anon.: Inviolata, integra et casta es, Maria

”The combination of voices and instruments is spellbinding.” Early Music Today

”Irresistibly attractive.” The Daily Telegraph

’Carmina Celtica’ features the world premiere of nine contemporary works commissioned over a decade by Canty, Scotland’s own Anonymous 4. The Ensemble blend contemporary works by Sir John Tavener and James MacMillan alongside haunting Medieval chant to create the unique and beautiful soundworld for which it is renowned.

Described by The Times as "among the very best creative talents of his generation", Sir John Tavener wrote Two Hadiths specially for Canty in 2007. Two Hadiths explores the sitar-like sonorities of the bray harp in meditative settings of the poetic sayings of the Prophet Mohammed.

James MacMillan is the pre-eminent Scottish composer of his generation. Commissioned for Canty in 2008, Os mutorum is both moving and expressive.

Ivan Moody has set the words of Hildegard of Bingen in his contribution O quam mirabilis. The Telegraph calls his music “powerfully expressive” and this 2006 work showcases the emotive power of female choral singing.

Michael McGlynn, in addition to directing successful Irish choir Anúna, is a "most accomplished contemporary choral composer” (All Music Guide). He describes Lorica as accentuating “the sonic purity of Canty and harkens back to an age of delicate vocal timbre and set, but fluid musical constraints".

Canty, Scotland’s only professional Medieval music group, was formed by Rebecca Tavener in 1998, the 900th anniversary of the birth of Hildegard of Binge. It comprises the regular female singers with Cappella Nova, Scotland’s leading early music vocal ensemble.

Canty’s individual and appealing sound has led to appearances on BBC television’s Songs of Praise and on Radio 3 plus numerous live performances including the Edinburgh Festival, Galway Early Music Festival, Spitalfields Festival, Edinburgh International Harp Festival and the National Centre for Early Music in York.

Through their acclaimed performances and recordings they have sought to re-address the balance in the early music revival that has largely overlooked works for female choir.