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STEINBERG Passion Week

Last year the premiere recording by Cappella Romana under Alexander Lingas of Maximilian Steinberg’s Passion Week for chorus attracted a...

Reviewed by Malcolm Riley in issue: 10/2016

PALESTRINA Missa Papae Marcelli

The exciting partnership between the Sistine Chapel Choir and Deutsche Grammophon continues to deliver atmospheric and thought-provoking performances of Palestrina’s...

Reviewed by Edward Breen in issue: 10/2016

MARTIN Ein Totentanz zu Basel im Jahre 1943

‘Spectacle dansé en plein air’ is the genre title given by Grove to this macabre entertainment. In this first, sound-only...

Reviewed by Peter Quantrill in issue: 10/2016

LASSUS Canticum Canticorum

Unlike Palestrina, Lassus didn’t devote an entire publication to the Song of Songs, that book of the Bible whose origins...

Reviewed by Fabrice Fitch in issue: 10/2016

ISAAC Missa 'Virgo prudentissima'

Isaac just might be described as the 15th century’s answer to Telemann, his output vast and versatile but uneven. This...

Reviewed by Fabrice Fitch in issue: 10/2016

HANDEL Apollo e Dafne. Il pasto fido Overture

A quick glance down the list of performers tells you all you need to know about Ensemble Marsyas. From leader...

Reviewed by Alexandra Coghlan in issue: 10/2016

Handel in Rome

We have no idea who commissioned the Dixit Dominus, where it was first performed or by whom; we only know...

Reviewed by David Vickers in issue: 10/2016

COUPERIN Trois Leçons de Ténèbres BROSSARD Stabat Mater

La Nuova Musica, anticipating the 2017 Lenten season, have coupled lamentations by two turn-of-the-century (17th to 18th) French composers –...

Reviewed by Julie Anne Sadie in issue: 10/2016

BARTÓK Choral Works Vol 1

For starters, try Est (‘Evening’, tr 27), a setting of a poem about the dying moon, where night has come,...

Reviewed by Rob Cowan in issue: 10/2016

JS BACH Secular Cantatas VII

Late Bach always presents fascinating insights into how the composer distils his craft, leaning towards galant sensibilities without compromising his...

Reviewed by Jonathan Freeman-Attwood in issue: 10/2016

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