Described as ‘one of the great new Sibelian teams’ (The Herald), Thomas Søndergård and BBC National Orchestra of Wales continue their shared fascination with the orchestral music of Sibelius. Released one month after BBC NOW celebrates its ninetieth anniversary, this recording includes many of Sibelius’ most famous masterpieces. Sibelius established his credentials early on with the tonally adventurous En saga, which brings to mind the excellence of Berlioz’ orchestral writing. Sibelius’ successful foray into the impressionistic tone world of Debussy resulted in the haunting seascape of The Oceanides. Sibelius wrote it was ‘pure inspiration’ that led to the composition of the perpetually popular Finlandia, with its world-famous hymn motif. The wonderfully descriptive Swan of Tuonela finds Sibelius at his mystical best as he casts the cor anglais as the majestic swan from Finnish mythology. Sibelius: Finlandia is a fitting finale to this Sibelius series which also includes critically acclaimed recordings of four of his symphonies.

Produced by Andrew Russell



Tracklisting
1 Moderato 14:18
2 Allegretto 5:09
3 Largo 13:54
4 Allegro Non Troppo 9:48

It's a curious coincidence that so-called "second tier" U.K. orchestras, which so often play better than their London counterparts, have a lock on this particular symphony. For years my reference recording has been the sensational Berglund/Bournemouth set on EMI, outstandingly well recorded and originally coupled with an equally spectacular account of the Sixth Symphony. This new recording, even more sonically stunning both in stereo and SACD multichannel formats, might just be better still. Alexander Lazarev takes the opening movement at a much more flowing tempo than we usually hear (about 15 minutes in all, and three minutes quicker than Berglund), and since absolutely nothing noteworthy happens in it beyond the setting of mood, this strikes me as an excellent idea. Here (and throughout), the playing of the Royal Scottish National Orchestra brass section is beautifully contoured in quiet passages, only to become crushingly powerful in the climaxes that pepper the violent second movement. Lazarev's "massacre" section is one of the best (you know what I mean).


The most controversial aspect of this interpretation will be the elegiac third movement, which Lazarev conducts at almost double the tempo of some other versions. It lasts a bit less than nine minutes, and it's certainly not an adagio, but it sounds wonderful when treated this way. For once the principal theme really sings (after all, it is a genuine revolutionary song), almost like one of Tchaikovsky's soulful, Russian-style melodies, and with so much other slow music in both the first and second movements Lazarev's decision makes excellent sense. He and his Scottish players then tear into the finale with a vengeance, culminating in the most hair-raising coda yet captured on disc, with crashing cymbals and tam-tam, clangorous bells, and a floor-shaking bass drum. It will take your breath away. We can only hope that Linn continues what promises to be a very exciting partnership with this excellent orchestra. A "demonstration disc" if ever there were one. Buy it, and drive your neighbors crazy. [5/18/2005]
--David Hurwitz, ClassicsToday.com

This 2014 recording saw Robin Ticciati and the Scottish Chamber Orchestra embark upon their first symphonic cycle together in a performance which earnt widespread praise. Sir Simon Rattle commented, ‘Robin makes a clear case for how the revised version can retain the radical edge of the 1841 version. Still it sounds like a fireball and I take my hat off to him.’ Schumann: The Symphonies also won a prestigious Edison Award, received several five star reviews and featured in multiple critics’ ‘Best of 2014’ lists worldwide, including The Sunday Times Top 10. When Ticciati and the SCO performed the Third Symphony at the 2017 BBC Proms, the critics were equally effusive. The symphonies are very close to Robin Ticciati’s heart; Schumann is one of his favourite composers and has often spoken about how important poetry, colour and story are in Schumann’s music. The SCO’s smaller forces bring a lightness of touch and a clarity to the counterpoint; under Ticciati they achieve a sense of movement that no previous recording has.

-----

Ticciati clearly knows how he wants this music to go and his strong partnership with the Edinburgh players enables him to shape readings notable for their energy and individuality. Throughout the performances are characterised by a woodwind sweetness that is becoming a trademark of this orchestra.

