Tempus Adventus is our first released CD as well as the first of the series “In illo tempore”. The aim of the series is to revive the old Slovak musical manuscripts dated before 1600. Polyphonic pieces were directed by Eduard Tomaštík, Plainchant by Marek Klein. Polyphony sources: Anna Hansen-Schuman Codex (1, 2, 3, 4, 5) Košice Polyphonic Collection I (12) Košice Polyphonic Collection III (23, 28, 29, 30) Vesperarum precum officia (6, 21) Chant sources: The Bratislava Antiphonary IV (2, 3, 4, 5, 6, 8, 11, 13, 15, 18) The Bratislava missal I (22, 24, 25, 27, 31) The Spiš Gradual (26) As the title Tempus Adventus (advent period) indicates, we chose the chants intended for advent period of the liturgical year on the first CD. In the first part (1–22) we attempted to reconstruct the first vespers of advent period (celebrated on Saturday before the first Advent Sunday) according to the Bratislava Antiphonary IV and according to the instructions contained in the so-called Eger Ordinary (Ordinarius Agriense). Vespers are the evening part of the so-called Liturgy of Hours, which is served daily, together or privately, by monks, nuns or priests. The basis of the liturgy is mainly the psalms recitation, supplemented with antiphons, hymns and other smaller forms. The main difference between the vespers celebration then and today—if we do not take into consideration national languages—is mainly a number of psalms and order of some parts. The specifics are the complementary groups of chants – antiphon, verse, prayer, which were added at the end of the celebration if several feasts fell upon a given day. In case of our vespers these are parts 15–17 (to Virgin Mary) and 18–20 (to all saints). The second part (22–31) consists of the first Advent Sunday mass chants. Except for the sequence (26), which is from the Spiš Gradual, the proprium chants (variable mass chants – 22, 24, 27, 31) are from the Bratislava Missal I. In the performance of chant we tried to use knowledge gained by the study and by the recitation of the oldest Gregorian chants layers (9th—11th century), although the medieval chant shows obvious differences sporadically. Despite the fact we assume, that the oral tradition influenced also the medieval way of singing to such an extent, that its basic features have been preserved. We also followed an adiastematic chants version from the Sankt-Gallen manuscripts if they were available (8, 15, 18, 22, 24, 25, 27, and 31). The interesting fact is, that the chants from the Bratislava Notated Missal sometimes correspond with their Sankt-Gallen parallel more than with the official versions from the contemporary Graduale Romanum. On the recording we inclined to the so-called German pronunciation, which is commonly used in our environment and some used manuscripts indicate, that it used to be like that also in the past. For instance the Latin word “potentiam” (read poten-tsee-am) is written in our sources as “potenciam” which - according to so-called “Ecclesiastical Latin” (used in Vatican, as well as in many other countries) - would have been read as “poten-chi-am”. Available polyphonic collections do not contain specifically advent chants; therefore we chose chants on our CD, which were used during the whole liturgical year. Thus we picked Magnificat (13) of Orlando di Lasso (1532–1594) from the Košice Polyphonic Collection I, 6-voices mass ordinary (23, 28, 29, and 30) of his pupil Leonhard Lechner (1553–1606) from the Košice Polyphonic Collection III and we also used settings of unknown authors from the Codex of Anna Hannsen-Schuman (1, 2, 3, 4, and 5). From the printed collection Vesperarum precum officia we used “Benedicamus Domino” (21) of an unknown author and a setting of Adam Rener (6). As a bonus we can understand a motet of Leonhard Lechner Rorate coeli (32) with introit form (entering mass chant), which was included although it does not occur in our sources. Eduard Tomaštík (the Czech Republic) accepted our invitation to cooperate on the recording. He was born in 1975. After graduation at the conservatory in Bratislava (playing on cimbalom), he studied at the Janáček Academy of Music and Performing Arts in Brno, field choral conducting, under supervision of Assoc. Prof. Josef Pančík and orchestral conducting under supervision of Prof. Otakar Trhlík and Jan Zbavitel. During 1996–1998 he worked as a choirmaster's assistant of the Janáček Theater's Opera Choir in Brno and the Brno Academy Choir. Already from the study times at the conservatory he has been intensively concerned with the interpretation of the 16th and 17th century music on the basis of the thorough study of the period sources. In the center of his interest stands sacral music, especially Czech music in relation to neighboring countries. With his research activity he regularly contributes to clarification of music-historical relations on European scale. He presently works as a lecturer at the Academy of Ancient Music and Department of Musicology at the Faculty of Arts, Masaryk University in Brno; he teaches ancient music courses and as a conductor he receives invitations to cooperate with different orchestras. In 1998 he established a chamber ensemble of ancient music Societas incognitorum, where he is an artistic director. With this ensemble he has recorded 7 CDs so far, which has got great international credit.