The two works in the Eton choirbook by this otherwise unknown composer (the other is a seven-part Gaude flore virginali) suggest that he was working in a fairly large choral foundation during the third quarter of the 15th century. The style of this Magnificat suggests that it may be one of the earliest surviving compositions in the five-part texture that became popular during the second half of the century. Like many English Magnificat settings of the period it is based loosely on the faburden of the eighth Magnificat tone. One of Antico’s transposed editions of Eton choirbook music written at an unusually high or low pitch. For five voices: TrATBarB. iv + 14 pages. ISMN 979-0-57039-174-5.