Medieval European Vocal Music
Theatre of Voices - Paul Hillier
Harmonia Mundi HMU 90 7185


  1. Anon., Bamberg Codex: In seculum "Longum" (3 voices)
  2. Anon., Bamberg Codex: In seculum "Viellatoris" (3 voices)
  3. Anon., Bamberg Codex: In seculum "Breve" (3 voices)
  4. Anon., Bamberg Codex: In seculum "D'Amiens longum" (3 voices)
  5. Anon., Montpellier Codex: Iam nubes dissolvitur (3 voices)
  6. Adam de la Halle: Entre Adan et Hanikel / Chiès bien séans (3 voices)
  7. Anon. Spanish, Montpellier Codex?: Je n'amerai I (4 voices)
  8. Anon. Spanish, Montpellier Codex?: Je n'amerai II (4 voices)
  9. Anon., Codex Faenza: Ave maris stella (organ)
  10. Machaut: Tous corps qui / De souspirant cuer (3 voices)
  11. Anon., Collection de Picardie: Musicalis sciencia / Sciencie laudabili (3 voices)
  12. Anon., Ivrea Codex: Or sus, vous dormés trop (organ)
  13. Bury St. Edmond's: Ave rex gentis Anglorum (voice)
  14. Bury St. Edmond's: Deus tuorum militum / De flore martyrum (4 voices)
  15. Bury St. Edmond's: Ave miles celestis / Ave rex patrone (4 voices)
  16. Anon., Worcester Fragments: Beata viscera (3 voices)
  17. Anon., Worcester Fragments: Thomas gemma Cantuarie / Thomas cesus in Doveria (4 voices)
  18. Anon., English 14th c.: Doleo super te / Absolon, fili mi (3 voices)
  19. Anon. English, Montpellier Codex: Epiphaniam domino canamus / Balaam inquit (4 voices)
  20. Anon., English 14th c.: Campanis cum cymbalis / Honoremus dominam (4 voices)
  21. Anon., Faenza Codex: Sangilio (organ)
  22. Ciconia: Venecie mundi splendor / Michael qui Stena domus (3 voices)
  23. Anon., Codex Rossi: Amor mi fa cantar (voice)
  24. Anon., Codex Musicale Bologna: O zentil madona mia (2 voices)
  25. Giovanni da Firenze: Per larghi prati (3 voices)
  26. Anon., Italian 14th c.: Sanctus "Mediolano" (4 voices)
  27. Anon., Italian 14th c.: Cum martelli / La manta (3 voices)
  28. Anon., Codex Faenza: Benedicamus domino (organ)
  29. Ciconia: Ut te per omnes celitus / Ingens alumnus Padue (4 voices)

Performers: Ellen Hargis (soprano), Steven Rickards (countertenor), Alan Bennett (tenor), Paul Elliott (tenor), Daniel Carberg (tenor), Sumner Thompson (baritone), Michael George (baritone), Paul Hillier (baritone), Christopher Bowers-Broadbent (organ)

Playing time: 58'

Recording dates: May 1998 (Indiana University), August 1997 (London & Cambridgeshire);
Rel.: 1999

[1]-[4] Harmonia Mundi "Century" HMX 290 8167 [CD] A History of Music, vol. 5: La naissance de la Polyphonie / The Birth of Polyphony

This is a rather thorough examination of the medieval technique of hocket, although curiously, the most famous example (that by Machaut) is not included. The hocket is an early form of voice interchange, perhaps anticipating such more modern techniques as imitation or fugue, and occurs with rests in one voice directly opposite melody in the other among the pair usually taking part. The present program explores various examples from the 13th & 14th century, together with some non-hocket works included for contrast. One significant point is that often the two voices of a hocket are not equal, as one will be active much more than the other.

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Todd M. McComb