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Darkness with light always implicit behind it, in waiting for the glorious promise of Easter Sunday. Ten pieces from the Tenebrae tradition, the solemn ritual office that marks the closing of Holy Week with the extinguishing of every candle except the one representing the soon to be risen Christ. The music comes from as far back as Orlande de Lassus’ Tristis est anima mea and as up-to-date as a sequence of Tenebrae by Richard Bates (b.1984), with pieces by Lotti, Gesualdo, Victoria, Purcell and another contemporary, James MacMillan, completing the sense of continuity. The alchemical symbol for platinum is a union of silver and gold and that is the quality of the Consort’s singing, naturally bright even in solemn context, but richly toned and weighty where required.

BRIAN MORTON Read the full review on Agora Classica

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