fashion). While isorhythm contributes to the compositional integrity of Dunstable's music, it's not readily discernible by modern ears. What's most apparent in the music of John Dunstable is the forceful delivery of a new style: the sweet harmony resulting from the use of parallel 3rd and 6th intervals. Dunstable's harmonic writing is not particularly disciplined: unprepared dissonances occur, sometimes in jarring fashion. But overall, a spirit of jubilation pervades Dunstable's work, which should impress modern listeners just as it did the European composers who heard it nearly six centuries ago.

Tonus Peregrinus, a vocal consort named for an ancient chant that Christ might have sung at the Last Supper, delivers an evocative performance of Dunstable's works. The group performs Dunstable's motets "Quam pulchra es" and "Veni Sancte Spiritus - Veni Creator", sandwiched around a collection of Mass movements. "Quam pulchra es" exhibits a stately, graceful quality later found in the works of Binchois, while the first "Sanctus" achieves an otherworldly beauty that may have influenced the motets of Dufay.
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13 of 14 people found the following review helpful By Corey Dominy on February 2, 2008
Format: Audio CD
The "sweet harmony" here refers to the then-revolutionary use of thirds and sixths, which were previously considered dissonant. Strange to think that they are now anathema for any serious modern composer! There is also a noticeable increase in the freedom of individual voices, in some pieces different voices singing different texts, allowing for a new harmonic and rhythmic complexity which leads to moments of the "musical sublime"; In other words, an overwhelming sound that gives the listener a feeling of a great expanse or an immense presence (cf. Mahler's 8th). The recording was made in Chancelade Abbey and is pleasantly reverberant, but not at the expense of clarity.

This disc is yet another entry in Tonus Peregrinus's excellent discography, further cementing their status as the premiere Medieval and Renaissance group recording today.
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3 of 3 people found the following review helpful By steve on February 6, 2010
Format: MP3 Music Verified Purchase
By the end of the first track, I knew I was in the hands of a master. By the third track, I had tears in my eyes.
Beauty. So much beauty, it hurts. You can almost hear the Renaissance begin as you listen. Dunstable strikes chord after chord somewhere in my soul. Thanks to Anthony Pitts and Tonus Peregrinus for bringing this wonderful music to life.
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