and their director (and bass singer) have maintained high standards indeed in their recordings of 16th century repertory, with exacting pitch control married to deep expressivity. They sing mostly with one voice per part, which is not authentic in the sacred music here, but this hardly matters; the pitches are so precise that it is hard to tell there is only one singer. In the secular pieces, loosens the reins slightly, with profound effect. 's program is fascinating. In general, he says, "it has been a joy to delve further into the rich tapestry of works that inspired our earlier album . The specifics indicated by the title are especially compelling, and they bring some unusual works to the table. The title indicates both works written as memorials to various queens, like 's (written in memory of Anne of Brittany), and those depicting women who were unlucky in love. The big three-section motet, coming from a composer mostly known for bouncy frottola, is especially impressive. The latter group also includes some unusual pieces falling into the "regretz chanson" genre; these pieces take off from 's famous and give insight into the way the 16th century musical mind approached the question of influence. There are also a few contemporary compositions, one by and one by the delightfully named . The performances are gorgeous, as usual, from , and 's sound from St. George's Church, Chesterton, Cambridge, adds beautiful layering. This altogether compelling Renaissance release hit classical best-seller charts in the summer of 2024. ~ James Manheim