Caeli

What can anyone add to the praise that has deservedly been heaped on Robert King and the King's Consort's 11 discs of the complete sacred music of Vivaldi? Can one add that every single performance is first class – wonderfully musical, deeply dedicated, and profoundly spiritual? Can one add that every single performer is first class – absolutely in-tune, entirely in-sync, and totally committed? Can one add that every single recording is first class – amazingly clean, astoundingly clear, and astonishingly warm? One can because it's all true and it's all been said before by critics and listeners across the globe.

Choral music has always been a constant thread throughout the compositional development of Rhona Clarke (b. 1958). The works on this album range over a thirty year period and demonstrate the increasing individuality of her work, though rooted in the choral tradition of Ireland and Britain. Her chamber and instrumental works, in contrast, can reach out in far more extreme modernist styles. From the darkness of Ave Atque Vale to the sheer breathtaking beauty of Pie Jesu or Lullay, my Liking, Clarke shows herself here to be among the most effective, inspired and communicative choral composers of today. The album contains sacred works; from her Requiem which concentrates on the message of redemption and omits the judgemental sections, to Marian Anthems and three Christmas Carols; and also secular songs of love, loss and black comedy.

Gothic Voices’ eagerly awaited new album features music from The Old Hall Manuscript: a wonderful collection of classy compositions from late fourteenth- to early fifteenth-century England. It embodies the English ‘flavour’ of music of the time, with its smooth melodies and sweet harmonies, irresistible to Franco-Flemish composers writing a generation or so later, and known by them as the ‘Contenance Angloise’. This highly expressive and quirky music, ranging in atmosphere from gently suave strains to high-octane cascades of sound, benefits from the gorgeous acoustics of Boxgrove Priory. English music by Cooke, Power, Pycard and Dunstable is answered by Burgundian composers Dufay, Lymburgia and Binchois, thus demonstrating the influence of said English Countenance, and hearing its echoes in the response. This is Gothic Voices’ fourth album for Linn following its first recording of mediaeval Christmas music, Nowell synge we bothe al and som, and two thematic programmes, The Dufay Spectacle and Mary Star Of The Sea, each of which received widespread critical acclaim.