John Dunstaple or Dunstable (c. 1390 – December 24, 1453) was an English co… Read Full Bio ↴John Dunstaple or Dunstable (c. 1390 – December 24, 1453) was an English composer of polyphonic music of the late medieval era and early Renaissance. He was one of the most famous composers active in the early 15th century, a near-contemporary of Leonel Power, and was widely influential, not only in England but on the continent, especially in the developing style of the Burgundian School.
The spelling "Dunstaple" is generally to be preferred, since it occurs in more than twice as many musical attributions as that of "Dunstable". The few English musical sources are equally divided between "b" and "p"; however, the contemporary non-musical sources, including those with a claim to a direct association with the composer, spell his name with a "p."
Dunstaple was probably born in Dunstable, Bedfordshire. His birth date is a conjecture based on his earliest surviving works (from around 1410-1420) which imply a birth date of around 1390. Many of the details of his life are conjectural. Nothing is known of his musical training and background. He was clearly a highly educated man, though there is no record of an association with either Oxford or Cambridge universities. He is widely held to have been in the royal service of John, Duke of Bedford, the fourth son of Henry IV and brother of Henry V. As such he may have stayed in France for some time, since the duke was Regent of France from 1423 to 1429, and then Governor of Normandy from 1429 to his death in 1435. He owned property in Normandy, and also in Cambridgeshire, Essex and London, according to tax records of 1436. After the death in 1437 of another patron, the Dowager Queen Joan, he evidently was in the service of Humphrey, Duke of Gloucester, the fifth son of Henry IV.
Unlike many composers of the time, he was probably not a cleric, though there are links with St Albans Abbey (see below); he was probably married, based on the record of women sharing his name in his parish, and he also owned a manor in Hertfordshire.
In addition to his work as a composer, he had a contemporary reputation as an astronomer, astrologer, and mathematician (for example, a volume in the Bodleian Library, largely in the hand of William Worcester, acknowledges that certain information within it had been copied from Dunstaple's writings). Some of his astrological works have survived in manuscript, possibly in his own hand.
Dunstaple's connections with St Albans Abbey are at least twofold:
* the abbot John Whethamstede is associated with the Duke of Gloucester, and Dunstaple's isorhythmic motet Albanus roseo rutilat, possibly with some of the Latin words adapted by Whethamstede from an older poem, was clearly written for St Albans, possibly for a visit to the abbey by the Duke of Bedford in 1426.
* Whethamstede's plan for a magnificent library for the abbey in 1452-3 included a set of twelve stained glass windows devoted to the various branches of learning. Dunstaple is clearly, if indirectly, referred to in some of the verses the abbot composed for each window, not only music but also astronomy, medicine, and astrology.
He died on Christmas Eve 1453, as recorded in his epitaph, which was in the church of St Stephen Walbrook in London (until it was destroyed in the Great Fire of 1666). This was also his burial place. The epitaph - stating that he had "secret knowledge of the stars" - had been recorded in the early 17th century, and was reinstated in the church in 1904.
Dunstaple influence on the continent's musical vocabulary was enormous, particularly considering the relative paucity of his (attributable) works. He was recognized for possessing something never heard before in music of the Burgundian School: le contenance angloise ("the English countenance,") a term used by the poet Martin le Franc in his Le Champion des Dames. Le France added that the style influenced Dufay and Binchois—high praise indeed.
Writing a few decades later in about 1476, the Flemish composer and music theorist Tinctoris reaffirmed the powerful influence Dunstaple had, stressing the "new art" that Dunstaple had inspired. Tinctoris hailed Dunstaple as the fons et origo of the style, its "wellspring and origin."
The contenance angloise, while not defined by Martin le Franc, was probably a reference to Dunstaple's stylistic trait of using full triadic harmony, along with a liking for the interval of the third. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths. Taken together, these are seen as defining characteristics of early Renaissance music, and both Le Franc's and Tinctoris's comments suggest that many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century.
Very few manuscript sources of Dunstaple's works survived in England, as is similarly the case for other 15th century composers. Even though England was a centre of musical activity, in some respects exceeding even the output of the continent, almost all of the music was destroyed between 1536 and 1540 during the Dissolution of the Monasteries under Henry VIII. As a result, most of Dunstaple’s work had to be recovered from continental sources (predominantly northern Italy and the southern Alps).
