French Sacred Music of the 14th Century

French Sacred Music of the 14th Century, Vol. I
Schola Discantus - Kevin Moll
Lyrichord 8012


  1. Kyrie "Rex inmense" / "Dulcis potens" (à 3; Barcelona 971 No. 7)
  2. Kyrie (à 3; Barcelona 853c No. 3)
  3. Johannes Graneti: Kyrie "Summe clementissime" (à 3; Apt No. 35)
  4. Defronciaco: Kyrie "Jesu dulcissime" (à 4; Apt. No. 11)
  5. Loÿs: Gloria (à 3; Apt No. 28)
  6. Baralipton: Gloria (à 3; Ivrea No. 26)
  7. Cordier: Gloria (à 3; Apt No. 38)
  8. Gloria "Et verus homo deus" (à 3; Ivrea No. 62)
  9. Credo (à 3; Ivrea No. 57)
  10. Credo (à 3; Ivrea No. 52)
  11. Tapissier: Credo (à 3; Apt No. 42)
  12. Sanctus (à 3; Ivrea No. 58)
  13. Sanctus "Marie filius" (à 3; Gerona No. 4)
  14. Sanctus (à 3; Apt. No. 27)
  15. Egidius de Thenis: Sanctus (à 3; Strasbourg 222 No. 201)
  16. Agnus Dei (à 3; Apt No. 14)
  17. Agnus Dei (à 3; Cambrai 1328/IV No. 1)

Performers: Bradford Findell (countertenor), John Delorey (countertenor), Peter McCabe (tenor), Arthur Rawding (tenor), Paul Guttry (baritone)

Playing time: 68'

Recording date: July 1994 (Boston)

This recording presents mass movements from the early 14th century (c.1330) through the end of the medieval era (c.1410). Items were chosen with the aim of capturing some of the variety present, and range from isorhythmic to "chanson" construction styles. Many of these pieces would have been sung at the Papal chapel in Avignon during the so-called "Babylonian Captivity" and the following schism.

When it appeared, this was the first recording in the CD era to focus exclusively on the important sources of mass movements in this period. The main sources are the Apt (Trésor de la Basilique Sainte-Anne, MS 16bis) & Ivrea (Biblioteca Capitolare, MS 115) manuscripts. The Apt manuscript contains 11 Kyries, 8 Glorias, 10 Credos, 7 Sanctuses, 1 Agnus Dei, and 15 other Latin settings. The Ivrea Manuscript contains 6 Kyries, 9 Glorias, 10 Credos, 2 Sanctuses, 25 other Latin settings, 32 French works, and 2 untexted pieces.

Along with the "anthology" order (given above), there are programming instructions to form various complete masses based on the stylistic or thematic relationships between the different individual movements.

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Todd M. McComb