Flores de Musica pera o instrumento de tecla & harpa is the only known work of Portuguese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho's Flores de Musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of it's original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Harpist and soprano Maria Bayley and clavichordist Marco Orsini-Brescia lend their artistry to this latest chapter in an ambitious recording project.

The Choir of Sidney Sussex College, Cambridge, under the direction of David Skinner, unveils a luminous collection of works by Jacquet of Mantua (1483-1559), a master of Renaissance polyphony. This album features a carefully curated selection of motets and his rare secular songs, showcasing Jacquet's exquisite blend of Franco-Flemish craftsmanship and Italianate lyricism. From the radiant Ave maris stella to the spirited drinking song Canamus et bibamus, these performances reveal the richness and vitality of Jacquet's music. Rarely recorded and steeped in Counter-Reformation fervour, this album offers an intimate journey into the heart of Renaissance musical expression.

Flores de Musica pera o instrumento de tecla & harpa is the only known work of Portuguese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho's Flores de Musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of it's original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Harpsichordist Fernando Miguel Jaloto presents seven tentos and a piece based on Susanne un jour by Orlando di Lasso recorded on a single-manual harpsichord, after the instrument from 1738 by Christian Vater (1679-1756), built by Klinkhamer Harpsichords & Fortepianos in 2009.

Alamire, under the direction of David Skinner, complete their survey of the choral works of William Byrd to mark the composer's 400th anniversary with this landmark recording of The Great Service and seven anthems. Emerging from centuries of obscurity, Byrd's Great Service, first revived in the early twentieth century, represents a pinnacle of English choral music. This recording commemorates the centenary of it's modern debut in 1924. With intricate polyphony and poignant text settings, Byrd's masterful use of ten voices reveals his unparalleled skill in capturing the essence of the Anglican liturgy. Complemented by seven anthems, this album offers a comprehensive exploration of Byrd's rich, spiritual, and historical musical contributions.

The large-scale works of Hieronymus Praetorius (1560–1629) owe much to the great polychoral tradition mastered by Hans Leo Hassler and the great Venetian composer Giovanni Gabrieli. Heironymus does not disappoint with his vivid expression of texts, intricate counterpoint, and sumptuously sonorous and inventive harmonies: this is Northern Germany’s noble response to the Italians, and to the Roman Counter-Reformation. The programme displays his creativity and ingenuity across a number of compositional forms, from the grand polychoral works (performed here with various combinations of cornets and sackbutts with organ continuo) solo choir and instrumental items, to plainchant alternatim featuring the great historical organ at Denmark’s Roskilde Cathedral.

The 'Master and Pupil' philosophy stems from an epoch when composers first began pilgrimages throughout Europe developing their skills and teaching other musicians and composers. This theme is the very core of Sestina Music's own philosophy, with younger musicians placed under the wings of experienced professionals in an apprentice-like fashion. Music has always been a craft of apprenticeship, with knowledge and skill passed down through the generations from master to pupil. The inspiration at the very heart of this recording is found in the works of Claudio Monteverdi, his influences and the immense legacy he instilled in his pupils and was equally instilled in him by his own teachers. The album celebrates these legacies with music by composers including Josquin des Prez, Marc'Antonio Ingegneri, Giovanni Gabrieli and Salamone Rossi.

George Frideric Handel's early Italian cantatas were a laboratory for his vocal writing, daring experiments in melody and harmony upon which Handel drew for the rest of his composing life. In Handel Uncaged, the internationally renowned countertenor Lawrence Zazzo has 'uncaged' a selection of these cantatas for the alto voice, presenting them in new ways, crowned by the world premiere recording of unpublished music from Handel's astonishing and amusing 10-aria cantata cycle, Amore Uccellatore. Zazzo is joined by a stellar continuo team of Jonathan Manson (cello and viola da gamba), Andrew Maginley (theorbo & guitar) and Guillermo Brachetta (harpsichord).