Because numerous copies of his works have been found in Italian and German manuscripts, his fame must have been widespread. Two problems face musicologists of the 15th century: first, determining which of the many surviving anonymous works were written by which composers and, second, unraveling conflicting attributions. This is made even more difficult for English composers such as Dunstaple: scribes in England frequently copied music without any ascription, rendering it immediately anonymous; and, while continental scribes were more assiduous in this regard, many works published in Dunstaple's name have other, potentially equally valid, attributions in different sources to other composers, including Binchois, John Benet, John Bedyngham, John Forest and, most frequently, Leonel Power.
Of the works attributed to him only about fifty survive, among which are two complete masses, three incomplete but multi-section masses, fourteen individual mass sections, twelve complete isorhythmic motets (including the famous one which combines the hymn Veni creator spiritus and the sequence Veni sancte spiritus, and Albanus roseo rutilat mentioned above), as well as twenty-seven separate settings of various liturgical texts, including three Magnificats and seven settings of Marian antiphons, such as Alma redemptoris Mater and Salve Regina misericordie.
Dunstaple was one of the first to compose masses using a single melody as cantus firmus. A good example of this technique is his Missa Rex seculorum.
He is believed to have written secular music, but no songs in the vernacular can be attributed to him with any degree of certainty: although the French-texted rondeau Puisque m’amour is attributed to Dunstaple in two sources and there is no reason to doubt his authorship, the ballade remained the more favoured form for English secular song at this time and there is limited opportunity for comparison with the rest of his output. The popular melody O rosa bella, once thought to be by Dunstaple, is now attributed to John Bedyngham (or Bedingham). Yet, because so much of the surviving 15th-century repertory of English carols is anonymous, and Dunstaple is known to have written many, most scholars consider it highly likely—for stylistic as well as statistical reasons—that some of the anonymous carols from this time are actually by Dunstaple.
Dunstaple was probably the most influential English composer of all time, yet he remains an enigma: his complete works were not published until the quincentenary of his death in 1953, but even since then works have been added and subtracted from his oeuvre; we know very little of his life and nothing of his undoubted learning; we can only make an educated guess at most of the chronology of the small amount of music that has come down to us; and we understand little of his style - why he wrote as he did, what artistic or technical principles guided his composing, how his music was performed, or why it was so influential.
The spelling "Dunstaple" is generally to be preferred, since it occurs in more than twice as many musical attributions as that of "Dunstable". The few English musical sources are equally divided between "b" and "p"; however, the contemporary non-musical sources, including those with a claim to a direct association with the composer, spell his name with a "p."
Dunstaple was probably born in Dunstable, Bedfordshire. His birth date is a conjecture based on his earliest surviving works (from around 1410-1420) which imply a birth date of around 1390. Many of the details of his life are conjectural. Nothing is known of his musical training and background. He was clearly a highly educated man, though there is no record of an association with either Oxford or Cambridge universities. He is widely held to have been in the royal service of John, Duke of Bedford, the fourth son of Henry IV and brother of Henry V. As such he may have stayed in France for some time, since the duke was Regent of France from 1423 to 1429, and then Governor of Normandy from 1429 to his death in 1435. He owned property in Normandy, and also in Cambridgeshire, Essex and London, according to tax records of 1436. After the death in 1437 of another patron, the Dowager Queen Joan, he evidently was in the service of Humphrey, Duke of Gloucester, the fifth son of Henry IV.
Unlike many composers of the time, he was probably not a cleric, though there are links with St Albans Abbey (see below); he was probably married, based on the record of women sharing his name in his parish, and he also owned a manor in Hertfordshire.
In addition to his work as a composer, he had a contemporary reputation as an astronomer, astrologer, and mathematician (for example, a volume in the Bodleian Library, largely in the hand of William Worcester, acknowledges that certain information within it had been copied from Dunstaple's writings). Some of his astrological works have survived in manuscript, possibly in his own hand.
