Dunstable - Sweet Harmony (Masses and Motets) [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. All this information is conveyed with admirable brevity in Pitts's notes, and I take it on faith entirely. Faith of another kind shows through his phraseology here and there, as in his dedication of the recording to 'a God-fearing man' (not the kind of terminology one encounters much in England these days) and in his sniffy comment in his resume that he left the BBC in protest over its screening of 'a blasphemous musical'. I would only remark that the BBC never actually broadcast anything by such a description, nor did the public in general realise that they were listening to such. At the musical level by and large the liner-note is awesomely learned but slightly heavy going. It is worth absorbing slowly, but the most significant thing it says is really its naïve proclamation of how marvellous the music is. This is the dawn of the elaborate harmonisation that makes European music, so far as I know, unique, and the thrill and sense of awe that go with that are enormous for one kind of listener at least.

If I understand Pitts aright, the various sections of the mass here - 2 glorias, 3 credos and 2 settings of the sanctus - don't incorporate one specific 'mass' although they approximately follow the order of the parts normally set to music: indeed if there were a single coherent mass in it what would be the point of such duplications? The way they have sequenced it all is appropriate to isolated settings, sensibly programmed so as to avoid having the same text in successive tracks. The recital starts with one motet and ends with another, followed by a gloria that 'we' have completed from the restored but deficient MS. 'We' have done just brilliantly if I may say so - this is what music-making is all about, but it needs the right level of talent. The performing artists consist of 2 sopranos, 1 female and 1 male alto, 3 tenors and a single bass. I have to take the historical authenticity of this, just as I have to take the tempi adopted, on faith once again. I believe the phrase is 'It works for me'. What is beyond much question is the sheer quality of the singing, and what I want to sing my own praises of is the recording, which has a perfect sense of spaciousness together with perfect clarity.

I hope I will be believed when I say that I have no link of any kind with Naxos. I collect their discs because of what these are and because of what my tastes and standards in good music are. This particular disc is from this very year 2005, and the recording was done in Chancelade Abbey in the Dordogne. Over and above the learned inputs of Mr Pitts we are given brief resumes of all the performers, and all texts are provided with English translations. These latter are a great deal better than many I have seen in the last year or two. My suspicions having relaxed, I have been less hawk-eyed than sometimes, and I don't believe that there are any serious misrenderings. In the Veni Creator if the text is right at lines 11-12 the meaning must be 'Thou duly enriching our mouths with the promised utterance of the Father'; 4 lines later 'perpetim' is a simple misprint for 'perpeti', but as usual the translator thinks 'perpeti' is some kind of adjective. It is a prolative infinitive, and lines 15-16 therefore mean 'Strengthening what in our bodies is weak so as to be steadfast through virtue'.

Go forth in droves and acquire this disc.

John Dunstable was an English composer of early polyphonic music during the Medieval and Renaissance era. Born around 1390, probably in Dunstable, Bedfordshire, he was one of the most famous composers in England and Northern Europe during his lifetime and is credited with influencing the development of the `Burgundian School' of composers whose ranks include great names such as Dufay and Binchois.

According to musical sources the correct spelling is `Dunstaple' with a `p', but there remains debate and uncertainty. More certain are his many travels around England and Northern Europe during his lifetime, and he is also thought to have owned properties in Cambridgshire, London and Normandy. His interests were not confined to music, for he had a reputation as a mathematician, astronomer and astrologer (of which some of his original writings have survived).

Like many other composers of the 15 century Renaissance period, few of Dunstable's original manuscripts remain, although of the ones that do, many copies have been found transcribed to German and Italian which further suggests his widespread musical influence throughout Europe. His accolades include that of the 15th century French poet Martin le Franc describing Dunstable as possessing `le contenance angloise' (the English countenance), a term which is assumed to describe the characteristically English harmonious or `sweet sounds' obtained from singing in thirds.

Martin le Franc's famous book of poems `Le Champion des Dames' (The Champion of Women) dating from 1441 or 1442 describes this English music trait:

"For they have a new method
Of making fresh harmony
In music both high and low
In artiface and interruption and nuance
And have adopted the English
Habit and followed Dunstable
Because of which wonderful delight
Makes their song joyful and remarkable."

This CD provides two motets `Quam pulchra es'(How Beautiful and Fair You Are) and Veni Sancte Spiritus - Veni creator (Come Thou Holy Spirit ), and one of two surviving complete masses by the composer. To conclude the set there is a recently discovered Gloria in canon, an incomplete work which is finished off by the Tonus Peregrinus themselves.

The Tonus Peregrinus is an eleven voice (on this CD at least) ensemble, taking their name from an ancient plainchant psalm from Jewish sources called `Wandering Tone'. The group members have remained largely unchanged since being founded by director and composer Antony Pitts, and they have collected several major awards including the prestigious Cannes Classic Award for their debut release of Arvo Part's `Passio' proving that their skills lie not only in the interpretation of Ancient music, but also capable of performing modern works.

The recordings on this CD are from performances in January 2004 at Chancelade Abbey, Dordogne, France and provide a wonderfully atmospheric sound. The music represents a milestone in English music history, when the compositional style was in the early stages of the Renaissance era which would eventually develop into the great Baroque period, and considering so little music of this time remains (Dunstable's works number only about 50) this is a CD to savour.

The liner notes include some information on Dunstable and his life, and a short biography of the Tonus Perigrinus and its members, including a photograph of the group.

I think this is an excellent Naxos release which should surely prompt a `Complete Works' set of Dunstable's compositions.

If ever there was a piece that reflected the time it was written in this is it! Dunstable never over complicates indeed the beauty of the CD is the earnest simplicity delivered perfectly by Tonus Peregrinus. Written to include the listener not to make them stand back in awe,it is instantly accessible,the vocals flow sweetly from first track to last. A relaxing experience to listen to and at a givaway price which compared with many more highly rated composers work I have puchased and it delivers much more. An English religious gem as opposed to the over polished continental variety , as a native of these isles something resonates when listening to this CD, this is my past.Weelkes: Anthems