Monteverdi's Vespers of 1610 is quite simply one of the greatest works of sacred music ever written, without doubt the most varied and inspired before Handel and Bach began composing their oratorios and passions. It's variety alone makes it unique, from thrilling psalm settings with virtuosic writing for both multi-part choir and instrumentalists, to exotic and sensual settings of texts from the Song of Songs for solo voices. Every movement is full of luscious harmonies, drama, and evocative musical language.

Sain’s Siglo de Oro, the Age of Gold, gave rise to some of the greatest sacred choral music of the Renaissance. Lead, Kindly Light is devoted to the music of two outstanding Spanish composers exploring majestic works by Cristóbal de Morales, famed throughout Europe and in the New World, and the exquisite polyphony of Sebastián de Vivanco, whose intricately crafted counterpoint adorned services at the cathedrals of Ávila and Salamanca during the late 1500s.

Recorded live at Bostons magnificent Symphony Hall, CORO brings together on one album the Handel and Haydn Societys recordings of Haydns early Symphonies Nos. 6, 7 & 8. Known as Le matin, Le midi and Le soir, the three works, written shortly after Haydn joined the court of Prince Paul Anton Esterhzy, are amongst the most striking of the composers early symphonies. Characterised by unusual virtuoso writing across the orchestral ensemble, all three works feature extensive solo passages for the wind, horn and strings, including rare solo writing for thedouble bassandbassoon, and demonstrate Haydn's emerging skill as a master of symphonic writing.

Celebrating Anglo-Irish composer Charles Villiers Stanford's centenary, this new album from The Sixteen includes 17 premiere recordings of Stanford's Irish Folksongs and Partsongs. Stanford is celebrated both nationally and internationally as a composer of great diversity. He composed a substantial number of concert works, including seven symphonies, but he is best-remembered for his choral works. Stanford's writing for voices is exquisite and his imaginative storytelling is ever-present in his Irish Folksongs where he captures everything from fiery revenge to passionate love with equal effectiveness. Stanford's dedication to the poetry of Mary Elizabeth Coleridge also stands out–he was drawn to the lyricism of her poetry and the imagery she conjures up–something that is clearly heard in his Opus 127 settings.

Imitation is the ultimate compliment. To take inspiration from someone else’s work, to borrow and rework it to form another piece…what could be more flattering? This technique, known as ‘parody’, was hugely popular in late 16th-century Europe and Orlande de Lassus was one of its most famous advocates. The Sixteen’s programme showcases the master of parody at work and also features a new commission from the extraordinarily inventive composer Bob Chilcott parodying one of Lassus’ finest secular madrigals.

Purcell’s genius abounds throughout the latest volume of The Sixteen’s celebrated exploration of his music for monarchy. Rarely recorded in recent years, Harry Christophers and his award-winning ensemble breathe fresh life into these exquisite works, including two Welcome Songs and one of Purcell’s most famous verse anthems, Rejoice in the Lord alway.

King Charles II liked to project a strong, stable, divinely legitimated image. Whilst that image had no basis in reality, the scale of his deception and financial skulduggery did not emerge until 19th-century historians discovered secret treaty documents between Charles and King Louis XIV of France. Purcell had no idea of course, and so all of the music on this album celebrates the political triumphs that he and his colleagues thought they had witnessed. It includes the quite brilliant Welcome Songs 'Welcome to all the pleasures' (with its superb six-part fanfares to St Cecilia in the final chorus) and 'From hardy climes'.

What would singing be without words? When you combine wonderful poetry with exquisite music, the result is magical. In a rare break from the sacred collections they are famed for, this album from The Sixteen features a whole programme of secular music devoted to English partsongs. From Stanford’s cycle of Eight Partsongs based on the sparing yet infectious poetry of Mary Elizabeth Coleridge to Bridges’ lyrically descriptive writing in Finzi’s Seven Poems of Robert Bridges and Imogen Holst’s idyllic Six Part-Songs Welcome Joy and Welcome Sorrow using verses by John Keats, each setting captures the mood of the poem brilliantly.