The works of Blasius Amon (c1560-1590) show distinct Venetian influences and accordingly he is thought to have been a pupil of Andrea Gabrieli. Amon (or Ammon) spent less than 10 years as a composer, centred initially around the chapel of Archduke Ferdinand II in Innsbruck before entering the Franciscan order. He also studied in Venice in the early 1580s, absorbing the latest developments of the polychoral style. Paul Van Nevel uses the phrase ‘balancing act’ to describe Amon’s Franco-Flemish style with Venetian tendencies and notes a perceptible move towards tonality in his music. Starting with Missa quatuor vocum pro defunctis in the Franco-Flemish style, the programme falls into two clear halves, the latter half comprising pleasingly expressive motets that incorporate the latest Venetian styles. This is thus a great introduction to Blasius Amon from one of our leading specialist Renaissance ensembles.

The Mass has a tender, flowing style, matched by a performance of soft but heartfelt singing in which hushed tones and a lightness of touch combine to create an intimate sound world. It’s certainly good music with plenty of interest, and there’s a beautiful harmonic twist on ‘Christe eleison’ and three interesting statements of the phrase ‘et lux perpetua’. Just occasionally, however, this performance is a touch too soft-focus for my taste, such as in the Offertorium ‘Domine Jesu Christe’ at ‘Libera eas de ore leonis’, where I wanted more text. Having said that, I enjoyed the confident opening of the Sanctus and the delightful phrasing at ‘Pleni sunt coeli et terra’. Surprisingly, though, the ensemble in the Benedictus doesn’t gel: I put this down to vowel misalignment between the voices and a slightly awkward junction (possibly an edit) just before the ‘Osanna in excelsis’.

The motets are quite different. There are sparklingly clear imitations at the start of Magi videntes stellam and in the textures at ‘Eamus inquiramus’ (‘let us go and inquire’), but this performance doesn’t quite have the rhythmic discipline to fully showcase all the madrigalian flair that Amon occasionally musters. Tenebrae factae sunt starts richly with some sumptuous bass notes and the Miserere mei Deus is broad and melancholic, but there is slight sourness around the opening motif, again mostly due to vowel sounds.

In short, this is great music, performed by stunning voices, but this live recording just falls short of the high polish I associate with this ensemble.