‘Here being heard for the first time since the 17th century’: the phrase is quietly slipped into Richard Rastall’s introductory notes, like an incidental figure in Martin Peerson’s polyphony. These 15 motets were unknown to the extent that the writers in New Grove (of whom Dr Rastall is one) speak of them some- what hypothetically. Rastall’s edition, with the missing soprano line reconstructed, was published in 2003 and this recording marks the fulfilment of that valuable work. Its appearance deserves at least this much of a fanfare.

This is Fall-of-the-Leaf Peerson or, more alliteratively, Piper’s-Pavan Peerson. He has been remembered generally by a small set of keyboard pieces and by the madrigal The Primrose. His dates are c1572-1651, and these motets, it seems, could have been written any time in the early decades of the 17th century. Their quality might suggest a later rather than an earlier date, for they are masterly works not only in their deployment of polyphonic techniques and their harmonic expressiveness, but also in what clearly their editor sees as a large-scale architectural vision.

The motets, as he observes, group naturally, the first five comprising one ‘movement’, the next four another, and the remainder an impressive third. In the opening numbers particularly there is a remarkable directness of utterance – Peerson has a madrigalist’s feeling for words, and the counterpoint is never allowed to obscure them. The listening mind is fully engaged throughout.

Singing in the clear, unflattering acoustic of St Paul’s, Southgate, Ex Cathedra give an immaculate account, imaginatively directed. These motets constitute the first volume of a projected edition: I look forward to the prospect of more Peerson on record.