Josquin, Brumel and Lassus were truly European composers, leaving their origins to work in the top establishments of Aix-en-Provence, Ferrara, Rome and Munich. Their music has a unique sonority which will astound you all - from the depth of expression and fascinating texts of Josquin (prepare yourselves for the surreal nature of Praeter rerum seriem) to the overtly decorative mass movements of Brumel’s Missa Et ecce terraemotus where the 12 parts interweave in extensive imitation and thrilling tracery, culminating in the extraordinary harmonic stillness of Lassus’s Timor et tremor and his gorgeously evocative 10-part setting of Aurora lucis rutilat.

This compilation from The Sixteen brings together some of the finest works written for, and in celebration of, monarchs and the kingdom. From Turges in the 1400s to Britten in the 20th  century, whether for magnificent state occasions or private devotion, the Kings and Queens of Great Britain have inspired and patronized some of our finest and most enduring music.

A brand new recording of Elizabethan and Restoration Devotional Songs to the lute and theorbo by Thomas Campian, John Dowland, Pelham Humfrey & Henry Purcell. Continuing its work with the rising stars of the early music world, CORO is delighted to be releasing a brand new recording by two of The Sixteen’s principal members - soprano, Elin Manahan Thomas and theorbo and lute player, David Miller. The 17th-century devotional songs on this disc were written against a backdrop of furious historical dramas and lurching tides of fortune. The songs chosen reflect these assorted times and contexts, and are accordingly diverse. Ravish’d with Sacred Extasies (a quote taken directly from Playford's ‘Harmonia Sacrae’) explores some of the most beautiful Elizabethan devotional songs ranging from the doctrinally eloquent to the theologically unsteady, from the spare and the restrained to the opulent and the overblown, from Dowland’s small cluster of late devotional songs to Purcell’s flowery and luscious settings.

The Crown of Thorns embodies the sacrifice at the heart of the passion story. Reflections such as the stabat mater text, a moving portrayal of the anguish of Christ's mother, unaware of the resurrection to come, at the foot of the cross.

16th century England was a place of much religious change. It was a dangerous and confusing time and it is testament to their incredible skill and musical mastery that composers like Tallis and Byrd were able to produce such magnificent works in such troubled times. Their music left a lasting legacy, influencing some of our most celebrated 20th- and 21st-century composers and surviving over half a millennium to be performed as widely today as they have ever been. This disc features some of the best-loved classics of Tudor and Jacobean church music together with madrigals by Tallis, Byrd and Gibbons. They are performed alongside pieces by Britten, Tippett and MacMillan including the Five Spirituals from A Child of Our Time and the 'Choral Dances' from Gloriana. The Sixteen has performed this repertoire around the world over the last eight years and is one of the ensemble’s most popular concert programmes.

Magdalen College, Oxford, was a centre of excellence in the sixteenth century, with three of the era’s greatest composers holding the position of Master of the Choristers during a prolific period of English music. Harry Christophers presents the unique Magdalen sound in sublime music from these composers, performed by The Magdalen Collection, all previous academical clerks of Magdalen College, Oxford.

Soloists Teresa Wakim, Paula Murrihy, Thomas Cooley and Sumner Thompson joined Harry Christophers and the Handel and Haydn Society to record Mozart's Coronation Mass live at Boston's Symphony Hall earlier this year. Mozart's Mass in C major is one of his most popular and enduring works. Known as the 'Coronation Mass' – a nickname it acquired following a performance conducted by Antonio Salieri in 1791 in Prague at the coronation of Leopold II as King of Bohemia – it includes the beautifully tender Agnus Dei. Alongside the Mass on this CD are Mozart's soprano solo Exsultate, jubilate, beautifully performed by Teresa Wakim, and Joseph Haydn's Symphony No. 85, which was a favourite of Marie Antoinette, leading to the name 'La Reine', by which it is still known today.

These works show some of the breadth and range of Britten's choral writing, embracing the masque from his opera Gloriana, his own take on the English part song tradition in Five Flower Songs, and his last work for unaccompanied voices, Sacred and Profane. The latter sets medieval texts described herein as 'a mixture of the devotional and the rumbustiously secular'.

Following two highly acclaimed recordings, CORO is delighted to be releasing its third album with one of The Sixteen Orchestra’s principal members - organist Robert Quinney. This new album will be recorded at Trinity College, Cambridge, on the beautiful Metzler Organ, and will feature as its centrepiece the wonderful Einige Canonische Veränderungen über das Weynachts-Lied ‘Vom Himmel hoch da komm ich her’ (BWV 759). These wonderful festive variations, which are full of passionate vitality and poetical feeling, are accompanied by a selection of preludes and fugues.