Dunstaple's connections with St Albans Abbey are at least twofold:
* the abbot John Whethamstede is associated with the Duke of Gloucester, and Dunstaple's isorhythmic motet Albanus roseo rutilat, possibly with some of the Latin words adapted by Whethamstede from an older poem, was clearly written for St Albans, possibly for a visit to the abbey by the Duke of Bedford in 1426.
* Whethamstede's plan for a magnificent library for the abbey in 1452-3 included a set of twelve stained glass windows devoted to the various branches of learning. Dunstaple is clearly, if indirectly, referred to in some of the verses the abbot composed for each window, not only music but also astronomy, medicine, and astrology.
He died on Christmas Eve 1453, as recorded in his epitaph, which was in the church of St Stephen Walbrook in London (until it was destroyed in the Great Fire of 1666). This was also his burial place. The epitaph - stating that he had "secret knowledge of the stars" - had been recorded in the early 17th century, and was reinstated in the church in 1904.
Dunstaple influence on the continent's musical vocabulary was enormous, particularly considering the relative paucity of his (attributable) works. He was recognized for possessing something never heard before in music of the Burgundian School: le contenance angloise ("the English countenance,") a term used by the poet Martin le Franc in his Le Champion des Dames. Le France added that the style influenced Dufay and Binchois—high praise indeed.
Writing a few decades later in about 1476, the Flemish composer and music theorist Tinctoris reaffirmed the powerful influence Dunstaple had, stressing the "new art" that Dunstaple had inspired. Tinctoris hailed Dunstaple as the fons et origo of the style, its "wellspring and origin."
The contenance angloise, while not defined by Martin le Franc, was probably a reference to Dunstaple's stylistic trait of using full triadic harmony, along with a liking for the interval of the third. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths. Taken together, these are seen as defining characteristics of early Renaissance music, and both Le Franc's and Tinctoris's comments suggest that many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century.
Very few manuscript sources of Dunstaple's works survived in England, as is similarly the case for other 15th century composers. Even though England was a centre of musical activity, in some respects exceeding even the output of the continent, almost all of the music was destroyed between 1536 and 1540 during the Dissolution of the Monasteries under Henry VIII. As a result, most of Dunstaple’s work had to be recovered from continental sources (predominantly northern Italy and the southern Alps).
Because numerous copies of his works have been found in Italian and German manuscripts, his fame must have been widespread. Two problems face musicologists of the 15th century: first, determining which of the many surviving anonymous works were written by which composers and, second, unraveling conflicting attributions. This is made even more difficult for English composers such as Dunstaple: scribes in England frequently copied music without any ascription, rendering it immediately anonymous; and, while continental scribes were more assiduous in this regard, many works published in Dunstaple's name have other, potentially equally valid, attributions in different sources to other composers, including Binchois, John Benet, John Bedyngham, John Forest and, most frequently, Leonel Power.
Of the works attributed to him only about fifty survive, among which are two complete masses, three incomplete but multi-section masses, fourteen individual mass sections, twelve complete isorhythmic motets (including the famous one which combines the hymn Veni creator spiritus and the sequence Veni sancte spiritus, and Albanus roseo rutilat mentioned above), as well as twenty-seven separate settings of various liturgical texts, including three Magnificats and seven settings of Marian antiphons, such as Alma redemptoris Mater and Salve Regina misericordie.
Dunstaple was one of the first to compose masses using a single melody as cantus firmus. A good example of this technique is his Missa Rex seculorum.
He is believed to have written secular music, but no songs in the vernacular can be attributed to him with any degree of certainty: although the French-texted rondeau Puisque m’amour is attributed to Dunstaple in two sources and there is no reason to doubt his authorship, the ballade remained the more favoured form for English secular song at this time and there is limited opportunity for comparison with the rest of his output. The popular melody O rosa bella, once thought to be by Dunstaple, is now attributed to John Bedyngham (or Bedingham). Yet, because so much of the surviving 15th-century repertory of English carols is anonymous, and Dunstaple is known to have written many, most scholars consider it highly likely—for stylistic as well as statistical reasons—that some of the anonymous carols from this time are actually by Dunstaple.
Dunstaple was probably the most influential English composer of all time, yet he remains an enigma: his complete works were not published until the quincentenary of his death in 1953, but even since then works have been added and subtracted from his oeuvre; we know very little of his life and nothing of his undoubted learning; we can only make an educated guess at most of the chronology of the small amount of music that has come down to us; and we understand little of his style - why he wrote as he did, what artistic or technical principles guided his composing, how his music was performed, or why it was so influential.
