BREMF – Queen of Hearts – The Gesualdo Six

“Perfection!” was the word most heard during the interval – and this needs some context. Six well-matched male voices held a capacity audience in thrall with complex Renaissance polyphony and chant, most of it extended lamentations and mournful regrets. How did they achieve this unlikely feat? Well, while each voice could generously fill the spacious acoustic, from behind the audience, from way up at the High Altar and from various locations in between, there was no competition but a marvellous collusion. Together these same strong voices blended seamlessly in a magical spectrum of sound – this was very impressive.

The resonant bass of Owain Park gave a solid foundation for the other voices. They were all so well rehearsed that he didn’t really need to conduct but rather he directed with his singing. Indeed, other members of the group moved more to the music than he did, knowing exactly when to be prominent and when to hold back. This was especially effective in pointing the detail of the motets by Ockeghem and Margaret of Austria, and when more than one text was being sung at a time. It was possible to identify the voices individually through the richest textures, the clear baritone of Simon Grant; each of the tenors, the crisp sound of Josh Cooter and the slightly lighter timbre of Joseph Wicks; and the two countertenors, Alasdair Austin, often chanting in the distance, and the dominant voice of Guy James whose distinctive sound provided a secure canopy under which the others were arranged.

Now add the depth of musicality, presumably led by Owain Park but clearly shared by the whole team – immaculate phrasing, confident changes of tempo, clarity of diction (and with Renaissance French that is some challenge!) – and “perfection” doesn’t seem inappropriate. Park had full measure of the vast cavern of St Martin’s, even when addressing the audience, making sure every word carried – he was after all promoting their mechandise.

BREMF-The Gesualdo Six

I mustn’t forget the two modern works. The Gesualdo Six were taken to task by some (not me) in 2017 for including some Ligeti and Chilcott in their BREMF LIVE! set. This time Park’s own composition matched the style of the programme beautifully and the exquisite chromaticism of Ninfea Cruttwell-Reade’s Gesualdo-inspired work, a special commission, displayed the daring and skill of this astonishing choir to perfection.

St Martin’s Church,
12 October 2025

Rating:

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The Gesualdo Six

Guy James (countertenor)
Alasdair Austin (countertenor)
Joseph Wicks (tenor)
Josh Cooter (tenor)
Simon Grant (baritone)
Owain Park (director & bass)

Programme

Antoine Brumel c.1460-c.1512 : Sub tuum praesidium
Johannes Ockeghem c.1410-1497 : Intemerata Dei mater
Loyset Compère c.1445-1518 : Plaine d’ennuy / Anima mea
Jean Mouton c.1459-1522 : De tous regretz
Margaret of Austria (attrib.) 1480-1530 : Se je souspire / Ecce iterum
Owain Park b.1993 : Prière pour Marie
Jean Lhéritier c.1480-c.1551 : Sub tuum praesidium

Josquin des Prez c.1450-1521 : Nymphes des bois / Requiem aeternam
Josquin des Prez : Mille regretz
Pierre de La Rue c.1452-1518 : Secretz regretz
Brumel : Tous les regretz
Costanzo Festa c.1485-1545 : Quis dabit oculis
Ninfea Cruttwell-Reade b.1989 : Plaisir n’ai plus
Josquin : O Virgo prudentissima
encore: Thomas Tallis 1505-1585 : O Nata Lux