– Gramophone

This new LP from Ingrid Fliter has been eagerly awaited since her previous vinyl release, Chopin: Preludes, which sold out within a year. This 45 rpm Supercut, 180g vinyl provides the authentic sound of an LP with less noise and a clean Hi-Fi response. The repertoire that Fliter has chosen is near and dear to her heart- the evergreen classic, Robert Schumann’s piano concerto. Ingrid rises to the needs that this romantic work requires, leaning into the shifting harmonic textures and technical difficulties of the work. Ingrid came into the public eye in 2006 when she won the Gilmore Artist Award, one of only a few pianists to have received the honor. She is known for her effortless technique and her enthusiasm on stage. Each of her performances is charming and poetic. This also marks the recording debut of Antonio Mendez, a young conductor whose star is on the rise. He conducts the world renowned Scottish Chamber Orchestra, who have recorded extensively on Linn.

The disc’s title refers to the fate of the outspoken and for a time widely popular 15th-century friar Girolamo Savonarola, executed in Florence in 1498 following his continued calls for church reforms, his criticism of papal corruption, and finally his direct defiance of papal orders. Awaiting execution, he composed a meditation on Psalm 50, Miserere mei, Deus, and another on Psalm 30, In te, Domine, speravi, texts that were secreted out of the prison and eventually disseminated throughout Europe. During the next century composers latched on to these writings and many of the works on this program include settings of Savonarola’s meditation texts.

A notable feature of these works is their length: the shortest is nearly six minutes; the longest more than 17. Most fall in the nine to ten-minute range. Whatever the timing, writing polyphonic works of this scope, not only sustaining momentum over long-breathed phrase after long-breathed phrase–indeed, full cadences are few and far between!–and keeping the music interesting while articulating the texts within the greater musical framework takes more than ordinary skill.

The mastery on display here, by composers such as Josquin, Palestrina, Gombert, and Byrd, expertly supported by the talented and distinguished voices of Magnificat (long-time choral fans will notice a few familiar names in the 16-voice ensemble), is clear from the beginning of Josquin’s Miserere mei, and certainly needs no defense nor explanation to serious choral music listeners. Conductor Philip Cave, in his excellent perfomance note, describes these works as “extraordinarily intense”, and as you listen you won’t disagree with him.

Although Cave also claims Josquin’s Miserere, which opens Disc 1, as the “heart of the program”, I suggest skipping to Disc 2 and going right for Jean Lhéritier’s Miserere mei, Domine. To hear this exquisite, lesser-known work first, without distraction or the influence of previous listening, is worth upsetting Cave’s undoubtedly well-thought-out program order. Every time I hear a piece by Lhéritier (whose name doesn’t even appear in some music dictionaries) I wonder why his motets do not have wider advocacy by world-class choirs. (Notably, most of the performing editions used here, including the Lhéritier piece, are the work of musicologist, veteran professional choral musician, and member of Magnificat, Sally Dunkley, who has been responsible for bringing many works from manuscript obscurity to the concert hall and recordings.)

Lhéritier, who, according to Patrick Macey, the writer of the disc’s first-rate liner notes, “may have been a student of Josquin in the early 1500s”, and who spent most of his career in Italy, creates works like those of his contemporary Gombert, that draw you in and then surround you in a world of sound that’s at once sensuous and spiritual, that glories in rich harmonies, complexly interweaving melodies, and the timbre of combined voices. Exactly what we should expect from really good choral music sung by world-class singers.

Hearing Josquin’s five-part, 17-minute-plus setting of Psalm 50, it’s easy to understand Cave’s choice of this piece as an anchor and inspiration for the selection of other works on the program. It’s also easy to hear how the kind of musical standard Josquin set–in his particular attention to text, its clarity, and its specific musical treatment; to the organization of musical structure both in use of voices and in the larger context of contrapuntal and alternating homophonic sections–would demand much from his contemporaries and followers.

That they succeeded–at least those featured on this recording–is quite clear, and the tribute to the music’s excellence is confirmed in these performances, so sensitively phrased and caringly inflected, carried by an exceptionally well-balanced ensemble of compatible voices. Highly recommended.

- ClassicsToday

Linn Records have issued this 3-CD set to commemorate the 90th birthday of Samuel Adler, one of America's most influential and prolific composers. The aim is to provide a conspectus of his work, with a very personal emphasis. The first two CDs offer orchestral music played by the Brandenburgisches Staatsorchester Frankfurt, conducted by Adler’s second wife Emily Freeman Brown. The third CD puts the guitar centre-stage, and features young performers from the Eastman School of Music, where the composer spent thirty years of his career teaching.

