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Reviews

From the Imperial Court

High praise for From the Imperial Court

This disc would be interesting purely as a historic exploration, even without the breathtaking musicianship on show. What musicianship it is. I’ve written before of Stile Antico’s collaborative spirit and magical sound. What strikes me most in this recording is the incredible tightness of their sound, a consequence, no doubt, of their refusal to sing with a conductor…

Simon Thompson, MusicWeb International (February 2015)

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From the Imperial Court

High Praise from Santa Fe

A compellingly programmed, hold-your-breath beautiful recital of 16th-century masterworks… The ensemble brings flawless blend and balance but also scores expressive points through delicate shading of a cappella tone color.

James M. Keller, Santa Fe New Mexican (3 October, 2014)

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From the Imperial Court

Gramophone enjoys From the Imperial Court

The singers of Stile Antico reinforce their already formidable reputation: intonation and balance are always flawless; the sound of the voices is glorious, precise and absolutely crystal-clear; the music always moves along effortlessly with well-judged moments of pressure and relaxation.

David Fallows, Gramophone (September, 2014)

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From the Imperial Court

From the Imperial Court in the Sunday Times

This fine collection of music is associated with Hapsburg rulers in the 16th century: the composers range from Heinrich Isaac… to Alonso Lobo. The young British ensemble Stile Antico exquisitely sing other rich examples by Senfl, Pierre de la Rue, Josquin, Gombert, Crecquillon and Tallis.

SP, The Sunday Times (14 September, 2014)

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From the Imperial Court

The New York Times on From the Imperial Court

Lucid and fresh-sounding, the young, prolific vocal ensemble Stile Antico sings an intriguing program of 15th- and 16th-century works written for the Habsburg courts of Europe. The group is particularly superb, with tremendous dynamic range, in motets of mourning like Pierre de la Rue’s “Absalon fili mi” and Alonso Lobo’s “Versa est in luctum”.

Zachary Woolfe, New York Times (23 July, 2014)

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