Regina coeli I
must count as one of the most limpidly beautiful compositions of the later fifteenth century. Each line has an almost sculptural quality, and each emerges periodically from the texture to articulate a series of carefully-planned and gently-paced climaxes. Even the passage of four-against-three proportion near the beginning of the second part of the motet – a touch of typically Busnoisian rhythmic complexity – does nothing to detract from the overall sense of calm and elegance that wreathes this glorious piece.
from notes by Andrew Kirkman © 2000