Adler's prodigious output includes six symphonies, five operas, chamber music, works for solo instruments and Jewish liturgical music. His music is noted for its rhythmic adventure, skilled counterpoint and colourful orchestration. He was born in Mannheim, Germany in 1928, the son of a cantor and small-time composer at the city's central synagogue. He and his family fled Germany in the Kristallnacht aftermath and settled in the States. There he embarked on his musical studies, concentrating on violin and composition. His tutors in the latter included some big names: Walter Piston, Paul Hindemith, Randall Thompson and later Aaron Copland. He held various teaching posts, most notably at the Eastman School of Music and latterly at the Juilliard Faculty.

CD 1 opens with the Symphony No. 1, penned between May and September 1953, and premiered by the Dallas Symphony Orchestra in December that same year. It was a product of the zenith years of the American symphony. The first of three movements overflows with mellifluous songfulness, ingeniously scored. In contrast, the slow movement is solemn and plaintive, ushered in by a burnished brass chorale. There is a Coplandesque spaciousness throughout. A festive Rondo finale, stamped with American brashness, abandon, exuberance and unruliness sets the seal on this attractively compelling score.

Thirty years later Adler composed the first of his three piano concertos. His mother had died the previous year, and he incorporated into the second movement a lullaby she sang to him as a child, which had been composed by his father. The work reflects the composer’s attitudes to modernistic trends, and he allows tonal elements to rub shoulders with non-tonal. So, the Concerto reveals influences of 12 tone technique, aleatoric notation and inspirations gleaned from electronic music. Two vigorous outer movements frame a slow movement which is elegiac, reflective and funereal in demeanour. Michael Brown gives an engaging performance.

'One Lives but Once', which gives the album its title, is a five-movement Dance Suite written in 2004. The opening 'Rumble', though technically not a dance, pays tribute to Leonard Bernstein. The Pavane, I particularly like. It has a lazy feel to it, and places various solo instruments in the spotlight. The Tarantella, which concludes the Suite, is an impressive showpiece, calling time in a whirlwind of sonic fireworks.

CD 2 features the Second Symphony, written for Walter Hendl and the Dallas Symphony Orchestra in 1957. Adler's father had died two years previously; the work bears a dedication to his memory. He drew on a melody from the 'Akedah' by Hugo Chaim. It recalls a biblical story about Abraham and Isaac, alluding to a special relationship between father and son, which had a significant resonance for the composer. The work is quite optimistic in tone, except for the slow movement which is melancholic and expresses Adler's loss. The third movement has an assertive confidence and feels quite boisterous.

The Violin Concerto is a late work from 2012. Adler is firmly in his comfort zone, composing for his own instrument. It was a commission from the Rotary Club of Tulsa, Oklahoma. The 2010 winner of their International Music Festival was the Korean-born violinist Siwoo Kim, who is the soloist on this recording. Adler lavishes his love and affection on this 22--minute score which, despite its technical demands, is melodically geared. The violinist is kept busy throughout. The first movement is angular and dissonant, as is the finale, which begins with a cadenza. The slow movement is notable for its lightly-textured diaphanous orchestration. Kim performs the Concerto on the 'Abergavenny' Stradivarius, and an exquisite rich, resonant tone it has, too.

Each of the four works on CD 3 features the guitar. The soloist in each is Nicholas Goluses, who has a particular interest in performing new works, with over a hundred world premieres to his name. Centre-stage is the Concerto for Guitar and Orchestra (1994), written to give three of his guitar friends the opportunity to fulfil a solo role with a college orchestra, something rarely attainable, apparently. Adler later made an arrangement for guitar and band to increase the number of performances. The outer movements have a propulsive forward momentum in the context of a dialogue between soloist and orchestra, whilst the middle movement sounds improvised. There is a spectacular interplay between the various sections of the orchestra in the masterly etched finale.

Adler's experience as a string player is put to good use in Into the Radiant Boundaries of Light and Ports of Call ‘A Mediterranean Suite’, both written towards the end of his stint at the Eastman School of Music. In the first he pairs the guitar up with the viola, an effective combination. In Ports of Call, two violins are drafted in. The music paints a portrait of five Mediterranean cities where Jews settled, a subject close to the composer's heart, as he himself was a refugee. Each movement captures the individual flavour and character of the particular location.

