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How better to sing the praises of this remarkable German vocal consort than through the medium of an outstanding interpretation of the motets from Willaert’s 1559 magnum opus, a magnificent, richly devotional collection of polyphony of the highest refinement in four to seven parts, spanning several decades of composition? Delicacy of expression and technical mastery meet exemplary team-work in characteristically thoughtful performances. While the passion with which they ‘live’ the texts can compromise perfection, an appreciation of each individual’s tonal character rarely distracts from the whole. I remain astonished that they are not better known in the UK.

REBECCA TAVENER Read the full review on Agora Classica

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