These young female voices present a varied selection of 12th-century Marian songs, illustrating many ways in which the composition of vocal music was evolving and diversifying during this period. Among pieces directly associated with the liturgy, there is a troped reading from Ecclesiasticus (Chap 24, vv23-31), sung to a simple reading tone over an accompanying voice a fifth below. The text is interspersed with troped verses, a solo commentary, spoken, as it were, in the person of the Blessed Virgin. Two Matins responsories have a fully developed trope at the end of their verse: in Gaude Maria Virgo, the lower voice sings a new text in slow notes to the melody of a well known trope, Inviolata permansisti, still in the current repertory. The higher voice adds a new, excessively florid poetic commentary. The little group of Benedicamus tropes, which conclude a major Hour such as Christmas Vespers, contains some of the most varied and delightful examples, performed here with self-assurance and skill.

Only one item bears a signature: Peter Abelard’s Easter Sequence Epithalamica. Composed for the contemplative Nuns of the Paraclete, it represents a dramatic interpretation of verses from the Song of Songs. A joyful meditation upon the mystery of the Resurrection, it describes the mystical union of the risen Christ with the Church, his “Bride”, and by extension, with the soul of a consecrated nun, herself a “Bride of Christ”. Rather unfortunately, Kelly Landerkin’s English translation of this outstanding piece is unpoetical to a degree, and brings us down to earth with a bump. By contrast, Jeremy Llewellyn’s substantial booklet-notes are exceptionally interesting and informative.