One of the highlights of Exaudi’s recent Finnissy disc (1/19) was a cycle based on Gesualdo’s later madrigals. The ensemble’s longstanding engagement with earlier vocal repertories makes this new recital particularly appropriate. Exaudi’s one-to-a-part approach stands comparison with the finest continental specialists in this repertory, or, closer to home, I Fagiolini: their Gesualdo is finely etched, monumental and closely considered. I especially like the way second-half repeats slow to a transcendent, grinding torpor, simultaneously weighed down and disembodied – the sort of paradox typical of the composer. This works especially well in ‘Deh, come invan sospiro’, where the phrase ‘divenga morte’, repeated incessantly, is subjected to ever weirder chromatic inflections.

Another great strength of the recital is its structure and pacing. It’s long been thought that the madrigals of Books 5 and 6 form a pair stylistically – in effect, a double book; hence the exclusive focus on them here. But the transitions between individual pieces suggest specific connections. After the opening ‘Mercè grido piangendo’ of Book 5 (which is itself beautifully done) comes Book 6’s ‘Io pur respiro’, whose opening line implies a previous statement and whose opening music meshes with the ending of ‘Mercè grido’. The programming abounds in subtle touches like this. The general tenor is conditioned by Gesualdo’s habitual morbidity, but towards the end the tone lightens somewhat with a few shorter, playful pieces before normal service resumes with the inevitable ‘Moro, lasso’. The more agile textures of ‘Ardita zanzaretta’ and ‘Volan quasi farfalle’, evoking flight, can feel rushed, lacking the precision that characterises the ensemble’s delivery otherwise. As Exaudi set themselves a high standard, I’d suggest that the noticeable vibrato in the bass lends richness but also slight imprecision in chromatic lines, though this is never obtrusive. The unanimity of purpose and the sense of engagement with Gesualdo’s rigorous caprice sustains and richly rewards repeated listening. These are deeply intelligent and attractive performances.

The sound recording has great presence without drawing attention to itself, though I miss Winter & Winter’s corrugated cardboard sleeves, which were wonderfully stylish and eschewed plastic