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Over 25 years ago Andrew Parrott, a music director, first presented Monteverdi's Vespers of 1610 in a performance distinguished by the transposition to the 4th below notated pitch of two of its movements, the psalm "Lauda lerusalern" and the concluding Magnificat; it is nearly 20 years since he offered in print his reasons for doing so. These grounds were cogent and stoutly argued, and undoubtedly a strong case exists to be addressed. Yet after 20-odd years the idea has not proved to be one of those welcomed by everyone with gratitude that a totally convincing solution has at last been found to a long-perplexing problem.

Provides evidence corroborating Professor Brian Trowell's identification of John Aleyn as the composer of a motet in the 14th century. Celebration of the achievements of musicians in the text of the triplum; Estimate on the motet's date of composition; Implications of Aleyn's withdrawal as chaplain of the Chapel Royal of Edward III.