In the booklet notes accompanying this CD, Théodora Psychoyou makes the connection between the creative visualisations of Loyola’s Spiritual Exercises and Charpentier’s use of musical rhetoric, suggesting both “help Man become aware of his freedom with regard to salvation and sin”. Further on, Graham O’Reilly maintains that all the works on the present disc were written for solo voices; consequently the parts are clearer because “each has its own specific colour. And even more important is the heightened emotional impact transmitted by a voice connected to a real and unique personality”.

These remarkable performances express inner extravagance with the greatest economy.  Both singers and instrumentalists are especially aware of space – among themselves, between utterances and within the textures of the music. This results in a lightness and clarity that intensifies rather than diminishes the prevailing affect. The disturbing mixture of spirituality and sensual imagery in Transfige dulcissime Jesu is refined while the chiaroscuro of the dramatic Extremum Dei judicium is heightened. The latter features finely rendered instrumental parts combined with some superbly expressive singing; just as eloquent are the soloists in Le Reniement de Saint Pierre.

The subdued colours of the  Salve Regina for 3 choirs seem calculated to match the delicacy of the following Litanies pour deux dessus et une basse chantate (here Catherine Greuillet, Brigitte Vinson and Vincent Bouchot are exquisite), which in turn prepares for arguably the most beautiful  performance you’re likely to hear of the Motet pour les Trépassés.  Perfection on earth? Here it is. WILLIAM YEOMAN