Flores de Musica pera o instrumento de tecla & harpa is the only known work of Portugese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho's Flores de Musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of it's original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Harpsichordist Ana Mafalda Castro presents seven tentos and a piece based on Susanne un jour by Orlando di Lasso recorded on a two-manual copy of a Ruckers instrument, built by Henk Van Schevikhoven in 1984.

"Two decades following his first album of lute intabulations by the renaissance composer Josquin des Prez (the first album of its kind), celebrated lutenist Jacob Heringman returns to this rich but largely neglected part of the repertoire to present a new recording of intabulations for lute and vihuela. In celebration of his 500th anniversary, Josquin is once more the composer behind these fascinating and compelling arrangements, and this programme explores further vocal music by this most revered of early music names, including Marian motets and realisations from his Missa de Beata Virgine. As well as employing sources of various sixteenth-century lutenist-composers, Jacob has included several of his own intabulations in this captivating programme."

Flores de Musica pera o instrumento de tecla & harpa is the only known work of Portugese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho’s Flores de Musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of its original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Organist André Ferreira is joined by Ars Lusitana, an early music ensemble founded in 2011 by Maria Bayley, dedicated to the research and performance of Portuguese music.

Jheronimus Vinders (fl.1525/6) is best known for the oft-recorded lament on the death of Josquin Desprez (d.1521), O mors inevitabilis, which has led many to presume that he was a disciple or even a pupil of the great master. Now that his surviving works have recently been published in a modern edition, we are better able to place him among his contemporaries. He belongs to a rather small group of Flemish musicians who form the link between the Josquin generation and that of the mid-sixteenth century, featuring composers such as Clemens non Papa and Crecquillon. He boasts a wonderfully imaginative ear with a preference for dark sonorities, and his music often surprises and delights. This is the first recording devoted to a selection of Vinders’s works along with the polyphonic models that inspired them.

Byrd’s first song collection was published in 1588. In the following year he writes that he had ‘bene encouraged thereby, to take further paines therein, and to make the pertaker thereof, because I would shew my selfe gratefull to thee for thy loue, and desirous to delight thee with varietie, whereof (in my opinion) no Science is more plentifully adorned then Musicke.’ This 1589 collection, therefore, offers songs of 3, 4, 5 and 6 parts, ‘to serue for all companies and voyces: whereof some are easie and plaine to sing, [while] other more hard and dificult.’ Byrd clearly sought to be as inclusive as possible for all musicians, amateur and professional. With the 1589 collection, Byrd’s complete early song collections are now committed to recording. Together they provide a variety themes and textures, as well as vocal and instrumental combinations, demonstrating the richness of Elizabethan courtly music.

The Linarol Consort is joined by acclaimed tenor, James Gilchrist, for this, the second volume of viol music composed for the wealthiest and most influential of German merchants of the sixteenth century, Jacob Fugger, who is held to be one of the wealthiest individuals in history. Recorded from a new edition of a manuscript held in the vast collection of the National Library of Austria, this rare recording champions viol consort pieces from some of the greatest German, Flemish and French composers of the time.

Flores de musica pera o instrumento de tecla & harpa, is the only known work of Portugese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho’s Flores de musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of its original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Organist Sérgio Silva performs on the 1762 Pascoal Caetano Oldovino organ of Elvas Cathedral, where Manuel Rodrigues Coelho started his musical studies and worked as an organist. Silva is joined by soprano Mariana Moldão and mezzo-soprano Maria de Fátima Nunes for the sung versos, which are accompanied on the smaller cabinet organ located near the chancel of the cathedral and built around the same time and by the same organ builder as the main instrument.

In their debut album, early music ensemble Fount & Origin present a musical meditation on the Franco-Flemish painter Rogier van der Weyden’s altarpiece image of The Last Judgement at the End of time. This multi-paneled work survives as a monument of fifteenth-century art, relating in vivid detail and color van der Weyden’s dynamic and terrifying account of the world’s final moments. The nine polyphonic settings recorded here were composed in Europe in the mid- to late-fifteenth century and include works by composers such as Johannes Ockeghem, Johannes Regis, Johannes Martini and Antoine Brumel, with each piece thematically tied to an element or figure in the painting.