The Gesualdo Six literally made its name with performances of Carlo Gesualdo's Tenebrae Responsories, but that's not the British vocal consort's only specialty. Each of the singers was trained in the English choral tradition, and sacred works of the 16th and 17th century are close to their hearts. This 2018 Hyperion release is a brief survey of motets by Thomas Tallis, William Byrd, Thomas Tomkins, John Sheppard, Robert White, John Dunstaple, Thomas Morley, John Taverner, William Cornysh, Orlando Gibbons, and Robert Parsons, which represent the changing theological and liturgical aspects of English religion in the Renaissance. The ensemble, conducted by Owain Park, sings with evenly blended tones and an extraordinary harmonic richness, notwithstanding the assignment of one voice to a part and the exposed polyphony that sometimes creates an austere effect. Also quite noticeable are the cross-relations that add poignant dissonances to the counterpoint, as in Tallis' Loquebantur variis linguis, Taverner's Quemadmodum, Gibbons' O Lord, in thy wrath rebuke me not, and Parsons' Deliver me from mine enemies. This album was recorded in Trinity College Chapel, Cambridge, where The Gesualdo Six gave its first performances, and the sound is enhanced by vibrant acoustics that give the group a radiant aural halo.

From Lassus and Byrd to Howells, Judith Bingham and Owain Park—The Gesualdo Six’s exploration of Epiphany down the ages is a multifaceted compendium of musical delights.

In a selection of motets woven affectingly throughout the glorious five-part Mass, The Gesualdo Six perfectly captures all the power and tenderness of Byrd’s compositional voice.

Their fourth Christmas release, BBC Music Magazine Award winning choir Tenebrae return under the expert direction Nigel Short with a sumptuous album of Carols, Hymns and other celebratory works for Christmas.

From the timeless plainchant Veni Emmanuel via Jonathan Harvey to a riotous Jingle bells: Owain Park presents a programme of Christmas treats which effortlessly spans the centuries.

This powerful yet understated recital of modern and seventeenth-century works aims to revisit but also to re-balance the obsession of earlier music with female abandonment and lament. The stories of women such as Dido and Ariadne have been told and retold throughout history. Mezzo-soprano Helen Charlston reconsiders the assumed helplessness of those often seen as being left behind by male adventure and success. A recent work commissioned for Charlston from the composer Owain Park further takes up the challenge of giving ‘abandoned women’ their own platform, as well as exploring new possibilities for an instrumental pairing – that of voice and theorbo – that remains little explored in contemporary music.

The Gesualdo Six and director Owain Park (also the group's bass) have expanded their mission quite a bit beyond performances of music by their namesake, recording Renaissance polyphony from various countries. Their precise, close-up sound is instantly appealing and arguably more emotionally involving than the classic cathedral choir recordings of repertory like that on this 2021 release. A specific aspect of Josquin's legacy is explored here: music of the composers who worked after Josquin at the court of the Este family in Ferrara. The program begins with a motet by Ockeghem, possibly Josquin's teacher, and the inspiration for Josquin's magnificent ode Nymphes des bois, memorializing Ockeghem.