Agnus Dei
John Dunstable Lyrics
We have lyrics for 'Agnus Dei' by these artists:
African Music Experience Alleluia Alleluia For the Lord God Almighty reigns Alleluia…
Ainsley - Dutoit - Montreal Symphony Orchestra & Choir CHORUS AGNUS DEI, qui tollis peccata …
All Angels Alleluia, Alleluia For our Lord God Almighty reigns Allelu…
Almendra Ana lloró, Gustavo se fue al suelo, estos problemas son…
american Alleluia Alleluia For our Lord God Almighty reigns Allelui…
American/Bryan Lenox/Dann Huff/Jerry McPherson/Michael W. Smith/Mike Lawler/Nashville String Machine Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Amy Grant Alleluia, Alleluia For our Lord God Almighty reigns Alleluia…
Andrea Bocelli Agnus Dei Qui tollis peccata mundi Miserere, miserere nobis …
Anúna Agnus Dei Qui tollis peccata mundi Miserere nobis Agnus D…
Ariel Ramírez Cordero De Dios Que Quitas Los Pecados Del Mundo Ten Compasi…
Armonico Consort & Christopher Monks "Domine Deus, Agnus Dei, Filius Patris Domine Fili unigenite…
Atlanta Symphony Orchestra & Choir Agnus Dei, qui tollis peccata munti, miserere nobis. Agnus D…
Barber Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
Benjamin Britten Tenor: One ever hangs where shelled roads part. In this wa…
Benjamin Britten: London Symphony Orchestra & Chorus Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Berliner Philharmoniker CHORUS AGNUS DEI, qui tollis peccata …
Bernard Paganotti De mutilation En soustraction Agnus Dei Te voir en chair J'e…
Bryan Lenox Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Cecilia Krull Aquí no tenemos miedo Aquí no tenemos miedo Y aquí no tenem…
Cecilia Krull Benny Benassi & B.B. Team Here I am What you did? Look at me Life in jail Mmmmh "Agnus…
Chamber Choir Of Europe & Nicol Matt CHORUS AGNUS DEI, qui tollis peccata …
Charlie Hall Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Charlie Hall (1) Alleluia, alleluia For the Lord God Almighty reigns Alleluia…
Choir & Baroque Orchestra of the Netherlands Bach Society/Jos van Veldhoven Agnus Dei, qui tollis peccata munti, miserere nobis. Agnus D…
Choir Of Kings College - Cambridge Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus D…
Choir of New College Oxford Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
Chor & Orchester CHORUS AGNUS DEI, qui tollis peccata …
Christelijk Kamper Mannenkoor "Door Eendracht Verbonden" o.l.v. Klaas Jan Mulder Agnus Dei, qui tollis peccata mundi miserere nobis Agnus De…
Christelijk Mannenkoor Soli Deo Gloria Urk Agnus Dei Qui tollis peccata mundi, miserere nobis.…
Collegium Cantorum Agnus Dei qui tollis peccata mundi, Miserere nobis. Agnus De…
Comunidade Ev. Internacional da Zona Sul AGNUS DEI Aleluia! Aleluia! Ao senhor Poderoso Deus Alelui…
Coro Arquidiocesano de Santa Fé De la Vera Cruz Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus D…
Darlene Zschech Alleluia, alleluia For the Lord God Almighty reigns Alleluia…
Daughters of St. Paul "" With the support of John Rutter, Paul Noble,…
David Fitzgerald Aleluia! Aleluia! Poderoso é o Senhor nosso Deus Aleluia! A…
David Hill Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
David Phelps Agnus dei Qui tollis peccata mundi Miserere nobis Miserere n…
David Quinlan Aleluia! Aleluia! Poderoso é Senhor nosso Deus Aleluia! Alel…
Dominikański Ośrodek Liturgiczny Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus D…
Don Marsh Alleluia Alleluia For our Lord God Almighty reigns Allelui…
Donnie McClurkin Hallelujah, hallelujah, for the Lord God almighty reigns Hal…
Donnie McClurkin (Holiday) Hallelujah, hallelujah, for the Lord God almighty reigns Ha…
Eddie James You are holy Hallelujah Hallelujah For the Lord almighty rei…
Edward Higginbottom; Choir Of New College Oxford Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
