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Secular material heavily influenced the music of the new churches of Latin America in the 16th, 17th and early 18th centuries. in Carmina Latina the Chœur de Chambre de Namur, the Spanish soloists of Cappella Mediterranea and the instrumental ensemble Clematis romp vividly and ecstatically through a fascinating and entertaining sequence of vernacular and Latin settings: sizzling stuff, irresistibly, effervescently involving, climaxing with the scintillating fireworks of Missa de Batalla à 12 by the Catalan Joan Cererols – a curious choice, as it has no connection with the new World, though its Venetian-style opulence evokes the massive cathedrals and ornate, richly patterned fervour of Christianity in Latin America.

REBECCA TAVENER Read the full review on Agora Classica


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