Tudor and Stuart monarchs reigned during a period of political and ecclesiastical turmoil, out of which occurred profound developments in musical style. Tudor Anthems, (the term loosely applied to cover the years 1520 to 1640) anthologizes some of the finest English musical works of that era. It includes sacred works of various lengths and standards of difficulty for mixed voice choir, accompanied and unaccompanied, by an array of composers, including Byrd, Dering, Gibbons, Morley, Mundy, Parsons, Philips, Smith, Taverner and Tomkins. A comprehensive collection and indispensable resource for any choir's library, prepared in an easily understood performing edition by Lionel Pike.

Songlist: Adolescentulus Sum Ego, Agnus Dei, Almighty God Which Hast Me Brought, Almighty God, The Fountain Of All Wisdom, Almighty God, Who By The Leading Of A Star, An Heart That's Broken And Contrite, And The King Was Moved, Appropinquet Deprecacio Mea, Audivi Vocem De Coelo, Ave Maria, Credo Quod Redemptor Meus Vivit, Dum Transisset Sabbatum, Exaudiat Te Dominus, Gaudent In Coelis, God, Which As On This Day, Great King Of Gods, Hear My Prayer, O God, Hosanna To The Son Of David, How Are The Mighty Fallen, I Will Sing Unto The Lord, I Will Wash My Hands In Innocency, In Ieiunio Et Fletu, In Manus Tuas, Domine, In Pace, In Idipsum Dormiam, In The Departure Of The Lord, Laboravi In Gemitu Meo, Laudibus In Sanctis, Man Dream No More, Mater Christi Sanctissima, My Shepherd Is The Living Lord, and more

Without doubt the music written by the prince of Verona is some of the most macabre yet outlandishly fantastic music ever written. The famous unprepared chromatic side steps remain decidedly unnerving even to a devoted Second Viennese School. The effect of the chromatic spirals is often vertigo inducing but also deeply moving and ultimately awe-inspiring. This is truly sublime music by a neglected genius. The performances here are amongst the very best available of Gesualdo's music - at any price. This would be a perfect place to start exploring this bizarre but inspired musical universe.

Songlist: Illumina faciem tuam, Deus refugium et virtus, Exaudi Deus deprecationem meam, Tribulationem et dolorem, Tribularer si nescirem, Precibus et meritis beatae Mariae, O Crux benedicta, O vos omnes, Dignare me laudare te, Maria mater gratiae, Laboravi in gemitu meo, Ave dulcissima Maria, Domine ne despicias, Peccantem me quotidie, Sancti Spiritus Domine, Hei mihi Domine, Venit lumen tuum Jerusalem, Reminiscere miserationum tuarum, Ave Regina coelorum

It is doubtful whether any of the composers represented on this recording would have had an understanding of the term 'masterpiece' (let alone the term 'Renaissance') when applied to their own music. Similarly, it is unlikely that any of these composers would have considered themselves composers in the sense in which we now understand the word. The Renaissance musician was regarded as more craftsman than artist. Moreover, all of the music recorded here is entirely functional: it was all designed to be used within a living Latin liturgy; it had no other purpose. Beauty is in the eye of the beholder, but it may also be in the mind of the creator, and when composer and performer seem to perceive beauty within the same gesture (although separated by hundreds of years) we may be tempted to describe a work as masterly. In the Nunc dimiltis, for instance, Josquin's anonymous imitator may lack the technical refinement of his mentor, but the product is sincere and moving. Similarly, Thomas Morley's subsequent adaptation of Rogier's Laboravi in gemitu meo evidently reflects a contemporaneous respect for this beautifully-paced motet. And while King Joao IV may have been a discerning musical patron, he was neither a prolific nor great composer; however, Crux fidelis achieves a depth of emotion that was as recognizable to J. S. Bach as it must have been to King Joao's own subjects. Byrd's Laudibus in sanctis is the only concrete example on this recording of the composer giving a particular work his own seal of approval: its position at the head of the 1591 Cantiones sacrae proves that Byrd himself regarded this motet highly, and the fact that it now enjoys unreserved critical acclaim is comforting.

Songlist: Intemerata Dei mater, Nunc dimittis, Magnificat (Octavi toni), Surrexit pastor bonus, Laboravi in gemitu meo, Ego flos campi, Si ignoras te, Lauda mater ecclesia, Vadam et circuibo, Laudibus in sanctis, Crux fidelis