Edwin Fawcett Lamb of God You take away the sins of the world Miserere…
Egidius Kwartet & College Agnus Dei, qui tollis peccata munti, miserere nobis. Agnus D…
Elsa María Elejalde Cordero de Dios que quitas los pecados, ay, del mundo los pe…
Ensemble Organum Marcel Pérès - Jean-Charles Ablitzer Heilig Heilig, is die Heer God Almagtig Waardig is die Lam W…
Farmer Mylene De mutilation En soustraction Agnus Dei Te voir en chair J'e…
Franco Battiato Agnus Dei qui tollis peccata mundi Miserere nobis, miserer…
Franco-Flemish School Agnus Dei qui tollis peccata mundi Miserere nobis, miserere …
Fundacja Dominikański Ośrodek Liturgiczny Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus D…
Funeral Mist "I can of my own self do nothing: as I…
Gabriel Fauré Agnus Dei, qui tollis peccata mundi, dona eis, dona eis req…
Georges Bizet Agnus dei qui Tollis peccata mundi, Miserere, miserere nobis…
Göran Fristorp & Anna-Lotta Larsson Agnus Dei, qui tollis peccata munti, miserere nobis. Agnus D…
Gros Mené Pop-toé une bottle Viens t'assir le gros Qu'est-ce tu bois? …
Guenter Haas WE`RE ALL FAMOUS PEOPLE THAT IS WHAT WE ARE WE`RE ALL FAMOUS…
H.I.F. von Biber Agnus Dei, qui tollis peccata mundi, miserere nobis.…
Handel And Haydn Society Chorus CHORUS AGNUS DEI, qui tollis peccata …
Harry Christophers & The Sixteen Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus…
Hill David/Winchester Cathedral Choir Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
Hortus Musicus Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus D…
I Muvrini Paroles de Agnus Dei Agnus Dei Agnus Dei Qui tollis peccata …
I.T Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus…
Inferius Torment Еxaudi Nos Domine. Oh saint lamb, merge to your herd. Crawl…
Istvánffy Chamber Choir Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnu…
Jean-Paul Poletti Heilig Heilig, is die Heer God Almagtig Waardig is die Lam W…
Joel Engle Alleluia Alleluia For the Lord God Almighty reigns Allel…
John Michael Talbot Lamb of God You take away The sin of the world Have mercy L…
Joi You are Holy You are Holy Alleluia Alleluia For our Lord God…
Jordi Savall Chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem…
Jotta Aleluia, aleluia! Poderoso é o senhor nosso Deus Aleluia, al…
Jotta A Alleluia alleluia For the Lord God almighty reigns Allelui…
Judy Jacobs Hallelujah, hallelujah, For the Lord, God Almighty reigns. …
Karl Jenkins Agnus Dei Agnus Dei Qui tollis peccata mundi Miserere nobis …
Katherine Jenkins Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Katherine Jenkins & Rodolfus Choir Agnus dei, Qui tollis peccata mundi, Miserere, miserere nobi…
Keith Lancaster & the Acappella Company Alleluia Alleluia For the Lord God Almighty reigns Alleluia…
Kingdom Movement Aleluia, Aleluia O Senhor Poderoso Deus Aleluia Santo, Santo…
Krips Josef/Wiener Philharmoniker CHORUS AGNUS DEI, qui tollis peccata …
Labirinto Insaciável, em teu louvor eleva a tua glória aos céus Amed…
Landa&Mozart Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Leo mantovani És a Mãe que o nosso coração tanto ama Bem-aventurada nossa…
Lesiëm Agnus Dei Agnus angus Dei Agnus agnus Dei... Pater patriae…
Libera Agnus Dei Agnus Dei Dona nobis pacem Agnus Dei, Agnus De…
Liva Agnus Dei, qui tollis pecatta mundi Dona eis requiem Agnus…
Living Word Worship Alleluia, alleluia For the Lord God Almighty reigns Alleluia…
London Philharmonic Choir & Orchestra CHORUS AGNUS DEI, qui tollis peccata …
Luciano Pavarotti Agnus dei qui tollis peccata mundi, miserere, miserere nobi…
M.W Smith Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Malignus Youth Flowers of life protrude from all the streets Growing tall a…
Marco Barrientos Damos aleluya Aleluya Aleluya Reinas Tú, poderoso Dios Ale…
