Palestrina, 24 Bit

The members of Cinquecento turn to perhaps the pre-eminent composer of the sixteenth century: Giovanni Pierluigi da Palestrina. Settings of the Lamentations of Jeremiah would have been integral to the liturgical rites of Holy Week: here is one of the most sublime.

Following their first successful album on Signum Records, the Bevan Family Consort present a collection of Christmas Carols and compositions for Advent. The collection includes familiar works such as Darke’s setting of ‘In the Bleak Midwinter’, which is presented here in a new arrangement by Francis Bevan and was as works newly transcribed for this album such as Palestrina’s ‘Missa sine nominee a5’ and Weelkes ‘Gloria in excelsis Deo’. ‘Lute-book lullaby’ also features, composed by original Bevan Family Choir founder David Bevan.

Following their first successful album on Signum Records, the Bevan Family Consort present a collection of Christmas Carols and compositions for Advent. The collection includes familiar works such as Darke’s setting of ‘In the Bleak Midwinter’, which is presented here in a new arrangement by Francis Bevan and was as works newly transcribed for this album such as Palestrina’s ‘Missa sine nominee a5’ and Weelkes ‘Gloria in excelsis Deo’. ‘Lute-book lullaby’ also features, composed by original Bevan Family Choir founder David Bevan.

Renaissance polyphony and contemporary sound clouds orbit around vocal late Romanticist like satellites. The Zurich Chamber Singers, conducted by Christian Erny, unearth a special narrative drama. Starting with Anton Bruckner, they turn their attention to Palestrina as a point of reference. At the same time, they cast a spotlight back on the work of the Austrian vocal innovator through three contemporary works. A comprehensive selection of Bruckner's Latin motets combined with chosen works by Palestrina and three world premiere recordings of the Stuttgart composer Burkhard Kinzler’s commissioned works

Palestrinas music is exquisite and sumptuous? characterised by a richness of texture and purity of sound. From his sacred Masses to settings of the secular Song of Songs, The Sixteen brings this serene and delicate soundworld to sparkling life.

Discover this second album of Henry Aldrich’s Sacred Choral Music, performed by Oriel College Chapel Choir, Oxford, conducted by David Maw, with organists Alexander Pott and Alessandro MacKinnon-Botti, and The Restoration Consort. Priest, architect and composer Henry Aldrich was a key figure in the musical life of 17th century Oxford. This second album of his sacred choral music includes verse and full anthems, choral arrangements, recompositions, and occasional music.

Discover this second album of Henry Aldrich’s Sacred Choral Music, performed by Oriel College Chapel Choir, Oxford, conducted by David Maw, with organists Alexander Pott and Alessandro MacKinnon-Botti, and The Restoration Consort. Priest, architect and composer Henry Aldrich was a key figure in the musical life of 17th century Oxford. This second album of his sacred choral music includes verse and full anthems, choral arrangements, recompositions, and occasional music.

Discover this second album of Henry Aldrich’s Sacred Choral Music, performed by Oriel College Chapel Choir, Oxford, conducted by David Maw, with organists Alexander Pott and Alessandro MacKinnon-Botti, and The Restoration Consort. Priest, architect and composer Henry Aldrich was a key figure in the musical life of 17th century Oxford. This second album of his sacred choral music includes verse and full anthems, choral arrangements, recompositions, and occasional music.

In jazz today, they would be called "standards", the madrigals and motets of the Renaissance upon which the great musicians of the time improvised. The internationally active trombonist Ercole Nisini wants to revive this incredibly vital music-making practice on his new GENUIN Album: He interprets written-down improvisations from old sources but also improvises and composes anew on themes of the time.

This recording, from friends and collaborators Federico Bracalente and Daniele di Bonaventura, stems from an idea they had almost 10 years ago: to merge the sounds of their respective instruments, the cello and the bandoneon, into a single sound.