The vast power of the Royal Courts of England and Scotland may be long gone but the sumptuous sounds of their worship are not lost. This disc brings together music of some of the most outstanding but now little-known composers of the 15th and 16th centuries, and introduces a major new work by one of this century's most remarkable composers. Robert Carver's mesmeric setting of the devotional text O bone Jesu has long been admired and has now proved an inspiration to James MacMillan who has chosen with this special commission for The Sixteen, to clothe the same text in his own musical language of reflective beauty.

Ian Watson and Susanna Ogata's acclaimed series on Coro Connections continues with the fourth album in their exploration of Beethoven's Sonatas for Fortepiano and Violin. The Opus 12 Sonatas that are explored on this final volume are among the most Mozartian of the sonatas. They are, however, filled with Beethoven's inimitable voice, from the assertive Sonata No. 1, in the violin's most brilliant and sonorous key of D major, to the pianistically brilliant No. 3 in E flat with it's cascades of triplets and sextuplets. Unmistakably Beethoven! Susanna Ogata has been praised for her "totally convincing, spontaneous and free-flowing playing" (The Berkshire Review) and is a tenured member of the Handel and Haydn Society where she was appointed Assistant Concertmaster of the orchestra in 2014. Ian Watson has been described by the Frankfurter Allgemeine Zeitung as "a conductor of formidable ability," and by The Times in London as a keyboard performer with "virtuosic panache and brilliantly articulated playing" and "a world-class soloist." He was appointed Associate Conductor of Boston's Handel and Haydn Society in 2016.

Re-issue of COR16015 Ikon of Light with a newly commissioned booklet essay. Sir John Tavener was one of Britain’s leading composers of the last 50 years. To commemorate his extraordinary life and works The Sixteen is re-releasing its acclaimed recording Ikon of Light in a special limited edition slip-cased version with a newly commissioned booklet essay. The album was originally conceived for Sir John’s 50th birthday and covers a wide range of his celebrated choral output including Eonia, which Sir John especially requested The Sixteen record, alongside Ikon of Light, The Lamb and The Tyger.

Does music add substance to words or is music inspired by them? Songs of departure and farewell are deeply rooted in the great tradition of British choral music, nourished by ancient myths of testing journeys, wayside transformations and homecomings. The transcendent nature of music and the power of poetry to challenge and alter perceptions of reality – harnessed by English composers over many centuries – flow through a programme that invites contemplation of life and death, of love and loss, creation and eternity. In a journey covering six centuries of musical history, The Sixteen performs a cappella anthems with powerful texts by writers as varied as Edmund Spenser, Christopher Fry and W.H. Auden.

Over four centuries separate these two representatives of English music at it's finest. William Cornysh and Benjamin Britten were prolific in both sacred and secular music. Cornysh is actually two people, often confused with one another and quite possibly father and son. The matter of telling which man wrote which works is impossible to settle, so for the purpose of this album they are linked as one. So whether it be the Elder or the Younger, we are fortunate that they not only excelled at writing complex and adventurous antiphons for the church but also beautiful secular songs for the Tudor court. For Britten writing in the 20th-century life was very different; he is a composer who encompassed so many facets of music excelling in opera, solo song and all manners of vocal and instrumental music. This album looks at the way these composers mixed sacred with secular. Whilst Cornysh's sacred music is elaborate and rhythmically complicated, his secular music is simple yet subtly evocative. Britten makes constant demands on vocal artistry best displayed in the last work he ever wrote for unaccompanied voices, Sacred and Profane.

Ian Watson and Susanna Ogata's acclaimed series on Coro Connections continues with the third album in their exploration of Beethoven's Sonatas for fortepiano and violin. Written at a time when the composer was struggling to accept his growing deafness, the three sonatas on this volume were published together in 1803 as his Opus 30 and provide a remarkable trilogy - a collection of incredible variety and sophistication. The wide compositional range of this set demonstrates Beethoven's prowess in creating bucolic, even humorous moments, contrasted with deep intensity, pathos and the truly sublime. Susanna Ogata has been praised for her ''totally convincing, spontaneous and free-flowing playing'' (The Berkshire Review) and is a tenured member of the Handel and Haydn Society where she was appointed Assistant Concertmaster of the orchestra in 2014. Ian Watson has been described by the Frankfurter Allgemeine Zeitung as ''a conductor of formidable ability'', and by The Times in London as a keyboard performer with ''virtuosic panache and brilliantly articulated playing'' and ''a world-class soloist.'' He was appointed Associate Conductor of Boston's Handel and Haydn Society in 2016.