Taverner: In nomine a 4

“We are, perhaps, in a wood-panelled Elizabethan hall, where in the early 17th century the family of a large house gather for their private prayer. Voices and viols mix in harmony, ranging from the familiar simplicity of Thomas Campion's "Never weather-beaten sail" to the elaborate verse anthem by Orlando Gibbons's "See, see the word is incarnate"...Another triumph” The Observer, 29th January 2012

“The beautifully blended voices of Stile Antico give this music with all the intensity that its emotional content merits. But then every work here fairly burns itself on the heart.” Sunday Times, 12th February 2012

“the performances are wonderfully fresh, revelling in the harmonic false relations and affectingly attentive to the import of the words.” The Telegraph, 18th February 2012 *****

“a varied treasure trove of seldom heard but extremely affecting music, nicely sung and spliced together with some darkly-glittering string In Nomines played by Fretwork...[They] easily persuade us that there is such a thing as beautiful simplicity.” BBC Music Magazine, April 2012 ****

“Stile Antico's sleek tuning and supple attention to words, and the studio recording, intimate but not claustrophobic, do bring a carefully plotted span (over 120 years) of sacred styles into our listening rooms with rare success.” Gramophone Magazine, May 2012

“another winner from the 12-voice ensemble Stile Antico... The two pieces by Thomas Tomkins, O praise the Lord and When David heard, epitomise the expressive richness of the style. But the simplicity of Campion’s Never weather-beaten sail is also gorgeous, and there’s an unexpected rocking figure, John Browne’s much earlier Jesu, mercy, how may this be?, that becomes a real earworm. The contributions of the viol consort Fretwork are equally fine” Irish Times, 20th April 2012 *****

“The group's singing is, as ever, breathtakingly beautiful” Classical Music, 2nd June 2012 ****

'These reissues epitomise the qualities that make The Sixteen one of Britain's outstanding choral groups: distilled purity of sound: impeccable ensemble and intonation; long-breathed lines. Harry Christophers takes an introspective view of Taverner's monumental Missa Gloria tibi Trinitas, producing a performance of untrammelled serenity.' (BBC Music Magazine)

“The Sixteen offer an impressive account of Taverner's five-part Missa Mater Christi sanctissima, based on his votive anthem of the same name.
It's a lively and vigorous work, beautifully crafted, and this performance amply matches its craftsmanship. Harry Christophers attempts no liturgical reconstruction, concentrating instead upon sheer musical quality. Three female sopranos replace the boy trebles. The music is pitched up a tone, which has the effect of adding brilliance to every climax. He demonstrates the good acoustic of St Jude's in Hampstead – an acoustic of space and definition, ideal for the interweaving of the strands of early Tudor polyphony; indeed, clarity and a sense of space are hallmarks of the recording. The supporting programme of the Christmas responsory, Hodie, the votive anthem Mater Christi and a four-part Magnificat is completed – unexpectedly but most delightfully – by two pieces for viols.” Gramophone Classical Music Guide, 2010

“Excellent standards of intonation, balance and ensemble” Early Music Magazine

“It is one of the loveliest albums of English viol music I can remember hearing” Fanfare

“Fretwork play together beautifully” Gramophone Magazine

“English choral music at its finest.” The Observer, 29th November 2009