Much of early English church music cannot be precisely dated. However, the pieces in this collection span almost two hundred years, exhibiting a clear stylistic range: from English Ars Antiqua to the "contenance angloise," which exerted a significant influence on continental music from the 1440s onward.
The earliest piece, "Alleluia. Christo iubilemus," impresses with its artful elaboration of a cantus planus intended for festive occasions. Characteristic are the melismas that embellish the tenor, while the troping, as a supplementary text ornamentation, lends the work additional depth. A lively rondellus section opens the liturgical segment, with the voices appearing in changing combinations.
In the composition "Stella maris nuncuparis," written around 1300, the simpler structure is striking: here, recurring passages and cadences create an almost trance-like sound. More demanding works, such as the double-text motet "Spiritus et alme / Gaude virgo salutata," are characterized by ornamented Gregorian melodies. Parallel fifths and octaves, as well as the use of 6-3 chords, are also typical of this repertoire.
The isorhythmic motet "Sub Arturo plebs / Fons citharizancium" by Alanus clearly demonstrates European influences: the voices are organized in layers around a cantus firmus, with thematic scope ranging from creation to the papacy of Gregory I. These musical developments are also evident in pieces such as "Salvatoris mater pia" by Damett and "En Katerine solennia" by Byttering, which have a close connection to Henry V.
The "Agnus Dei" by Chirbury and the "Credo" by Excetre reflect the stylistic diversity of the Old Hall Manuscript. The works of Leonel Power and John Dunstaple document the transition to a more fluid style, which was further developed in the 15th century in more anonymous settings of the Credo. The compositions of this period exhibit innovative formal design with gentle melodic lines and flexible rhythms, thus illustrating this musical transformation. The collection concludes with a sonorous and structured setting of the Credo, highlighting the composers' creative brilliance as an expression of their praise of God.