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.
Sanctus
John Dunstable Lyrics
We have lyrics for 'Sanctus' by these artists:
Aesma Daeva How astonishing is the chance Of leaving this world impress…
Aeternitas Sanctus, sanctus, sanctus dominus Deus Sabaoth. Pleni su…
André J. Thomas Holy, Holy, Holy, Lord God of Hosts Heaven and earth are…
Angèle DubeauEtLes Petits Chanteurs Du Mont-Royal Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth Pleni sunt cæ…
Antaeus Sanctus, sanctus, sanctus Te deprecamur magum redemptorum …
Anúna Holy, holy, holy Lord God of the Host (or Armies) Heaven a…
Anuna Sanctus, sanctus, sanctus Dominus Deus sabbaoth Pleni sunt c…
Ariel Ramírez ////Padre Todo Poderoso, Creador De Cielo Y Tierra//// ////…
Arvo Pärt Sanctus Sanctus, sanctus, sanctus. Dominus deus Sabaoth. P…
Atlanta Symphony Orchestra & Choir Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sun…
Benedictine Monks May angels lead you into paradise; upon your arrival, May…
Benjamin Britten Soprano and Chorus: Sanctus, sanctus, sanctus Dominus Deus…
Benjamin Britten: London Symphony Orchestra & Chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, Pleni sunt …
Berliner Philharmoniker SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Choir & Baroque Orchestra of the Netherlands Bach Society/Jos van Veldhoven Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sun…
Choral "Sanctus, sanctus, sanctus Dominus Deus Sabaoth Pleni sunt c…
City Church San Francisco Holy, holy, holy Lord God of power and might Heaven and eart…
Collegium Cantorum Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt c…
Coph Nia Pater et Mater unus deus Mater et Filius unus deus Filius …
Corciolli Sancti tui Domine Florebunt sicut lilium Et sicut odor balsa…
Coro Arquidiocesano de Santa Fe De la Vera Cruz Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt c…
David Arkenstone Once upon a long night after a hard cry Somewhere in…
Dominikański Ośrodek Liturgiczny Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth Pleni sunt c…
Drentch You've taken me Set me free Made me a miracle Made me a…
Eden's Bridge Sanctus, Sanctus, Sanctus Sanctus, Sanctus, Sanctus Domi…
Elora Festival Singers and Orchestra / Noel Edison Classical Sacred…
Enrique Morente ¡Y dejas, Pastor santo Tu grey en este valle hondo, oscuro C…
Fundacja Dominikański Ośrodek Liturgiczny Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth Pleni sunt c…
Gabriel Fauré Sanctus, Sanctus, Sanctus, Sanctus, Sanctus Dominus, Sanc…
Halle Choir and Orchestra Classical Sacred…
Huelgas Ensemble Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt …
Hungarian Radio and Television Chorus Classical Sacred…
Irmã Kelly Patrícia Sanctus, Sanctus, Sanctus Sanctus, Sanctus, Sanctus Dominus …
Istvánffy Chamber Choir Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sun…
John Michael Talbot Sanctus, sanctus, sanctus Dominus Deus sabbaoth Holy, holy,…
Juliano Ravanello Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth Pleni sunt ca…
Karl Böhm - Wiener Philharmoniker SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Karl Jenkins Sanctus Sanctus Sanctus Dominus/Holy Holy Holy Lord Sanctus …
Katherine Jenkins Sanctus Sanctus, Dominus Deus Sabaoth Pleni sunt caeli et te…
Krips Josef/Wiener Philharmoniker SANCTUS, Domine Deus Sabaoth. Pleni sunt …
La Capella Reial de Catalunya Le Concert des Nations con. Jordi Savall Chorus Sanctus, sanctus, Sanctus Dominus Deus sabaoth. Pleni…
Lacrimosa Sanctus - Sanctus - Sanctus - Dominus Deus deus Sabaoth -…
Landa&Mozart SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Libera Sanctus, Sanctus Benedictus qui venit in Domine Sanctu…
Libera & Edward Day Sanctus, Sanctus Benedictus qui venit in Domine Sanctus, S…
LIBERA & ROBERT PRIZEMAN Sanctus Benedictus, benedictus qui venit in nomin…
Libera (Holiday) Sanctus Benedictus, benedictus Qui venit in nomine bene…
Libera and Robert Prizeman Sanctus Benedictus, benedictus qui venit in nomin…
Libera feat. Robert Prizeman Sanctus Benedictus, benedictus qui venit in nomine benedict…
Libera/Edward Day/Fiona Pears/John Anderson/Steven Geraghty/Chris Dodd/Robert Prizeman/Ian Tilley Sanctus Benedictus, benedictus qui venit in nomin…
Liva Sanctus, sanctus, sanctus Sanctus, sanctus, sanctus! Domi…
London Philharmonic Choir & Orchestra Classical Sacred…
Luigi Cherubini Sanctus, Sanctus, Sanctus, Dominus, Deus Sabaoth Pleni sun…
Malignus Youth Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth Pleni sunt c…
Margaret Hillis Georg Solti; Chicago Symphony Orchestra & Chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, Pleni sunt …
Martillo Austral Someone screams Among the living No one is hearing Prayers i…
