"For Musical Pointers readers and admirers of The Clerks, this CD, representing a decade of commissions, may be the record of the month.

Whilst the most arresting are Fox’s miniature 21st C "Cries of London", taken from the freebie newpaper London Lite, small ads, spam e/mails and billboard slogans, there are weightier items too; contrafacta (new texts to old songs) and simultaneous bi-textual settings in the manner of medieval motets. All given with the expertise The Clerks usually lavish on old and very old music."

Peter Grahame Wolfe

"Thomas Tallis (1505 – 1585) is regarded as one of the finest English composers of the 16th-century, along with his pupil Wiliam Byrd (1542 – 1623). Signum Records has released volume 2 of the complete works of Tallis, which includes his ‘Mass for Four Voices’ ‘Te Deum for Means’, ‘If Ye Love Me’ and ‘Magnificat & Dunc Dimittus’, sung by Chapelle Du Roi ands conducted by Alistair Dixon. The voices in this CD have a beautiful homogeneous quality and are pure and uncomplicated, thankfully omitting the use of vibrato. It is finely recorded, and contains detailed and informative programme notes including the placing of music in its historical context. Highly recommended."

Kathryn Thomas

"Two exciting ‘Complete Works’ projects have taken off in the past year, both of which show increasing signs of doing much more than merely filling gaps in the catalogue. Chapelle du Roi under Alistair Dixon have embarked upon a nine-volume project devoted to Tallis, organized in roughly chronological order of composition. Their second volume offers music dating from the first years of the Reformation, including a Latin ‘Magnificat and Nunc dimittis’, and the Mass for four voices. To my ear this volume represents an appreciable advance over the first for the ensemble: vocal quality is more consistent, entries are far more confident, lines more assertively shaped. And you may well find that it is not just the musicians who are on better form here: Tallis himself seems far happier in the syllabic, concisely imitative idiom of these pieces than in the note-spinning, earlier post-Eton Choirbook style of the votive antiphons. This volume also includes a number of the composer’s anthems (including the most famous, ‘If ye love me’) which receive equally fine performances. I remember The Hilliard Ensemble’s rugged rendition of the Mass for four voices (ECM. 4/88) with great affection, but this version for mixed choir is equally satisfying."

"Most, and possibly all, the musi8c here dates from the 1540s and reflects the remarkable diversity of musical response that came directly from the profound change in reformed religious procedures which developed in England within a single decade. Tallis himself joined the new, non-monastic cathedral choir at Canterbury in 1540, and went on to become a lay Gentleman of the Chapel Royal (almost certainly working immediately as a composer) in 1543/4. Much liturgical music was still sung in Latin, notably the splendid ‘Magnificat’ and the deeply felt ‘Sancte Deus’, but already there are settings in English, including three fine early anthems, an extended English ‘Benedictus’ and a remarkable five-part ‘Te Deum’, all very different from the music on Volume I of this series. The surprisingly homophonic setting of the Latin ‘Mass’ is forward-looking too, and very telling. The ‘Angus Dei’ is most beautiful. ‘If ye love me’ resourcefully alternates chordal and imitative section. The sheer variety of the music here is remarkable and makes a stimulating second volume in this distinguished series."

Ivan March