The Five Choral Scherzi are scored for the unusual combination of chorus, violin and guitar. The general mood is joyous and good-humoured. Adler drew on some of poetry's great humorists for texts - Updike, Hood, Parker and Belloc. The work demonstrates the composer's gifts to adapt the rhyme, rhythm, repetitions and word play that the verses provide, proving him a skilful text-setter. The texts are provided in the booklet.

Concerto for Woodwind Quintet and Orchestra ‘Shir HaMa’alot’ (1991) has close ties with Mannheim. A concerto competition organized by the city's orchestra was won by a German woodwind ensemble, the Ma'alot Quintet. Their name means 'ascent' in Hebrew. They needed a concerto to showcase their skills and Adler did the honours. It is written in the spirit of a jazz concerto grosso, with emphasis placed on rhythm and colourful instrumentation. The first movement depicts 'the often breathlessness of modern life'. Then follows a contrasting slow movement which wallows in lyrical repose. The finale returns to the bustle of the first movement.

These are warm, polished and convincing performances, well-rehearsed, with immaculate ensemble in each case. All of the works have been recorded in top-notch sound. The bonus is a 50-page, beautifully produced booklet. I would be very keen to explore more of this composer's music now.

– MusicWeb International (Stephen Greenbank)

Freeman-Attwood's playing is notable for the beauty and freedom of line of his lyrical phrasing.' Gramophone

'He somehow manages to combine ringing clarity with creamy smoothness, pin-point intonation and effortless agility.' International Record Review

'Outstanding playing with a dynamic range of lively dialogue and solo lyricism in virtuoso style.' The Observer

'A multi-talented trumpeter.' BBC Music Magazine


Renowned for his outstanding technical and musical ability, as well as his unique re-workings of chamber repertoire, this latest album from Jonathan Freeman-Attwood introduces some fresh and unusual arrangements of well-known Romantic music for the under-explored medium of trumpet and piano duo.

The choice of Mendelssohn and Schumann, originally written for cello and violin respectively, allows Freeman-Attwood to demonstrate the melodic lyricism of the instrument as well as the thrilling execution a brass instrument can bring to intricate passage-work.

Grieg?s Holberg Suite has attracted arrangers since its composition; the opening Preludium is a brilliant vehicle for the trumpet and piano, fully showcasing the skills of the duo that have honed their skills over three albums.

These new transcriptions are beyond anything previously imagined for trumpet; they expand the boundaries of the trumpet as a solo instrument and deserve to take their place in the standard repertoire for the instrument.

As a trumpet player, Jonathan Freeman-Attwood has performed and recorded both as a soloist and as a member of various ensembles and has attracted plaudits from the press for his solo recordings.

Jonathan broadcasts regularly for BBC Radio 3 and is Principal of the Royal Academy of Music in London.

South African born Daniel-Ben Pienaar is an award-winning pianist whose live performances and recordings have won him widespread acclaim: 'a kaleidoscope of colours and textures' (International Piano).


Track Listing:
Edvard Grieg
1. Holberg Suite, Op. 40 - Praeludium
2. Holberg Suite, Op. 40 - Sarabande
3. Holberg Suite, Op. 40 - Gavotte
4. Holberg Suite, Op. 40 - Air
5. Holberg Suite, Op. 40 - Rigaudon

Robert Schumann
6. Sonata No. 1 in A minor, Op. 105 - Mit leidenschaftlichem Ausdruck
7. Sonata No. 1 in A minor, Op. 105 - Allegretto
8. Sonata No. 1 in A minor, Op. 105 - Lebhaft

Felix Mendelssohn-Bartholdy
9. Sonata No. 2 in D Major, Op. 58 - Allegro assai vivace
10. Sonata No. 2 in D Major, Op. 58 - Allegretto scherzando
11. Sonata No. 2 in D Major, Op. 58 - Adagio
12. Sonata No. 2 in D Major, Op. 58 - Molto allegro e vivace

Karl Pilss
13. Sonata for Trumpet and Piano - Allegro appassionato
14. Sonata for Trumpet and Piano - Adagio, molto cantabile
15. Sonata for Trumpet and Piano - Allegro agitato

