Victoria’s Requiem of 1605 is one of his most popular works and The Sixteen’s new offering, recorded earlier this year, builds on their previous recordings by complementing the voices with a chamber organ and the wonderfully robust-sounding bajón, an early Spanish bassoon whose use in polyphonic performances of the period is well documented. This differentiates them from their nearest rivals, The Tallis Scholars and Magnificat, both of whom perform the work a cappella. They both benefit from a slightly clearer and more present acoustic, for which The Sixteen’s added instruments compensate to a degree. For beauty of sound, Magnificat seem to me to have the edge; but Christophers’ ensemble perform in a slightly drier acoustic and, given the work’s character, some may well prefer this more sober garb. It leaves the singers more exposed but they can take it; besides, that’s what the continuo is there for.

An added attraction is the accompanying selection of Marian motets, to which The Sixteen respond very sensitively. These are worth hearing (again), and are probably the excuse you need to try this recording of the Requiem, even if you own some of the others. If I were asked to pick a favourite performance I would suggest Paul McCreesh’s Gabrieli Consort, who bring a different sort of robustness to bear: falsettists on the top lines (lots of ‘em), and a bajón but no organ on the bottom. The sound isn’t as ‘other-worldly’ as their competitors’ and not as clear either; but when Victoria takes a dramatic turn, as in the Libera me, McCreesh really takes the music by the scruff of the neck in a way that other versions don’t.