Gregorian Chant: Regina caeli laetare

Johann Caspar Kerll (1627-1693) worked mainly in Vienna, during the 17th century. He was a pupil of Carissimi and teacher of Pachelbel, thus belonging within the line of succession culminating in Johann Sebastian Bach, who much admired his music. 18 masses by Kerll have survived of which only one, the first, a 5-part Requiem, is written a cappella, in the so-called old style. All the others are written in stile concertato, that is, with soloists, one or more full choirs, various instruments (violins, violas, trombones) and continuo.

The ‘Missa non sine quare’ is the first of a collection of six masses published in Munich in 1689. In this mass, Kerll gives proof of his undeniable mastery of counterpoint and of contrapuntal blend. Both the solo and the tutti sections exhibit the use of superb, imitative counterpoint. Kerll’s melodic ingenuity, contrapuntal finesse and harmonic audacity were admired 20 years later by J. S. Bach.

The present recording was first issued on the Symphonia label in 2000 to critical acclaim: BBC Music Magazine wrote then: “The solo voices and strings of La Risonanza give virtually flawless performances, milking every nuance from the music.”

Rec.date: 1999 (formerly available from Symphonia)

Gery de Ghersem was a Franco-Flemish composer of the late Renaissance whose works were mostly destroyed in the Lisbon earthquake and fire of 1755. This solitary surviving complete work, Ave Virgo Sanctissima, a mass for 7 voices in polyphonic style. It is based on the "hit" motet of the same name by Guerrero.

English music caused a sensation for the first time at the Council of Constance (1414-1418), one of the most important turning-points of European cultural exchange. Many musicians, from church and court, were involved. The chronicler of the council, Ulrich von Richenthal, enthusiastically described the music, which was clearly new to him, as "sweet English song". No less indicative of the change of style around 1430 is the first literary and theoretical evidence. The Burgundian court poet Martin le Franc wrote about Dufay and Binchois, the first composers of the new style subject to the English influence:

“Car ilz ont nouvelle pratique / De faire frisque concordance... / Et ont prins de la contenance / Angloise et ensuy Dunstable” (For they have a new method of making fresh harmony ... and have adopted the English countenance and followed Dunstable)

La contenance angloise presents key pieces of the new repertoire from around 1430 by John Dunstaple, Leonel Power, Guillaume Dufay, Gilles Binchois and Johannes Brassart.

chant 1450 is an international vocal ensemble specialising in the sacred and secular repertoire of the 15th and 16th centuries. It was formed in summer 2003 by a group of musicians attached to the Schola Cantorum Basiliensis in Basel. Instead of focusing on individual composers, its concerts and CDs are thematic in conception, which makes for fascinating, varied programming.

A collection of glorious sacred music which was presented as a gift to Henry VIII in 1526 by the city of Florence. Music by the great European composers of the day which was known to Henry and heard in his great chapels throughout the land, in an atmospheric recording by Oxford's finest mixed-voice choir.

Sacred music from the Florence of Leonardo, recorded in a church on a Florentine hill close to Michelangelo's fortifications, not far from the famous cathedral and its baptistery where this music was performed in the sixteenth century. A rich choral sound, great music and an atmospheric recording by Oxford's finest mixed-voice choir.