Total Timing: 70 minutes

The twelve volumes comprising The Complete Songs of Robert Burns remain the benchmark of all Burns songs recordings. This groundbreaking series took seven years to complete and involved over 80 musicians. Encompassing ballads and bawdy songs, patriotic and political anthems plus songs which bring Scottish people and places to life, these volumes touch all aspects of human nature and represent a vigorous folk tradition past and present. ‘...a delightful cornucopia of excellent, often hauntingly authentic performances.’ (BBC Music Magazine)

The young Thalia Ensemble erupted into the public spotlight with their being chosen as winners at the prestigious biennial York Early Music International Young Artists Competition. Their debut release spotlights the compositions of Antoine Reicha. Regarded as a pre-eminent composer for winds, Reicha , a flautist had an uncanny gift of melding the various wind instruments into a rich sonic tapestry in his compositions and the Thalia Ensemble’s inspired and dynamic playing proves to be a perfect match with the lively Wind Quintets.

REVIEWS:

The name Antoine Reicha is one which has fairly comprehensively slipped between the floorboards of musical history, except for within one select circle of musicians, wind players. With them Reicha's wind music, and in particular his wind quintets, has remained current and provides a useful and engaging program filler. The present CD brings us two wind quintets and an Adagio for wind quartet and obbligato cor anglais all played on period instruments of the early 19th century. This final detail may seem relatively unimportant in these days of the ubiquity of period performances, but in this case it was a major factor in my enjoyment of the CD. While tuneful and accessible, Reicha's music is occasionally accused of blandness, but when the Thalia Ensemble moved into the more chromatic passages of these works the music became imbued with considerable individuality. As a flute player himself, Reicha writes beautifully for the flute, but what is perhaps most striking is his mastery of the wind quintet as an entity - perhaps not since Mozart and not until Nielsen did anyone write such accomplished chamber music for winds. 5 stars.

– Early Music Review

These are infectious works, intended not to provoke but simply to delight, and in these elegantly shaped performances they do just that.

– Gramophone

This is the follow up Retrospect’s debut recording, released to celebrate the 350th birthday of Henry Purcell, and reunites four Baroque instrumentalist superstars. Continuing the composer’s trio sonata texture found in Ten Sonatas in Four Parts, Purcell’s later set is much more forward-looking to the later Baroque rather than taking inspiration from the old style contrapuntal models found in the earlier set. These sonatas display the composer’s innate ability at blending influences from French, Italian and English music; exotic dissonances can be heard alongside the unique use of counterpoint. This recording was nominated for a BBC Music Magazine Award and an International Classical Music Award and was named a ‘Choice’ recording by Gramophone, BBC Music Magazine and International Record Review. Recorded at St George’s, Chesterton, the recording beautifully captures the timeless beauty of Purcell’s most highly regarded instrumental works.

Released to celebrate the 350th anniversary of Henry Purcell’s birth, this is the recording debut of Retrospect Trio, a group formed under the umbrella of the larger Retrospect brand (formerly known as The King’s Consort). Originally released in 2009, this recording explores the timeless beauty of Purcell’s first set of sonatas including the magnificent Sonata IX, known as 'The Golden Sonata'. The Ten Sonatas in Four Parts (published after Purcell's death in 1697) provide fascinating insight into the cosmopolitan and often conflicting stylistic tastes of English musicians in the latter 17th c.

