The post-modal tonality, patterns of imitation and passages of dissonant harmony found throughout the Benedictus 'for trebles' and its accompanying Te Deum indicate that they are without doubt the work of the elder Mundy. These morning canticles may have formed part of a larger service setting – now lost – and the appearance of such complex music amongst a collection of otherwise modest music in the Chirk Castle part-books is surprising, though it is possible that they were only used at such special events as the re-opening of the castle's chapel in 1632. Cast in the grand manner so typical of Chapel Royal compositions, the Benedictus and Te Deum feature textures reminiscent of Sheppard's finest Latin works and Mundy cleverly employs varied choral groupings to provide maximum contrast before intensifying the choral activity in the final passages in order to create a contrapuntally exciting conclusion.
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