It’s nearly 25 years since Paul Hillier’s Theatre of Voices recorded this St Matthew Passion (Harmonia Mundi, 9/94). As I hinted then, Lassus’s share of the music would probably breach the trades descriptions act: following other Renaissance Passion settings the parts of Christ and the Evangelist – the bulk of the music, in other words – are sung in chant. Bo Holten introduces additional polyphony at regular intervals, drawn from the composer’s vast output (the unidentified Agnus Dei at the end is from the Mass Dixit Joseph). It’s a broader canvas than Hillier’s taut, compact reading, the integration of polyphonic items more convincing than in Ex Cathedra’s account (Somm, 8/11). Which to choose between Hillier and Holten is a moot point; personal preference as to the ratio of plainchant to polyphony will predispose listeners one way or the other.

I say this since, for all their differences in approach (most obviously the versions of the plainchant), Hillier’s and Holten’s accounts have similar strengths and weaknesses. Holten’s Christ and his Evangelist are fuller and broader in tone, in line with the general approach, though Hillier’s Christ is markedly fuller than his lithe Evangelist (Paul Elliot). Lauritz Jakob Thomsen’s Christ, for Holten’s new recording, shades Hillier’s due to greater security of intonation and expressive range (the shaping of the melismatic ‘Amen’ that begins many of Christ’s pronouncements is very affecting). Theatre of Voices are more compact and incisive than Musica Ficta but less even. That said, the more polished Swedish choir doesn’t quite attain the limits of pathos in Tristis est anima mea (compare with Siglo de Oro’s recent recording – Delphian, 4/18); all the same, as a presentation of a Renaissance Passion to a modern audience this is very persuasive.