Renaissance polyphony is generally held to be stately, calm, reassuring. But this programme of Palestrina's six-part 'Missa sine nomine', complemented by five of his motets and three by Marc'Antonio Ingegneri, was recorded after the Choir of Girton College, Cambridge, had undertaken a tour of Israel and Palestine. There the music and its texts ('How can we sing the Lord's song in a strange land?') took on an extraordinary poignancy, with the dispossession and desperation of thousands of years ago animating the restrained dignity of Palestrina's counterpoint with an unexpectedly topical intensity.
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