It’s interesting to see even smallish labels like LINN offering a series of reissues, an indication of just how easy it has been to amass a substantial catalog of recordings. Even more intriguing is the fact that this is the normal stereo disc of these performances, and not the hybrid multi-channel SACD. Is that format heading for the Quad graveyard? It would seem so. These speculations and observations aside, this is one hell of a terrific disc. Buy this. Buy two and give one to a friend. Gillian Weir, conductor David Hill, and the English Chamber Orchestra offer the most blisteringly exciting Poulenc Organ Concerto on disc, possibly of all time. The Marcussen & Son organ at St. Augustine’s Chapel, Tonbridge School, is a powerful instrument with a lithe keyboard action, minimum mechanical noise, and crystal clear, snappy reeds that suit this work perfectly. Hill sets a dangerously fast tempo for the allegro sections. In fact, not since Munch’s RCA rendition has the adrenaline pumped so vigorously, and yet those tricky whiplash exchanges between strings and organ occur effortlessly thanks to Weir’s hair-trigger rhythmic precision. And my, how the strings dig into their parts! Linn’s stunning sonics add much to this gripping, take-no-prisoners experience. The engineers have captured both organ (check out the quiet pedals at 2:30) and orchestra with exceptional clarity and ideal balances, yet they still manage to give a good sense of the spacious chapel acoustic. In the quiet interlude following the initial allegro the sonic impression created by accurately localized strings, tracing their musical journey across a landscape of soft organ chords suffusing the entire stereo spectrum, is simply unforgettable. If you love this marvelous piece, you won’t want to miss this recording of it under any circumstances. Better still, the couplings are every bit as well done, and extremely imaginatively chosen. French critic/composer Pierre Petit’s eclectic Concertino for Organ, Strings, and Percussion takes into account several musical trends “in the air” in 1958, from the acerbic neo-classicism of late Stravinsky and Roussel to a whiff (just a whiff!) of atonality, along with some very intriguing upper-register organ sonorities. Fundamentally melodic and quite catchy rhythmically, this performance should bring Petit’s charming and effective piece to wider attention. Samuel Barber’s brilliant Toccata Festiva remains neglected because it’s practically impossible to program a 16-minute work for organ and orchestra under any normal circumstances, which is a pity because it’s a major statement by a great craftsman. Raymond Leppard ably conducts these latter two works, which are no less fabulously recorded. Any way you look at it–performance, musical interest, sonics–this is a hugely rewarding disc.-- David Hurwitz, ClassicsToday.com

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Magnificat, one of the world's leading vocal ensembles, presents this new collection of recently discovered Philippe Rogier works. Featuring three premiere recordings: Domine Dominus noster, Laudate Dominum and Missa Domine in virtue tua, this collection celebrates the 450th anniversary of Rogier's birth.

This celebratory recording by Magnificat showcases the rich, contrapuntal Renaissance style of Philippe Rogier's music and is bursting with lush textures and colours. Joining Magnificat in this performance is the instrumental group His Majestys Sagbutts and Cornetts with organ and harp, keeping with the Spanish liturgical music tradition of the 16th century. This full ensemble creates a kaleidoscope of sound and complements Rogier's intricate compositional techniques which includes up to twelve chordal parts in some of the movements. This recording truly demonstrates Rogier's position as one of the last great Renaissance composers.

Directed by Philip Cave, Magnificat specialises in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries. The choir, which ranges from four to forty voices, is composed of young professional singers, many of whom are former Oxford and Cambridge choral scholars or were trained at the country's leading music conservatories. His Majestys Sagbutts and Cornetts is a group of virtuoso wind players who specialise in playing Renaissance and Baroque music on original instruments in an effort to create a historically accurate performance. The inclusion of cornetts and sackbuts adds a noble and grandious sound to the performance and were an important tool for composers in creating a colourful timbre in the 16th and 17th centuries.

"A sublime blend of voices." Gramophone "The Magnificat ensemble is stunning." BBC Music Magazine "The performances are guaranteed to refresh even the most jaded palate." Early Music Review oThis recording, the second celebrating the 450th anniversary of Rogier's birth, is a new collection of premiere recordings by the Renaissance composer, including the Missa Philippus Secundus Rex Hispaniae and a selection of Iberian Polyphony. oMagnificat, who specialise in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries, received critical acclaim for its previous Rogier recording, which IRR described as "brilliantly realised" and "an excellent recording". oThe lush textures and colours for which Rogier is renowned are highlighted by the singers and musicians, which include His Majestys Sagbutts and Cornetts, in this historically-informed performance that is bursting with vitality and energy. oDirected by Philip Cave, Magnificat is one of the world's premier vocal ensembles. oPrevious recordings have been very successful: Thomas Tallis Spem in alium was hailed as "quite the best recording" by Gramophone Magazine and was First Choice in Building a Library on BBC Radio 3's CD Review. In addition, its recording of Victoria's Officium Defunctorum was named Critics' Choice by Gramophone Magazine and chosen by The Rough Guide as one of its 100 Essential Classical CDs. oIn association with Linn Records, Magnificat has undertaken many highly successful recording projects of music from 'The Golden Age', including works by Gesualdo, Guerrero, Josquin, Rebelo, Victoria, Allegri, Tallis, Rogier and Palestrina.