Jheronimus Vinders (fl.1525/6) is best known for the oft-recorded lament on the death of Josquin Desprez (d.1521), O mors inevitabilis, which has led many to presume that he was a disciple or even a pupil of the great master.

The Bernardino de Ribera whose works are recorded here, all but one for the first time, is all but unknown; he is not to be confused with the Spanish-Mexican composer Bernardino de Ribera Sahagún. He was active in the city of Toledo, Spain, a generation before Tomás Luis de Victoria, whom he taught and influenced. His obscurity is due to vandalism rather than to any issue of musical quality: the splendid manuscript that forms the main source for his music was cut up by someone who wanted the illuminations, and on the reverse of those were many sections of Ribera's works.

Following the critically acclaimed album of Byrd’s 1589 collection, Alamire returns with the completion of their survey of the early song collections with the 1589 Collection, in this, the composer’s 400th anniversary year. • Alamire is joined by viol consort Fretwork and director David Skinner. • Byrd’s first song collection was published in 1588. In following year he writes that he had ‘bene encouraged thereby, to take further paines therein, and to make the pertaker thereof, because I would shew my selfe gratefull to thee for thy loue, and desirous to delight thee with varietie, whereof (in my opinion) no Science is more plentifully adorned then Musicke.’

English composer Thomas Tallis witnessed dramatic changes of religion under four monarchs, and his career accordingly represents the development of polyphonic church music in Renaissance England. Along with his student and fellow Roman Catholic, William Byrd, Tallis was one of the earliest composers to publish music under royal patent in England, and his works demonstrated the shifting doctrines and styles of liturgy in the reigns of Henry VIII, Edward VI, Mary I, and Elizabeth I. This 2017 Obsidian release features one piece with a text by Henry VIII's sixth and last wife, Katherine Parr, which gives the album its title, though the mix of Roman Catholic and Anglican pieces on the program suggests that "songs of Reformation" may be seen as one-sided. In any case, the performances by the vocal ensemble Alamire and the viol consort Fretwork put the emphasis on Tallis and his varied output, rather than on the theological preferences of royalty. The result is a well-balanced portrait of Tallis, and his choral music is given transparent textures and clear diction by the 14-voice choir, which maintains independence of parts while offering an evenly blended tone.

The large-scale works of Hieronymus Praetorius (1560–1629) owe much to the great polychoral tradition mastered by Hans Leo Hassler and the great Venetian composer Giovanni Gabrieli. Hieronymus does not disappoint with his vivid expression of texts, intricate counterpoint, and sumptuously sonorous and inventive harmonies: this is Northern Germany’s noble response to the Italians, and to the Roman Counter-Reformation.