What would singing be without words? When you combine wonderful poetry with exquisite music, the result is magical. In a rare break from the sacred collections they are famed for, this album from The Sixteen features a whole program of secular music devoted to English partsongs. From Stanford’s cycle of Eight Partsongs based on the sparing yet infectious poetry of Mary Elizabeth Coleridge to Bridges’ lyrically descriptive writing in Finzi’s Seven Poems of Robert Bridges and Imogen Holst’s six idyllic partsongs Welcome Joy and Welcome Sorrow using verses by John Keats, each setting captures the mood of the poem brilliantly.

Coronation – Music for Royal Occasions spans 500 years of royal music – for celebration, for prayer and for commemoration – varying in scale from private devotion to full state coronation. The collection, featuring Tallis, Byrd, Gibbons, Purcell, Tippett and Britten, looks forward to the coronation of Charles III, and back to the ancient rituals of royal ceremonial. It also presents a new work, commissioned by the Genesis Foundation, from celebrated composer Cecilia McDowall commemorating the life of Queen Elizabeth II and celebrating her remarkable reign. Of course no such collection would be complete without examples from the four anthems Handel wrote for the coronation of George II at Westminster Abbey in 1727, of which Zadok the Priest has been performed at the coronation of every British monarch since. Much has changed since their first performance almost 300 years ago. Yet their dramatic impact and grandeur, underlined by mighty choral acclamations and regal trumpets and drums, remains supremely fit for the coronation of a new king.

This spectacular collection comprises The Sixteen’s five acclaimed Polish recordings with the group’s Associate Conductor, Eamonn Dougan. Masters of the Polish Baroque such as Bartlomiej Pekiel, Grzegorz Gerwazy Gorczycki and Marcin Mielczewski are celebrated alongside Italian maestri Giovanni Francesco Anerio, Vincenzo Bertolusi, Luca Marenzio and Asprilio Pacelli. These composers flourished at the court of King Sigismund III marking a new dawn for sacred music in Poland. “The Sixteen luxuriate in textures and sonorities, offsetting serene, arching lines with more urgent declamatory passages...basses plummet while sopranos soar into the stratosphere in a swirl of all-embracing sound.” (BBC Music Magazine)

Monteverdi’s sacred vocal compositions introduced the expression of powerful and personal emotions to the world of church music. While it took him a number of years to find fulfillment in his work, Monteverdi was a revered composer within his lifetime and his music is regarded as revolutionary, marking the change from the Renaissance style to that of the Baroque. This album includes some of the finest works from Monteverdi’s years as director of music at St Mark’s in Venice, published posthumously in 1650 as the ‘Messa a quattro voci et salmi.’ “Pure- and vintage- Monteverdi, starting with a Dixit Dominus and ending, grandly with a version of Beatus Vir, using material we know from the familiar one. Ideal consort singing.” (The Sunday Times) “As always with The Sixteen, we get superb tuning, balanced ensemble work and a lively pace.” (BBC Music Magazine)

Imitation is the ultimate compliment. To take inspiration from someone else’s work, to borrow and rework it to form another piece…what could be more flattering? This technique, known as ‘parody’, was hugely popular in late 16th-century Europe and Orlande de Lassus was one of its most famous advocates. The Sixteen’s programme showcases the master of parody at work and also features a new commission from the extraordinarily inventive composer Bob Chilcott parodying one of Lassus’ finest secular madrigals.

Also included are two mini masterpieces by Maddalena Casulana - the first female composer to have had a whole book of her music printed and published in the history of western music and whose work was widely admired, not least by Lassus.

William Byrd was one of the greatest composers of the Renaissance. He was widely admired in his own time both at home and abroad and the influence he had on future generations of composers was immense. This programme explores the music of his influences, his colleagues and his pervading faith. In his 400th anniversary year, Byrd’s legacy is marked by the commission of two new pieces from acclaimed composer Dobrinka Tabakova, bringing his musical heritage firmly into the modern day. The two premieres, Arise Lord into thy rest and Turn our captivity, highlight the beauty of modern polyphony and showcase The Sixteen in a new light. The programme also features works by Van Wilder, de Monte, Clemens Non Papa and, of course, Byrd himself.

The Eton Choirbook is famous – and important – because it uniquely preserves some of the most spectacular music composed in Britain before the age of Purcell and Handel. Had this book not survived, literally dozens of superb pieces would have been irretrievably lost; among them would have been the ones by Walter Lambe, William Cornysh and Robert Wylkynson on this album. Whilst the book itself is of huge historic significance, its legacy is immeasurable, informing and influencing scores of composers and performers for more than 500 years. This unique recording emphasizes that legacy with the premiere of four new works by contemporary composers all commissioned by the Genesis Foundation and all inspired by the works from the Eton Choirbook alongside which they sit. This album also features Stephen Hough’s stunning exploration of faith worldwide- Hallowed- which was commissioned for The British Museum’s ‘Living with Gods’ exhibition. “… the singing of The Sixteen under Harry Christophers was wonderful beyond words.” (Church Times) “Wonderful music, wonderfully performed… sit back and let these glorious sounds fill your ears and lift your spirits.” (Gramophone)

Palestrina had a vast impact on the development of music. Hugely famous in his day, his reputation and influence grew even more following his death and his work can be seen as a summation of Renaissance polyphony. His musical legacy is prodigious even by the standards of the time—he wrote over 100 masses—and he was the first Renaissance composer to have a complete edition of almost his whole output published in modern notation. The eighth recording in The Sixteen’s celebrated series focuses on the Last Supper and the sacrifice of Christ on the Cross at the first Easter and includes the Missa Fratres ego enim accepi. Three settings from the Song of Songs also feature.

Purcell’s genius abounds in this, the fourth volume in The Sixteen’s series devoted to the composer. Henry Purcell grew from young childhood to established professional adulthood in the service of Charles II. He identified strongly with the court, but he was well aware of Charles’s unreliability as a patron. Wisely, Purcell made an early decision to diversify, flaunting his court connections while building up the largest possible client base beyond the court. This programme shows that strategy in action and celebrates a diversity of writing for both professional Court musicians as well as amateur enthusiasts. “Christophers creates a vivid sense of celebration and occasion, conjuring blustering trumpet fanfares and drum-rolls from his ensemble.” (Gramophone)

Harry Christophers and The Sixteen continue their exploration of Purcell’s stunning music written for royal occasions on the second album in their new series. Charles II’s formal Restoration in 1660 marked both an end and a beginning: the end of England’s republican experiment and the beginning of a long process of monarchical reconstruction; and with a politically accident-prone king on the throne, Charles’s public relations machine could never rest. Purcell joined its small team of composer operatives just as the wave of Stuart propaganda swelled massively, and he surfed the wave with breathtaking panache, from his first court ode – the simple but rousing Welcome, Vicegerent of the mighty King – to the ambitious Fly, bold rebellion involving verse settings in up to seven parts and a six-part chorus.

On this release, Harry Christophers and The Sixteen continue their exploration of Purcell’s stunning music written for royal occasions on the third album in their acclaimed series. King Charles II liked to project a strong, stable, divinely legitimated image. Whilst that image had no basis in reality, the scale of his deception and financial skulduggery did not emerge until 19th-century historians discovered secret treaty documents between Charles and King Louis XIV of France. Purcell had no idea of course, and so all of the music on this album celebrates the political triumphs that he and his colleagues thought they had witnessed. It includes the quite brilliant Welcome Songs 'Welcome to all the pleasures' (with its superb six-part fanfares to St Cecilia in the final chorus) and 'From hardy climes'.