Magnificat, by Robert Jones (fl. c. 1520-35), completed by Nick Sandon


"Blue Heron brings a zesty and sensual sound to these works of devotional music. " -- Corinna da Fonseca-Wollheim, The New York Times | Feb. 12, 2019


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"I think the voice has an ability to connect to our hearts and our spirits more than any other sound" - Scott Metcalfe


VIDEO: Donnez l'aumosne, chiere dame

Recorded October 13, 2018 in Cambridge



Cambridge subscription concerts are highlighted in red

Missa Prolationum
(Ockeghem@600, Concert 9)
March 9 Cambridge
March 10 Providence, RI

Guillaume de Machaut’s Remede de Fortune
March 22 Seattle
March 23 Vancouver, B.C.
April 24 Boston

April 26 Cambridge
April 27 Cambridge

Songs of Love & Death
May 17 Chestnut Hill (Newton)


» More recordings

I feel privileged to be able to revel in such a subtle shaped set of performances... This is the kind of recording that makes you sit up and pay attention.. There is plenty that is memorable here, and always the anticipation of something juicy to relish just around the corner. You can't ask much more than that from a CD.

Dominy Clements, MusicWeb International

a revelation - fresh, dynamic and vibrant...urgent and wondrous music-making of the highest order

Damian Fowler, Gramophone (UK)

fine gradations of dynamics; pungent diction; telling contrasts of ethereal and earthly timbres; tempos that are more lusty than languid; a way of propelling a phrase toward a goal. ... The singing is both precise and fluid, immaculate and alive...

Alex Ross, The New Yorker

A listener then would have been lucky to hear these works brought off with such panache. The program is by turns pensive and lively, and the scholarship required to evoke stylistic accuracy is put totally at the service of performance.

David Allen, The New York Times

The earthy sensuousness of Blue Heron's singing coupled with the curatorial care behind its programming have clearly earned the trust of audiences

Jeremy Eichler, The Boston Globe

This highly important [Peterhouse recording] project, one of the most important early choral projects of our time, has unearthed a series of masterly composers hitherto virtually unknown...Such is the authority of Scott Metcalfe and his singers with this repertoire that they negotiate even the most daringly challenging and unexpected passages with utter confidence, and, as previously, with a delicious blend of expressiveness and seemingly inexorable forward momentum.

D. James Ross, Early Music Review (UK)