Mats Eilertsen Trio & Trio Mediæval Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt …
Matthew Reid Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth: pleni sunt c…
Mercedes Sosa Santo santo santo Santo santo santo Señor dios del univers…
Monks & Nuns of Prinknash & Stanbrook Abbeys May angels lead you into paradise; upon your arrival, May…
Mozart Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Mozart (Wiener Philharmoniker - Bohm) SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Musica Sacra Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth Pleni sunt ca…
Nashville Symphony Orchestra and Chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, Pleni sunt …
Nicholas & Sebastian Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt…
Nikolaus Harnoncourt; Concentus Musicus Wien SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Niños Cantores de Villa de Cura Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt c…
Noel Edison: Elora Festival Orchestra & Singers Sanctus, Sanctus dominus… Nottingham’s men are here! Stand …
Novectacle Dominus tecum, Amen Nos confessados do dia sacrificado Que …
P.D.Q. Bach Mea tormenta, properate Ubi sunt flagella et caedes, ubi sun…
Paul Van Nevel Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt …
Paul-André Durocher Gerontius: Sanctus fortis, Sanctus Deus, De profundis oro t…
Philharmonia Chorus & Orchestra Classical Sacred…
Priestly Fraternity of St. Peter Your angels stand around Your altar Hear our voices raise To…
Prizeman Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt …
Qntal Quam felices fuerint qui cum Christo regnabunt, facie ad fa…
Quatuor Debussy SANCTUS, Domine Deus Sabaoth. Pleni sunt …
R.S.S.Orchestra; R.S.S.Capella; Cond: Valery Polyansky Classical Sacred…
Riccardo Muti - Orchestra del Teatro alla Scala Milano SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Robert Prizeman Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt …
Robert Prizeman & Libera Sanctus Benedictus, benedictus qui venit in nomin…
S.D.M. Mea tormenta, properate Ubi sunt flagella et caedes, ubi sun…
Sanctus Heavy this burden Weighs on my mind Waves of existence Leave…
Sela Heilig, heilig, heilig: God, onze Heer almachtig! Heilig, …
Sofia National Opera House Orchestra And Chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, Pleni sunt …
St. Florian Boys' Choir Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth. Pleni sunt c…
Stare Dobre Malzenstwo Święty święty święty blask kłujący oczy Święta święta święta…
Stare Dobre Małżeństwo Święty, święty, święty - blask kłujący oczy Święta, święta,…
Subway To Sally Sanctus, sanctus, sanctus dominus Deus Sabaoth pleni sunt ce…
The Abbey School Choir Tewkesbury / Andrew Swait / Benjamin Nicholas Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt…
The Church - Brothers Holy, holy, holy Lord God of power and might Heaven and eart…
The Eccentric Opera Fantastic It's ancient, all one, intertwined together My…
The Electric Prunes Sanctus, Sanctus Sanctus, Sanctus, Sanctus Dominus, Dominu…
The English Concert & Choir - Trevor Pinnock SANCTUS, Domine Deus Sabaoth. Pleni sunt …
The Gregorian Chants Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth Pleni sunt co…
The Monks and Chiorboys of Downside Abbey May angels lead you into paradise; upon your arrival, May…
The Sixteen Academy of St. Martin in the Fields Harry Christophers Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth. Pleni sunt c…
The W.E.S. Group Święty Święty Święty Święty Święty Święty Święty Święty Pan…
Travis Cottrell You fill up my senses like a night in a…
Trio Mediæval Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt …
V.A. Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt …
Various Artists Sanctus, Sanctus Benedictus qui venit in Domine Sanctus Do…
Victoria T.L. de Sanctus, Sanctus, Sanctus Sanctus, Sanctus, Sanctus Dominus …
VocalEssence Chorale Holy, Holy Holy, Holy Lord God of Hosts Heaven and Earth He…
W.A. Mozart (J.E. Gardiner) Święty Święty Święty Święty Święty Święty Święty Święty Pan…
Wiener Philharmoniker; Claudio Abbado SANCTUS, Domine Deus Sabaoth. Pleni sunt …
Wolfgang Amadeus Mozart Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
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@shanahoe12
MANY THANKS to the choir who bring this heavenly music alive for us Eddie Lalor
@paulbeard7764
So beautiful, just as Dunstable intended
@Betinasorangeboxcom
soooooooooooooo beautiful
@marinapegrisch1305
😇🤩💫👏👏👏
@bangtangirlffs4868
This is how gates of heaven sound
@fernandoalbaguijarro7189
¿Quiénes cantan? ¿Cómo se llama el grupo?
@patricksweetman3285
Terrible recording quality. The compression artefacts sound like somebody punching cardboard boxes during the performance.