‘A pleasing melancholy’ is how Robert Burton described the feeling that certain music can give rise to, in his The Anatomy of Melancholy from 1621. Some 20 years earlier John Dowland, melancholic par excellence, had expressed a similar idea in the dedication of his Lachrimae, or Seven Tears: ‘pleasant are the tears which music weeps’. During this period in England, melancholia had become fashionable, especially in cultural and literary circles, and spawned countless poems, paintings and songs. When Dowland’s lute song Flow My Tears was published in 1600, the instrumental Lachrimae Pavan on which it was based had been in circulation for several years and was the composer’s ‘number one hit’ both in England and on the continent – and four years after the song, he returned to the music and varied it in the ‘seven tears’ for viol consort and lute. Colleagues of Dowland such as Robert Jones and John Danyel explored similar moods and emotions in their own songs, sometimes – as in Danyel’s Eyes look no more – making clear allusions to Dowland’s famous pavan. The Chelys Consort of Viols released their first disc in 2015 to critical acclaim. For the present recording they are joined by lutenist James Akers, and Emma Kirkby, the English soprano who has long been a leading figure in the field of early music.

The third album of the Ravel Piano Duo from the Polish Kaleidoscope series is entirely devoted to piano dance music written during the second half of the 19th century and at the beginning of the 20th century. Today, Fryderyk Chopin is widely recognized as the most brilliant Polish composer creating this type of works. However, adoring and admiring the craft of Chopin’s art, we often forget about many outstanding artists who have undeniable merits in the promotion of both national and foreign dances. That having been said, the present album includes a number of stylistically diverse dance miniatures of respected Polish artists: Moniuszko, Noskowski, Zelenski, Moszkowski, and Friedman.

Suor Isabella Leonarda (1620-1704) was the most prolific woman composer of the 17th century. She published no fewer than 20 collections of motets and other sacred music, nearly 200 compositions spanning virtually every genre of sacred music of her time, as well as the only complete collection of instrumental works by an Italian woman in the 1600s. This recording is a tribute to her artistry.

Born and baptized as Anna Isabella Leonardi on 6 Sept. 1620, she belonged to one of the most illustrious families of Novara. She studied at home before entering the Congregazione delle Vergini di S. Orsola at age 16. She took her vows three years later and remained in this convent until her death on February 25, 1704, at the age of 84. During her long life, Isabella served in all capacities: mater discreta et cancellaria, magistra musicae, superiora, and finally consigliera. She was clearly a woman of robust constitution and an iron will. This recording provides a portrait of Isabella Leonarda’s vast and varied output, ranging from solo motets to a large-scale Psalm setting for voices, obbligato violins and basso continuo. Numerous works exemplify her “concertato” writing in their alternation of meter, tempo and texture between florid soloistic passages and more homophonic choral treatment. The absence of male voices is solved by the transposition of lower voices or the use of instruments.

Cappella Artemisia, founded by Candace Smith in 1991, is an ensemble of women dedicated to performing the music of Italian convents of the 16th and 17th centuries. The repertoire includes both forgotten works composed by the nuns themselves, and music intended for performance in the convents by male composers, but presented as it would originally have been heard, i.e., without male voices.

Following The Sixteen’s hugely successful album, “Song of the Nativity,” which featured Christmas music from the 19th, 20th, and 21st centuries, this new seasonal offering explores a stunning selection of festive works from the Renaissance. The Sixteen captures the joy and sincerity of the most wonderful of seasons, from the joyous simplicity of plainsong chants ‘Resonemus laudibus’ and ‘Veni, veni Emmanuel’ to the shining purity of Lassus’ polyphonic ‘Videntes stellam Magi’ and Byrd’s jubilant ‘This day Christ was born.’ This album provides a perfect alternative to traditional carols for those looking for something a little different at Christmas. “The Sixteen gives a masterclass in the art of unaccompanied singing, and in close emotional engagement with the pieces chosen… It puts the music front and centre, in this beautifully realized Christmas sequence.” (BBC Music Magazine)

REVIEWS:

Glorious renaissance polyphony is interspersed with plainchant in this treasure love, and full texts, translations and information sleeves notes make this an enviable Christmas present.

-- Choir & Organ

[The album] was recorded in St. Augustine’s, Kilburn in 2017, the generous acoustic adding a sprinkle of seasonal fairy dust...the pieces range from less the two minutes to nearly 10, the latter Tallis’s monumental Videte miraculum. One of the finest pieces (a difficult choice) is John Sheppard’s Reges Tharis, with its delightfully scrunchy little moments of harmonic and melodic tension, known as false relations.

As usual, The Sixteen sing with an outstanding sense of consort and balance, with superb intonation. Their sopranos, a mixture of younger and more experienced singers, are particularly impressive, the clarity of their voices giving an almost boy treble-like quality in their Veni, veni Emmanuel verse.

-- Early Music Review

The satisfying program of A Renaissance Christmas is no mere academic exercise or collection of rarities for collectors. The Sixteen deliver these works with exquisite tone and polished diction, performing to their expected high standards and creating a memorable impression with this refreshing album. Coro's sound is quite clear in the resonant acoustics, and the singers have a warm and vibrant presence.

-- All Music Guide (Blair Sanderson)