Mary Alessi & Friends Holy, holy, are you Lord God almighty Worthy is the lamb,…
Mats Eilertsen Trio & Trio Mediaval Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus D…
Maximianno Cobra - Europa Philharmonia Choir & Orchestra CHORUS AGNUS DEI, qui tollis peccata …
Mercedes Sosa Cordero de dios que quitas Los pecados del mundo Ten compa…
Michael Janz Hallelujah, Hallelujah Denn der Herr unser Gott er regiert! …
Michael John Poirier Agnus Dei, qui tollis Peccata mundi Miserere nobis Agnus Dei…
Michael W Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Michael W. Smith (ft. Amy Grant) Alleluia, Alleluia For our Lord God Almighty reigns Alleluia…
Michael W. Smith feat. Amy Grant Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Micheal.W.Smith Alleluia Alleluia For our Lord God Almighty reigns Allelui…
Ministério Amor e Adoração Agnus Dei Qui tollis peccata mundi Miserere nobis Agnus Dei…
Monks & Nuns of Prinknash & Stanbrook Abbeys Alleluia, alleluia For our Lord God Almighty reigns Alleluia…
Monks And Choir Boys Of Downside Abbey "Domine Deus, Agnus Dei, Filius Patris Domine Fili unigenite…
Morgan Page Agnus Agnus Agnus Agnus Dei Agnus Agnus Agnus (dei) Agnus (…
Mozart Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Münchener Brahms-Chor AndanteAgnus Dei, qui tollis peccata mundi:Lamm Gottes, du n…
Muriel Louveau & Charles B. Kim Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus D…
Mylène Farmer De mutilation En soustraction Agnus dei Te voir en chair …
Nashville Symphony Orchestra and Chorus Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Natalie Grant Alleluia alleluia For our Lord God Almighty reigns Alleluia …
Neville Marriner Acadamey and Chorus of St. Martin in the Fields Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
NewSpring Hallelujah Hallelujah For the Lord God Almighty reigns Hall…
Nikolaus Harnoncourt; Concentus Musicus Wien CHORUS AGNUS DEI, qui tollis peccata …
Oasis Worship Alleluia, alleluia For the Lord God Almighty reigns Alleluia…
Orchestra/David Abel Classical Sacred…
Oslo Gospel Choir Du guds lam som bærer verdens synder miskunne deg over oss…
Passion Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Passion Worship Band Alleluia Alleluia For our Lord God Almighty reigns Allelui…
Placido Domingo/Wiener Symphoniker/Vjekoslav Sutej This is the air I breathe This is the air I…
Polyphony Stephen Layton & Britten Sinfonia Agnus Dei, qui tollis Peccata mundi Dona eis requiem sempite…
Powerwolf Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus De…
Priestly Fraternity of St. Peter cgnus Dei, qui tollis peccata mundi: Miserere nobis. cgnus D…
Quatuor Debussy CHORUS AGNUS DEI, qui tollis peccata …
Quimantu Agnus Dei Cordero de Dios tu que quitas Del mundo los…
R.S.S.Orchestra; R.S.S.Capella; Cond: Valery Polyansky Alleluia, Alleluia For our Lord God Almighty reigns Alleluia…
Randy Rothwell Alleluia, alleluia For the Lord God Almighty reigns Alleluia…
Renata Scotto - Soprano Agnes Baltsa - Mezzosoprano Philharmonia Orchestra - Riccardo Muti CHORUS AGNUS DEI, qui tollis peccata …
Rufus Wainwright Agnus dei Agnus dei Qui tollis peccata mundi Agnus dei Agnus…
Ruth Dean Agnus Dei, qui tollis peccata mundi, miserere nobis, dona no…
Saint-Pierre O Lamb of God that takest away the sins of…
Salida 7 Aleluya, aleluya Reinas tu poderoso Dios Aleluya, aleluya R…
Samuel Barber Amfortas Uz Je To Raz Tak! Samuel Sam tu spis, v tichom C…
Scottish Chamber Orchestra And Chorus Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Sela Lam van God, Lam van God, dat de zonde der wereld draagt. He…
Sheila Walsh Alleluia, Alleluia For our Lord God Almighty reigns Alleluia…
Sir Neville Marriner Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Smith Michael W. Alleluia Alleluia For our Lord God Almighty reigns Allelui…
