These singers are always nicely in tune and effectively blended, especially in the slower movements of the Mass where they strongly project the chordal colouring in the ‘Qui tollis’ and perfectly intensify the false relationship in the first Agnus. Cleve, though, tends to keep all voices singing all the way through, so there is little respite from the unyielding texture.

Exemplary recording clarity and balance within the warmly resonant acoustics of Austria’s Kloster Pernegg gild these imperial works … the rediscovery of so many masterworks in this essential series.

There are a few other vocal ensembles that sing one voice to a part, outnumbered by the two-voices-per-part groups, not to mention some fine larger ensembles and even choirs that have been recording music before 1600 very effectively. But Cinquecento is special for its rare repertoire, its choice of programming on each disc, and its vocal quality. If you have not encountered this group, Johannes de Cleve is a good place to start.

In Timete Dominum and Credo quod redemptor, technical fluency is matched with accents of real poignancy...As one has come to expect, Cinquecento’s singers render these touches admirably, while intricate textures are delivered with exemplary clarity. While the album’s tenor is undeniably solemn, their sonority, soft and intimate yet full, gives real pleasure. Of all their recordings devoted to ‘minor masters’, this strikes me as one of the finest.