"The Byrd Edition Vol 1" The Cardinall's Musick/Andrew Carwood (ASV Gaudeamus)

ASV's new edition of the works of William Byrd is claimed as "the first recorded survey of the complete works of a major Renaissance composer". The series will chart a chronological survey of the Latin motets, finding space on each disc for selections from the Gradualia. The Gramophone Award-winning British choir, The Cardinall's Musick, recording in the historic Fitzalan Chapel of Arundel Castle, will be used throughout, and the first instalment gets the whole awe-inspiring undertaking off to a wonderful start. The resonant tapestry of the opening nine-part motet, Domine Quis Habitabit, in a performance as full and forthright as the music is rich, whets an appetite that is amply rewarded through all that follows. Highly recommended.

Michael Dervan

Brahms: "Cello Sonatas"; Handel: "Variations" Lynn Harrell, Stephen Kovacevich (EMI)

Brahms: "Cello Sonatas"; Schumann: "Fantasiestucke Op 73" Arto Noras, Juhani Lagerspetz (Finlandia)

The American duo of Lynn Harrell and Stephen Kovacevich make for a silk and steel team in Brahms's two cello Sonatas. The sound of the EMI recording, balanced for clarity in a very swimmy acoustic, takes a bit of getting used to, but conveys accurately the melting sweetness of Harrell's cello and the firm projection of Kovacevich at the piano. These are surely-paced readings, as persuasive in overall shape as in the moulding of passing detail. In a boxier acoustic, the plain-speaking Finns don't generate the same lyricism or fire. EMI score with their coupling, too, an athletic reading of the Handel Variations for solo piano from Kovacevich.

Michael Dervan

The Mediaeval Baebes: "Salva Nos" (Virgin)

What is there to say that's not already said by the images and words of the visual presentation? The photos look like poses for a pop video. Apart from "Trad" and "Anon", the composing credits go mainly to Mediaeval Baebe concept-originator, Katharine Blake, who's also responsible for most of the arranging.

The voices are set in an acoustic of churchy resonance, and the performing style seems to aim for a mix of Enya-ish breathy softness and enthusiastic, schoolgirl-like chanting, most likely with the intention of evoking sweetness, simplicity and innocence as characteristics of a bygone age. If you think Tyrone Power in doublet and hose created a faithful historical image, this carefully-calculated, cosy "medievalism" may be just the thing for you.

Michael Dervan