Thomas Tallis’s Spem in alium is, quite simply, an astonishing piece of music. It’s written for eight choirs of five voices (soprano, alto, tenor, baritone, and bass), and each part is completely distinct from the others. Yes, that adds up to 40 independent voices—a truly massive amount of music, and a remarkable undertaking for any group of singers. But scope isn’t everything, of course; thankfully, it is also—not surpring for Tallis—incredibly beautiful. This recording, by the Oxford Camerata and Jeremy Summerly, captures both the magnitude and splendour of this music with impeccable artistry and terrific sound. While I haven’t done a side-by-side comparison with other recordings, I can’t imagine this music sounding much better.

This recording was released in 2005 to celebrate the 500th anniversary of Tallis’s birth, and it would seem that the goal was to present some of the composer’s largest works. Spem in alium is paired with Salve intemerata—at over twenty minutes, one the longest single-movement pieces of the sixteenth century. This is followed by Missa Salve intemerata and three English-language anthems. All in all, it’s a wonderful programme, and the sound throughout is nothing less than spectacular.

Here’s my one note of caution, however: In my experience, many people tend to think of ‘classical music’ as ‘background music’, and due to its undeniable beauty, this recording may seem like an ideal candidate for multitasking. Please, please, please do not make this mistake. Not only is this music that deserves your undivided attention, I believe it demands it, particularly Spem in alium. If you are only half-listening, Spem in alium can end up sounding impossibly dense and indistinct, something akin to Renaissance note salad. Instead, use good speakers or high-quality headphones, and turn it up loud so you can hear the fine details. Then, let the music wash over you.

When many people think about American ‘classical’ music, they think of the music of Aaron Copland. And no wonder. While Copland isn’t the first composer who tried to capture the sound of America in his music, something about his approach sounds immediately and unmistakably right. His string writing sounds like wind blowing across the open prairies. His melodies evoke the something of the Old West, but (in my opinion) never to the point of being saccharine. Even when he wrote in a less popular idiom, such as in his brilliant Piano Variations, his pointillistic ‘thriftiness’ (his term) sounds jazzy and exciting in his angularity.

​For the record, I adore Copland’s music, and while some may write him off as being too ‘popular’, I deeply respect his ability to write in more than one idiom, to keep his voice intact while straddling different styles. Simply stated, I try to do the same in my music.

This selection of Copland’s music all falls under the dance umbrella. Rodeo, a ballet that is better known as a series of dance episodes, is heard in its entirety, and it’s delightful. Dance Panels is more abstract in character, but unmistakably Copland, and it has its fair share of surprises. In my opinion, it’s a piece that deserves to be better known. El Salón México and Danzón Cubano are both a lot of fun, full of rhythmic energy and verve. In terms of the repertoire, there isn’t a weak link to be found.

Leonard Slatkin is the ideal interpreter for this music. I find Slatkin to be an incredibly energetic conductor (his recording of Carmina Burana is wonderfully unhinged), sometimes to the point of excess, but that’s exactly what this music needs. The Detroit Symphony Orchestra sounds terrific. Highly recommended.