Sofia National Opera House Orchestra And Chorus Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Stichting Opwekking Halleluja, halleluja, Want de Heer God, almachtig, regeert! …
Terry Macalmon Alleluia, alleluia For the Lord God Almighty reigns Alleluia…
The Chapel Choir of Pembroke College Cambridge The Pembroke College Girls’ Choir & Anna Lapwood Agnus Dei, qui tollis peccata munti, miserere nobis. Agnus D…
The Choir Boys Lamb of God, who take away the sins of the…
The Choir of New College Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
The Electric Prunes Agnus Dei, Dona nobis pacem Agnus Dei, Dona nobis pacem …
The Monks and Boys of Ampleforth "Domine Deus, Agnus Dei, Filius Patris Domine Fili unigenite…
The Praise Baby Collection Alleluia Alleluia For the Lord God Almighty reigns Alleluia …
The Secret Welcome to the year of suicides Where wasting time means wai…
The Sixteen Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus…
The W.E.S. Group Alleluia Alleluia For our Lord God Almighty reigns Allelui…
Third Day Hallelujah, hallelujah For our Lord God Almighty reigns H…
Trio Mediaeval Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus …
Various Artists Aleluia, aleluia! Ao senhor poderoso Deus Aleluia, aleluia! …
Victoria T.L. de Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus D…
Vienna Chorus and Symphony Classical Sacred…
Vince Guaraldi & St. Paul's Church Of San Rafael Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Vox Clamantis & Jean-Eik Tulve Heilig Heilig, is die Heer God Almagtig Waardig is die Lam W…
W&M Choir Alleluia Alleluia For our Lord God Almighty reigns Alleluia …
Wainwright (Rufus) Agnus dei Agnus dei Qui tollis peccata mundi Agnus dei Agnus…
Wiener Philharmoniker; Claudio Abbado CHORUS AGNUS DEI, qui tollis peccata …
Winchester Cathedral Choir Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Agnus …
Winchester Cathedral Choir/David Hill Agnus Dei, Qui tollis peccata mundi, Miserere nobis. Ag…
Wolfgang Amadeus Mozart Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
X-Ray Dog Агнец! Неугасимый свет Бездонных очей. Самых тёмных ночей, С…
X-Ray Dog (C. Field) Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Xtreme Kids Aleluya, aleluya Nuestro Dios poderoso es rey Aleluya, alelu…
Zbigniew Preisner Agnus Dei, Qui tollis peccata mundi: Dona eis requiem. Agnus…
[Artist] cgnus Dei, qui tollis peccata mundi, miserere nobis.…
Сестри Тельнюк Ти не гордий орел сизокрилий Що заслонює крилами сонце М…
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@LESANEJUNIOR
thank you so much . the music is healing powerful beautiful and pure
@tonyemmanuel554
Takes me back into the beautiful and serene ages of church music
@theiaraine
I remember going to an Episcopal high church building and hearing sounds like this
@amneris8365
Это настоящая музыка!
@kleepet
Thank you for posting this with the notation.
@lloydbowers8997
I bought the Hilliard Ensemble's Dunstable recording in the early '90s from Harold Moore Records in Great Marlborough Street.
Now that HMR has closed, Great Marlborough seems a little less Great.
The liner-notes list four of the HE singers--Elliott, Nixon, Hillier, and George--participating on this piece.
The two tenors must alternate. The two low voices likewise.
The music gets under your skin.
Thanks so much for posting.
@NiniSingsACover
thank you!
@nathanhol42001
It seems like the minim (half note) in the late Medieval period was viewed the way we now view the quaver (eighth note). I'm so curious as to how/why this shift occured! Beautiful music, by the way!
@williamstephens9945
Yes. "Breve", now the longest note used, actually means "short" 😆
@MariaJArce-bl3jm
3:11